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 HOME PAINTING 
 MANUAL 
 
0Illlllllllillllllllllllllllllllllillllllllllllllilllllllllllll»IIIIIIWIIIIHil|||||||||||ll 
 
 THE 
 
 HOME PAINTING 
 
 A Coniplric Ihmdhook on Home Painting and DecoraliiKj 
 Full Information About Paints and ] nrnishes 
 and Their Application 
 
 Price 50c 
 
 PUBLISHED BY 
 
 The Sherwin-Williams Co. 
 
 601 CANAL ROAD, N. W., CLEVELAND, OHIO 
 
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BiiliiiiiiilliiiiiiiliiiiiiilliiiiiiiliiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiillllllllllliiiliiiiiiW^ 
 
 THE 
 
 HOME PAINTING 
 
 MANUAL/ 
 
 A Coniplclc Handbook on Home Painting and Decoralinij 
 Fidl Informal ion About Paints and ]'arnishes 
 and Their Application 
 
 Price 50c 
 
 PUBLISHED BY 
 
 The Sherwin-Williams Co. 
 
 601 CANAL ROAD, N.W., CLEVELAND, OHIO 
 
 iniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 
 
COPYRIGHT 1922 
 
 BY 
 
 The Sherwin-Williams Co. 
 
 CLEVELAND, OHIO 
 
 All rights reserved 
 
 Printed in U.S. A. 
 
 ©C1A657688 
 
 JAN 27 1922 
 
 \/ 
 
 7T32D 
 
 .S53 
 Copy 2 
 
Contents 
 
 Page 
 HOME UPKEEP 9-11 
 
 THE FOUR PURPOSES OF PAINT AND VARNISH 
 
 For Preservation 13 
 
 For Decoration 14 
 
 For Economic Reasons. 14 
 
 For Sanitation 15 
 
 THE RIGHT USE OF PAINT 
 
 Preparing the Surface 17 
 
 Applying the Paint.. 17 
 
 Painting New or Very Old Spongy Surfaces... 18 
 
 Painting Old Surfaces Previously Painted...- 18 
 
 The Priming Coat Very Important 18-19 
 
 How to Properly Mix Prepared Paint 22 
 
 Prepared Paint vs. Hand Mixed. 23-24 
 
 Brushes — The Kind to Use and How to Use Them 25-26 
 
 Some Painting Donts 27 
 
 Helpful Suggestions 28 
 
 ESTIMATING 
 
 Exterior Estimating 29-31 
 
 Interior Estimating 32-34 
 
 Table of Covering Capacities 32-35 
 
 INDIVIDUAL TREATMENT IN EXTERIOR PAINTING 
 
 The Prominent Location... _.. 38 
 
 The House with Close Neighbors 38 
 
 How Color Influences the Appearance of Surfaces 39 
 
 The Small House 39 
 
 The Large House . . — 39 
 
 The Tall, Narrow House ,.....,.- .41 
 
 INTERIOR FINISHING— WOODWORK AND FURNITURE 
 
 To Remove Paint or Varnish : 47 
 
 Varnishing : 48-52 
 
 To Refinish Woodwork and Furniture Previously Painted or 
 
 Varnished 48-49 
 
 Practical Varnishing Suggestions.. 51-53 
 
 Use of Sandpaper 51 
 
 How to Produce a Rubbed Finish 52 
 
 The Dull Rubbed Effect 52 
 
 A High Polish 53 
 
 The Use of Stains in Interior Finishing. ...53-56 
 
 Purposes and Use of Paste Filler 56-57 
 
 Handcraft System Effects for Woodwork and Furniture 57-60 
 
 To Enamel Woodwork and Furniture , .60-63 
 
 Floorlac Method of Refinishing Woodwork and Furniture 63-65 
 
 A Painted Finish _ 66 
 
 [ Page 3 ] 
 
THE TREATMENT OF FLOORS 
 
 Finishing New Floors: Page 
 
 Varnished Finish (hard or soft wood) 67-69 
 
 Waxed Finish (hard or soft wood) .69 
 
 Stained Finish (hard or soft wood) 69 
 
 Varnish Stain Finish.. 70-71 
 
 Painted Finish (hard or soft wood) 71 
 
 Refinishing Old Floors: 
 
 Filling the Cracks .-. 73 
 
 Varnished Finish (hard or soft wood).. 73 
 
 Waxed Finish (hard or soft wood) 75 
 
 Varnish Stain Finish (hard or soft wood) 75 
 
 Painted Finish (soft wood) 75 
 
 Linoleum 75 
 
 Dancing Floors .76 
 
 Care of Floors 77 
 
 Cement Floors 77 
 
 INTERIOR WOODWORK— Some of the Best Cabinet Woods and 
 How to Finish Them 
 
 Oak 81-83 
 
 Chestnut 83 
 
 Ash 84 
 
 Pine 84 
 
 Oregon Pine or Douglas Fir 85 
 
 Mahogany 85-88 
 
 American Walnut 88-89 
 
 Birch _ ...89-90 
 
 Cherry ...91 
 
 Cypress 91-92 
 
 California Redwood 92 
 
 Gum Wood 92-93 
 
 Specifications for Wood Panels 95-103 
 
 COLOR HARMONY APPLIED IN THE HOME 
 
 Color Chart... '....i .106 
 
 Three Kinds of Color Harmony 
 
 Monochromatic Harmony 107-109 
 
 Analogous Harmony. 109 
 
 Complementary Harmony.. 109-110 
 
 Balance in Color Harmony 110 
 
 The Room in Blue..._ 110-111 
 
 The Room in Pink 111-113 
 
 The Room in Green 113-114 
 
 The Room in Yellow 114-115 
 
 WALL AND CEILING TREATMENT 
 
 Sherwin-Williams Flat- Tone Glazing System: To Blend a 
 
 Wall Color 118-119 
 
 Plain Color Flat-Tone Walls 120-121 
 
 Flat-Tone Multi-Color Stipple Effects: 
 
 Preparation of the Sponge 121 
 
 Colors Required for Stippling 123 
 
 [ Page 4 ] 
 
WALL AND CEILING TREATMENT— Continued 
 
 Flat-Tone Multi-Color Stipple Effects: Pages 
 
 Directions for Applying the Stipple Color 124 
 
 Amount of Stipple Color Required..— 124 
 
 To Clean the Sponge 124 
 
 STENCILS 
 
 Wall Stencils— Their Use and Application 126-127 
 
 The Block Stencil - 129 
 
 Shading with the Brush 129-130 
 
 How Strong to Make the Stencil Color 131 
 
 The Outline Stencil - 131-132 
 
 Stencil Paint and Its Preparation. 134 
 
 To Reduce Strength of Color -135 
 
 How Thick or Heavy to Have the Paint 135 
 
 The Placing of the Stencil - 135 
 
 Handling of Corners ...136 
 
 Trimming the Stencil.^ _. - -136 
 
 Stencil Guides -. - 136 
 
 Stencil Rules..- - - - 138 
 
 Other Interesting Uses of Stencils 138-139 
 
 MISCELLANEOUS INTERIOR FINISHING 
 
 Andirons - 149 
 
 Baseboards. -153 
 
 Bath Tubs 149-150 
 
 Be;dsteads.. '. 150 
 
 Boilers -. ;- 152 
 
 Chairs --- 150 
 
 Clothes Closets- - 151 
 
 Cement and Concrete Floors.— - 154 
 
 Cupboards ..- - 153 
 
 Fixtures _. 151 
 
 Flower Boxes 153 
 
 Furniture.- - - 151 
 
 Ornamental Iron -149 
 
 Piping - 152 
 
 Radiators — - 149 
 
 Refrigerators - 153 
 
 Shelves _ - - -- 153 
 
 Sinks— - 149 
 
 Stationery Tubs._ 154 
 
 Stove Pipes ...-. 152 
 
 Toys- 153 
 
 Water Boilers 152 
 
 Water Pipes. ...152 
 
 W^ainscoating ...- 153 
 
 Window Sills 153 
 
 Making the Basement Attractive 153-154 
 
 [ Page 5 ] 
 
MISCP:LLANE0US exterior finishing Pages 
 
 Stiiining Shingles 155 
 
 The Doors, Porch Ceilings, etc. 156 
 
 Painting the Porch Floor and Steps 157 
 
 Painting the Blinds 158 
 
 Gutters, Downspouts, etc 159 
 
 Painting the Screens 159 
 
 Painting Brickwork 159-160 
 
 Painting Concrete and Stucco 161 
 
 Roof Upkeep._ 161-162 
 
 Painting the Garage 162 
 
 Painting Porch and Lawn Furniture 162 
 
 Painting Fences, Arbors, Trellises, etc 163 
 
 Painting Metal Surfaces .163 
 
 Painting Galvanized Iron 164 
 
 CLEANSERS AND POLISHES 
 
 The Washing of Painted, Varnished and Enameled Surfaces 166-167 
 
 Cleaning and Polishing Furniture and Woodwork... 168 
 
 Care of Brass and Other Metal Surfaces 168 
 
 Cleaning and Polishing Floors 168 
 
 f Pase fi I 
 
List of Color-Page Illustrations 
 
 Exterior Page 
 
 A Neighborhood of Homes 8 
 
 A Small English Stucco Residence 12 
 
 A Home in Colonial Yellow 16 
 
 A Cozy Little Farm Cottage 20 
 
 The Bungalow Home i 30 
 
 The Little Gray Cottage 36 
 
 A Happy Treatment for the Dutch Colonial Home_ _ 40 
 
 Interior 
 
 A Hospitable Hall 46 
 
 A Living-Room in Old Ivory, Blue and Mulberry 50 
 
 A Dining-Room in Gray 54 
 
 A Breakfast Room in Blue and Tan 58 
 
 A Kitchen in Ivory and Blue 64 
 
 A Bath Room in Soft Sea Green 68 
 
 A Man's Room 72 
 
 A Homey Living-Room 74 
 
 A Dining-Room in the Spirit of Old Colony Days 78 
 
 A Charming Living-Room in Gray and Green 104 
 
 A Cheerful Dining-Room in Modern Treatment 108 
 
 A Comfortable Living-Room 116 
 
 A Colorful Dining-Room 122 
 
 A Dainty Bedroom in Ivory Tan and Blue 128 
 
 A Colonial Bedroom 132 
 
 Wood Finishes 
 
 Reproduction in Color of Stain Effects on various 
 
 woods 82, 86, 90, 94, 98 
 
 [ Page 7 ] 
 
Chapter 1 
 
 Home Upkeep 
 
 Home upkeep is a matter of vital importance to every 
 home owner. This for two major reasons: 
 
 1. It protects the investment of three, five, ten, 
 twenty-five, thousand dollars, or more; good money 
 which needs protection as much as money put into a 
 bank. 
 
 2. It makes your home a place where life is worth 
 the living. 
 
 Home upkeep without painting and varnishing is impossi- 
 ble; in fact, paint and varnish are the principal factors in the 
 upkeep of buildings. Therefore the use and possibilities of 
 painting should be given thought and attention by every owner 
 of property. This book has been prepared especially to help 
 home owners get best results in the painting and decorating 
 of their homes. 
 
 The possibilities in the production of the ideal home, 
 through the intelligent use of paint and varnish, is beyond 
 the conception of anyone who has not studied the subject. 
 It is not money alone which makes a beautiful home. It is 
 no more expensive to have one's home well thought out, 
 attractive and inviting, than to have it ill-considered and 
 ordinary. The difference is chiefly in knowing how — good 
 taste and the use of the right finishes. Harmony is essential 
 and this involves the proper treatment of everything from 
 basement to ridgepole. 
 
 The color plates in this book show what can be done in 
 various types of houses by the tasteful selection of color 
 schemes to suit each individual type. The text matter tells 
 how to get any of the effects shown, as well as many more. 
 
 In addition to the larger operations of painting and deco- 
 rating, there are many opportunities in every home to trans- 
 form dark corners into bright spots; renew marred and 
 
 [ Page 9 ] 
 
scarred woodwork or furniture, refinish a worn floor, 
 beautify an unsightly wall, repaint the porch furniture, etc. 
 The judicious use of a little thought and very little expense 
 will accomplish wonders in this direction. 
 
 Many suggestions for refinishing the little things in and 
 about the house will be found in this book. In fact, we have 
 tried to make it what the name implies, a manual covering 
 the use of paint and varnish materials about the house, to 
 which anyone may turn for any information they may 
 desire on the subject. 
 
 However, we do not wish to convey the impression that 
 all of the methods of painting described in this book, and 
 all of the effects shown in the color plates, can be accomplished 
 by the householder with the same degree of excellence as if 
 done by the professional painter. All high class interior 
 work, fine pieces of furniture, etc., should be done by an ex- 
 perienced decorator or finisher, and all major outside painting 
 jobs should be done by a practical painter, whose experience 
 in diagnosing the absorption power of various woods and 
 judgment regarding the painting of any particular surface 
 are essential to the best possible results in painting. 
 
 Nevertheless much painting and varnishing can be done 
 by the home owner and housewife with splendid results if all 
 directions are carefully followed, but it should be remembered 
 that first class results require the observance of a number of 
 points. 
 
 For instance good brushes are necessary. The painter 
 uses good brushes and pays the money necessary to get them, 
 yet many people without the painter's experience, buy the 
 cheapest kind of brushes and wonder why they do not get 
 good results. Brushes, if previously used, should also be 
 cleaned with the utmost thoroughness before using again. 
 
 Another important thing is to clean the surface thoroughly 
 before starting any painting or varnishing. If this is not done, 
 the quality of results will not be of the highest standard, and 
 peeling, cracking and checking are liable to occur within a 
 very short time after application. 
 
 If directions call for sandpapering, this should be done 
 by all means, as it helps very materially in getting the 
 finished result. 
 
 [ Page 10 ] 
 
The length of time between coats called for on the direc- 
 tions should also be observed. In some cases the material 
 may appear to be dry before this time, whereas in reality it 
 may only be surface-dry, and if re-coated too soon the fin- 
 ishing coat may never dry thoroughly or may go to pieces 
 within a comparatively short time after application. 
 
 The foregoing are some of the principal things that should 
 be observed. All work should be done carefully and with 
 interest, and directions followed throughout. If this be done 
 the results will be pleasing. 
 
 
 [ Page 1 1 ] 
 
Chapter II 
 
 The Four Purposes of Paint and Varnish 
 
 THERE are four major purposes of painting — for pres- 
 ervation, for appearance, for economic reasons and for 
 sanitation. Each of these alone is of much importance 
 to the owner of property. Some of the principal factors to 
 be considered under each caption are as follows : 
 
 For Preservation 
 
 The chief reason for painting, and one that is becoming 
 more and more recognized all the time, is that of preservation. 
 The decay of structural materials is rapid. The microscope 
 will record the initial start of such decay even after 24 
 hours' exposure of some building products; and the naked 
 eye is sufficiently strong to perceive the erosion that is often 
 evidenced in a few weeks. 
 
 Paint is the ideal wood preservative, sealing the pores 
 of the wood and preventing the entrance of decay- 
 producing organisms. You have 
 probably noticed the very com- 
 prehensive series of advertise- 
 ments published in the magazines, 
 entitled "Save the Surface and You 
 Save All." That's the secret of 
 building preservation. The surface 
 is the danger point. That is where 
 disintegration begins. Everything 
 with a surface needs surface protec- 
 tion. Good oil paint affords best 
 possible protection to out-buildings, 
 sheds, posts, fences, wagons, imple- 
 ments, windmills, automobiles, etc. 
 Oil paint, when applied, dries to a 
 continuous elastic film of metallic, 
 wear-resisting pigments. 
 
 The piece of siding at the left 
 was taken from a house left un- 
 pointed for a number of years. 
 The one at the right was from 
 another building erected about 
 the same time and which was 
 painted whenever necessary. 
 (Photograph courtesy of H. A. 
 Gardner.) 
 
 [ Page 13 ] 
 
For Appearance 
 
 Painting has been in the past, and is today, very largely 
 done for appearance — or at least appearance has been the 
 determining factor in a large majority of cases. 
 
 We paint because our property looks shabby; we paint 
 because other people in the neighborhood do. We do not 
 want our building to look bad by comparison. 
 
 Noted economists tell us there is no better way to judge 
 the prosperity and civilization of people than by the appear- 
 ance of their houses. The prosperity and standing of the 
 individual among his friends, neighbors, and business asso- 
 ciates is judged largely by this factor. 
 
 And appearance, in itself, is sufficient reason for painting. 
 The appearance of your house is as important as the appear- 
 ance of your clothes — and for the same reason. 
 
 If your house looks shabby you cannot afford not to paint. 
 
 For Econom ic Reasons 
 
 Painting is insurance against decay. This factor alone 
 makes painting good business, in fact, painting-insurance is 
 a better proposition than fire-insurance because painting 
 insures against certain deterioration, repair bills and financial 
 loss; while fire insurance insures only against the possibility 
 of fire, which may never occur. 
 
 Paint also has a loaning value at the banks. A banker 
 will loan more money on well 
 painted property than on a place 
 that is unpainted or rundown. A 
 recent investigation in the middle 
 west as to the value of paint upon 
 farm buildings, developed the infor- 
 mation that bankers would loan from 
 5 to 50% (the average being 25%) 
 more on property where buildings 
 were well painted and kept in good 
 condition than on property where 
 this was not the case. 
 
 ri„,h,.ir.,t,li ,,l slum, Irfl ini- 
 puiiilfil. i\()l<' cracks and por- 
 ous nalure of surface. Moisture 
 enters cracks and seeps through 
 wall. Paint effectively prevents 
 this. { Photograph courtesy of 
 H. A. (iardner.) 
 
 Paint also has a salesmanship 
 value. A young couple wanted to 
 sell their home. Before trying to sell 
 
 [ Page 14 ] 
 
it, they decided to paint and decorate it. A neighbor said, 
 "Why on earth are you doing all the painting if you are going 
 to sell?" 
 
 "The painting may cost us $400, but we will get $1,000 to 
 $1,500 more for the house and will sell it quicker." 
 
 They did so, and as a matter of fact, the decoration so 
 pleased a lady who was looking at it, that her husband closed 
 the deal then and there for cash. 
 
 Even if you are not trying to sell your house, if it is 
 attractively painted, there is a possibility of getting an 
 offer any time that will yield so much profit that you cannot 
 afford to turn it down. 
 
 Painting is a good investment and anyone can demon- 
 strate this to his own satisfaction with a little reasoning. 
 
 For Sanitation 
 
 From the standpoint of sanitation and hygiene, buildings 
 should be kept properly painted. 
 
 "The future of paint is to add to beauty, preservation and 
 economy the ten million times more important factor, health," 
 said the well known chemist, Henry A. Gardner, of the In- 
 stitute of Industrial Research 
 at Washington. Well painted 
 buildings are necessary to the 
 most sanitary conditions pos- 
 sible. Paint resists moisture, 
 vermin, germ life. Paint meets 
 the problem of sanitation at 
 its source; accomplishing its 
 results by the prevention 
 
 eriy whm dec£'^oncf7dya^^^ rathcr than thc dcstructioR of 
 
 courtesy of H.A.Gardner.) gj^j^ Nothing morc need be 
 
 said on this subject, as certainly everybody wants his home 
 to be as sanitary as possible. 
 
 [ Page 15 ] 
 
s 
 
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Chapter III 
 
 The Right Use of Paint 
 
 GOOD results in painting depend largely upon the prop- 
 er condition of the surface, correct application of 
 the paint, and favorable weather conditions. We 
 are, therefore, making this chapter on "The Right Use of 
 Paint" just as definite and practical as possible; giving a 
 general resume of painting principles, as well as practical 
 hints that will help you get better results. 
 
 Preparing the Surface 
 
 On new exterior work, all knots and pitchy, sappy places 
 should be brush-coated with shellac shortly before the appli- 
 cation of first coat to prevent the pitch coming through the 
 paint later. (Cracks and nail holes should not be puttied 
 until after the priming coat). 
 
 If the building has been previously painted, all old, loose 
 paint should be removed with a wire brush or scraper. If in 
 very bad condition it may be necessary to burn off the old 
 coating with a painter's torch. 
 
 Always see that the surface to be painted is free from dirt, 
 dust and grease. Paint will not hold onto such surfaces, and 
 it is almost sure to peel. It is often advisable to wash surfaces 
 that are extremely dirty and greasy, before applying the 
 paint. (S-W Flaxoap, a linseed oil soap, is ideal to use for 
 this purpose.) 
 
 Applying the Paint 
 
 Paint should always be stirred to an even and creamy 
 consistency immediately before and during application. 
 
 Exterior paint should be applied with brush scant-full and 
 brushed onto the surface with a stroke from left to right and 
 back again. 
 
 [ Page 17 ] 
 
Use Plenty of "Elbow Grease'' 
 
 Plenty of "elbow grease" should be used to brush the paint 
 well into the pores of the wood and to spread it into thin, 
 uniform* coats. It is better to have paint brushed out too thin 
 than to flow on thick, heavy coats which may look better 
 temporarily, as too heavy a coating does not dry thoroughly 
 and is likely to crack and prevent the surface from ever being 
 properly repainted, unless all the heavy undercoats are 
 burned off. 
 
 New or Very Old Spongy Surfaces 
 To insure good results on new or very old spongy surfaces, 
 three coats should always be applied. Sufficient pure raw 
 linseed oil should be added to the first and second coats to 
 properly fill the wood and still leave enough oil to bind the 
 pigment thoroughly. Some turpentine also should be added 
 to the first and second coat, especially in the case of new sur- 
 faces which are hard and resinous. Turpentine is added in 
 the first coat to insure proper penetration and in the second 
 coat principally to cut the gloss sufficiently to enable the 
 succeeding coat to adhere without "crawling." 
 
 Old Surfaces Previously Painted 
 For old work previously painted, two coats should always 
 be applied — three are better. On surfaces which are hard and 
 impervious, equal parts of pure spirits of turpentine and pure 
 raw linseed oil should be used in reducing the paint to a thin 
 consistency to secure proper penetration and homogeneous 
 drying of the new coat. A first coat should never be applied 
 without some turpentine in it. In three-coat work, the 
 second coat should be reduced the same as the first, except 
 use about half the proportion of the reducers. 
 
 Priming Coat Very Important 
 The idea that any old paint will do for priming, since it 
 is covered over anyway, is absolutely wrong — in fact, just the 
 opposite is true — the priming coat is the foundation coat 
 which is applied directly to the wood and consequently is 
 most important of all because the subsequent coats are de- 
 pendent upon it. If there is to be any difference in quality 
 the priming coat should be the better. 
 
 [ Page 18 ] 
 
Although the priming coat should be of the highest quality, 
 it is necessary that it be thinner in consistency than the other 
 coats so as to properly penetrate and provide a "tooth" to 
 grip the surface, at the same time to fill and seal the pores of 
 the wood and still leave sufficient oil to produce a proper paint 
 film. 
 
 In some localities yellow ochre and mineral reds, such as 
 Venetian, rossie and other oxides, have been used for primers 
 and these particularly should be avoided as they are totally 
 unfit for use as a priming coat which is to be subsequently 
 coated with lead and zinc paint. These pigments come in dry 
 form and do not combine readily with linseed oil. Many of 
 the particles, unless actually ground in oil, are never thoroughly 
 saturated — so that after being applied to the surface, much 
 of the oil is absorbed by such particles, with the result that 
 there is not sufficient oil left to provide a proper film. 
 
 Such primers seldom dry thoroughly and cause permanent 
 "tackiness" and oftentimes peeling. Then, too, the nature of 
 these pigments is such as to make them very difficult to 
 spread to any degree of uniformity over any large amount 
 of surface. 
 
 It is always advisable to use the same paint for the priming 
 coat as will be used for the finishing coat, except it should be 
 reduced to the desired consistency according to the directions. 
 
 Never paint before plaster or wet basements have dried 
 out, or around fresh mortar beds 
 
 The interior plaster work of a new building should always 
 be allowed to dry thoroughly before applying paint to the 
 exterior of a building. Every yard of green plaster contains 
 nearly a gallon of water, and unless thorough ventilation is 
 given and the moisture is allowed to evaporate and escape in 
 that way, it is forced to escape through the siding; in 
 which event the result would inevitably be blistering or 
 peeling, even though the siding may have been thoroughly 
 dry when put on. 
 
 Painting around fresh mortar beds should also be avoided 
 on account of the tendency of the oil in any paint to absorb 
 the moisture and fumes from the lime. 
 
 [ Page 19 ] 
 
Do not paint in direct heat of sun or in damp or very 
 cold weather 
 
 Painting in the direct heat of the Summer sun should be 
 avoided to the greatest extent possible, as it will blister the 
 paint. Paint on the shady side of the building as much as 
 possible. Painting, however, should never be done during 
 or following a dew or heavy frost, in heavy, damp, foggy 
 atmosphere, or while the wood is still wet from a rain. Good 
 paint dries with a sealed film, thereby protecting the surface 
 from the elements, but when there is moisture in the wood 
 before the paint is applied, it is bound to escape somehow 
 when the hot sun beats down upon it. The sealed film 
 being elastic, in its effort to resist it all it can, expands into 
 blisters, which eventually give way and burst, causing an 
 unsightly and injurious peeled condition. 
 
 Do not allow any coat to stand too long before 
 applying succeeding coat 
 
 Do not apply any coat of paint and let it stand until the 
 following year before a subsequent coat is applied. It will 
 have weathered sufficiently in that time to absorb some of 
 the elasticity of the succeeding coat, so that the final result 
 cannot be satisfactory. Also do not allow any coat of paint 
 to stand until it is bone hard before continuing the work. 
 One coat should follow another within reasonable time until 
 the work is finished. If the under surface is allowed to get 
 too hard, it will not have the proper tooth to allow the succeed- 
 ing coat to get a grip or hold on it. 
 
 Two coats or three coats — which? 
 
 Does it pay to give the new home two or three coats of 
 paint when one considers the extra cost of the third coat? 
 This is a question often asked by property owners. The truth 
 about this is that, in many cases, the second coat has only 
 succeeded in perfectly satisfying the absorption of the wood 
 and the third coat is required for adequate protection. 
 
 In the foregoing, the priming coat is counted as one coat; 
 two-coat work meaning a priming coat followed by a finishing 
 coat, and three-coat work meaning a priming coat followed 
 by two other coats. 
 
 [ Page 21 ] 
 
How to Properly Mix Prepared Paint 
 
 To secure best results from any good prepared paint, it must 
 be properly mixed. The illustrations below and their ex- 
 planations tell how to mix prepared paint properly and in 
 the least time. 
 
 Shake the package 
 violently. 
 
 Stir the pigment 
 
 and remaining oil 
 
 with strong, smooth 
 
 paddle that is of a 
 
 shape which will 
 
 admit of getting 
 
 around the edges 
 
 and bring up all of 
 
 the pigment. Do this until the 
 
 mass is smooth and entirely uniform 
 
 throughout., 
 
 Cut out the 
 whole top. 
 
 3. 
 
 Pour off into an- 
 other package at 
 least two-thirds of 
 the vehicle that has 
 raised above the 
 pigment. 
 
 Begin returning the 
 surplus vehicle a 
 little at a time, until 
 all has again been 
 added, stirring con- 
 stantly. 
 
 6. 
 
 Then "box" the paint 
 — that is, pour it back 
 and forth from one 
 pail to another from 
 half a dozen to a dozen 
 times, each time leav- 
 ing about one-quarter 
 
 of the paint in the pail which is 
 
 being emptied. 
 
 If the above method is followed you will be sure not to 
 have thick paint that will peel or thin paint that will not 
 cover. 
 
 [ Page 22 I 
 
What Constitutes the Best Paint 
 
 Prepared Paint vs. Hand Mixed 
 
 The best paint is always essential to best results. There- 
 fore, in painting a house, one should be most careful as to the 
 materials with which it is painted. The best paint to use is 
 undoubtedly a high grade prepared paint made by a reputable 
 manufacturer. There are certain definite reasons why it is 
 much better than hand-mixed or so-called "lead and oil." 
 
 It is only reasonable that a man who buys the materials 
 and mixes the paint himself cannot possibly produce the equal 
 of good prepared paint. It is a case of hand work against 
 mechanical efficiency; human guesswork against exact scien- 
 tific formulae; hand stirring against machine grinding. 
 
 Good white lead and pure raw linseed oil make a fairly 
 good paint, and for years was the best paint known. In fact, 
 for a long period white lead was practically the only base pig- 
 ment known. It became a tradition of the painter's trade and 
 anything else was not even considered. 
 
 To say, however, that straight "lead and oil" paint today 
 is the best, would be to say that the world has progressed in 
 every other industry but that of paint making. Time has 
 changed things. The paint industry, like every other, has ad- 
 vanced and improved. It was realized that straight white 
 lead (and oil) was too soft, and allowed the hot sun to draw out 
 the oil and oxidize the film, causing the paint to lose its gloss, 
 chalk and rub off. Effort was constantly being made to 
 remedy this difficulty. 
 
 It was about seventy years ago that the use of zinc as a 
 paint pigment was discovered by a French master painter, 
 named Le Clare, who used it in his own work with such superior 
 results that he was presented with a gold medal and Cross of 
 the Legion of Honor for distinguished services rendered. 
 
 Zinc oxide is whiter than lead and possesses greater spread- 
 ing capacity because it takes more oil, and, being hard, holds 
 the oil to the surface. However, it was soon discovered that 
 zinc alone dries too hard and quickly becomes brittle and 
 cracks and peels. Furthermore, that for the same reason it is 
 objectionable for repainting, making it difficult to get new 
 paint to adhere to it. 
 [ Page 23 ] 
 
The problem then was to incorporate these two base pig- 
 ments in the right scientific proportions so that the softness 
 of the lead would be offset by the hardness of the zinc and vice 
 versa, resulting in a paint having the virtues of both and the 
 objections of neither, hence greater body and opacity, better 
 ease of working and spreading, more absorption of oil and 
 greater durability. 
 
 After much experimenting this was accomplished, and 
 this combination in the right proportions has for some time 
 been recognized generally and highly endorsed by the most 
 reputable paint authorities as possessing best paint qualities. 
 However, the method of mixing is also of utmost importance. 
 For instance, straight carbonate of lead (white lead) alone with 
 straight zinc oxide does not give as high efficiency and as 
 thorough incorporation as is the case when a certain percent- 
 age of the former is combined in the form of sulphate of lead, 
 the proportions again being an essential factor. This is where 
 accurate laboratory formulae and accurate measuring of each 
 ingredient by weight is of the greatest value in producing the 
 best possible paint. Also, the manner and thoroughness in 
 which these ingredients are mixed together and balanced, are 
 of utmost importance and it is only natural that this can be 
 done much more thoroughly by machinery than by hand. 
 
 The foregoing deals principally with the pigment portion 
 of the paint, but the liquid portion (or vehicle) is also of equal 
 importance. The first essential of linseed oil is, of course, to 
 carry and suspend the pigment in such a way that the mass 
 may be perfectly fluid until and during the process of appli- 
 cation, after which it has a much more important task to 
 perform. Linseed oil supplies the gloss and is the very life 
 of the paint. It is the oil which fills the pores of the wood 
 and it is the oil which sticks to and grips the surface in a 
 tough, tenacious, waterproof film. It must harden and act 
 as a binder to hold the pigment intact on the surface, yet be 
 elastic and weather-resisting. For these reasons it is neces- 
 sary that the best linseed oil be used in sufficient proportions. 
 
 SWP (Sherwin-Williams Paint, Prepared) is a correct 
 combination of oxide of zinc, carbonate of lead, sulphate of 
 lead and pure linseed oil, with the necessary turpentine and 
 drier. These materials are all of the highest quality and are 
 intelligently and scientifically handled so as to give the maxi- 
 mum paint value in each can and color. 
 
 [ Page 24 ] 
 
Brushes 
 
 The Kind to Use and How to Use Them 
 
 Good brushes, and the right kind of brushes, are very- 
 necessary for good results. A poor brush often spoils an 
 otherwise good job. It is practically impossible to avoid show- 
 ing brush marks with a worn out or a stiff, hard brush. 
 
 Brushes are made in many different sizes and shapes — 
 flat, round, oval, square across the end, rounded, pointed 
 and chisel shape. Each has its purpose. 
 
 In selecting a brush, care should be taken to get one that 
 fits the hand, so that it may be held easily, without slipping 
 or quickly tiring the hand. 
 
 In some brushes, the bristles are set in glue; in some they 
 are set in cement and others in rubber. Generally speaking, 
 rubber-set brushes are best. Glue-set brushes should never 
 be left standing in water, as it loosens the bristles. Cement- 
 set brushes should not be used in any finish that contains 
 alcohol, such as shellac, as this will loosen the bristles. 
 
 It is more than worth while to keep your brushes in good 
 condition. Never stand brushes on end. When necessary 
 to put brush down during the painting operation, lay it flat 
 on a board or piece of paper. When through for the day, 
 stand brush in a pail of water. With large heavy brushes 
 a good way to do is to bore a hole through the handle and 
 insert a loop of twine; and suspend brush by this loop from a 
 stick laid across the bucket of water. 
 
 When through with the painting operation, clean the 
 brush out thoroughly. It takes only a little time to do this — 
 but if allowed to get hard, it takes a long time to get the 
 brush in good shape again. Much of the pleasure of painting 
 is to be able to go to the brush-keeper and at once get a good, 
 clean brush whenever it is desired to do a little painting. 
 
 To clean brushes, use turpentine, benzine or gasoline. A 
 varnish or enamel brush should never be cleaned in anything 
 but turpentine, and a shellac brush should never be cleaned 
 in anything but alcohol (denatured). After the brushes have 
 been well cleaned with the turpentine, benzine, alcohol, etc., 
 they should be washed in soft water and soap and dried with 
 a cloth. S-W Flaxoap is most convenient for this. After 
 
 [ Page 25 ] 
 
brush is clean it should be put away in a paper bag to keep it 
 from the dust. 
 
 Another method extensively used is to stand the brushes 
 in a mixture of half turpentine and half raw linseed oil. A 
 tack should be placed near the top of brush handle and the 
 brush suspended by the tack from edge of the pail or other 
 receptacle used as a "brush- keeper." This will keep the 
 brush from standing on the bottom of pail and curling up the 
 bristles. Enough turpentine and oil should be placed in the 
 pail to cover the bristles. 
 
 A small wooden box should be placed over the pail of brushes 
 to serve as a cover and keep the dust out. When this method 
 is employed, the liquid in the pail must be renewed at intervals, 
 as it will eventually evaporate and allow the brushes to 
 harden. Brushes, with the exception of glue-set ones, may 
 also be kept standing in water, if the water is replenished 
 often. 
 
 If brushes have become hard, they should be kept in 
 turpentine a day or so to soften the paint. Then work them 
 back and forth on an old board, and put back into the 
 turpentine again and work some more, if necessary. If 
 it does not readily soften the brushes, stand them in S-W 
 Taxite, paint and varnish remover, or in heated vinegar. 
 (Never put a glue-set brush in vinegar.) 
 
 All brushes will usually shed a few bristles at first, but in 
 good brushes these as a rule are only the loose ones; and 
 may be worked out in a few minutes by dipping brush in the 
 paint and brushing it on an old board. 
 
 [ Page 26 ] 
 
Some Painting ''Don is'' 
 
 Don't leave paint uncovered over night. 
 
 Don't leave brushes in paint, stain or varnish. 
 
 Don't thin paint or clean brushes near a flame. 
 
 Don't fail to stir paint thoroughly. 
 
 Don't paint on a hot surface. In the Summer follow the 
 shade and in the Spring and Fall follow the sun. 
 
 Don't use cheap brushes. It is poor economy. 
 
 Don't use a new brush on a finishing coat. Break it in on 
 the priming coat. 
 
 Don't jam a brush into corners. It will spoil the brush. 
 
 Don't put a bristle brush in lime or any compound con- 
 taining lime. 
 
 Don't use a paint brush as a duster. 
 
 Don't keep brushes when not in use in a hot or dry place, 
 as shrinkage of the block will cause the bristles to loosen and 
 come out. 
 
 Don't forget that varnish brushes should be cleaned with 
 turpentine. 
 
 Don't forget that shellac brushes should be cleaned with 
 alcohol (denatured). 
 
 Don't neglect to cover all knots or sappy places with 
 shellac before starting to paint, or the resin from the wood 
 will spoil the paint. 
 
 Don't neglect to putty all nail holes and cracks ajler prim- 
 ing coat has been applied. 
 
 Don't apply thick coats, especially the priming coats. 
 Don't apply new paint over blistered paint without scraping 
 or burning off the old finish. 
 
 Don't start painting until all broken and leaky gutters, 
 downspouts, etc., have been repaired. 
 
 Don't forget that "elbow grease" must be used to spread 
 any paint out into thin coats and to brush it well into the 
 pores of the wood. 
 
 [ Page 27 ] 
 
Helpful Suggestions 
 
 To Remove Paint From Windows 
 
 To remove paint and varnish from window panes or other 
 glass surfaces, use hot acid vinegar, or for a more simple 
 method apply S-W Taxite, paint and varnish remover, to 
 soften the paint, then scrape or wipe it off. 
 
 It may also be scraped off with a safety razor blade without 
 the application of any softening agent. 
 
 How to Get Paint or Varnish Out of Clothing 
 
 Fresh paint, varnish or enamel may be removed from 
 clothing or rugs with benzine, turpentine or gasoline. Saturate 
 a cloth and rub the spot hard. It is a good plan, wherever 
 possible, to place a piece of blotting paper under the spot — 
 it will absorb the fluid and prevent it from spreading beyond 
 the spot. 
 
 For very fine garments it is generally best to use alcohol. 
 
 If the paint or varnish has become dry, soften it with 
 Taxite, paint and varnish remover, which will not injure 
 clothing. After softening, remove the paint with one of the 
 fluids indicated above. 
 
 Care of the Hands 
 
 Housewives will find it a good idea to rub a little vaseline 
 on the hands before starting to paint. The vaseline keeps 
 the paint or finishing material from penetrating the skin. 
 After painting, any paint on the hands may be very quickly 
 removed by washing the hands with turpentine, then washing 
 with soap and water. 
 
 r Page 28 ] 
 
Chapter IV 
 
 Estimating 
 
 IN this chapter we are giving general information about 
 estimating the quantities of various painting materials 
 required for all ordinary home surfaces, exterior and in- 
 terior. The covering capacity of all principal Sherwin- 
 Williams Products for home use are also given. It must be 
 kept in mind, however, that this information can only be 
 approximate, as no two surfaces are ever exactly alike in 
 composition and condition, and no two individuals ever 
 spread paint in exactly the same way, some using more and 
 some less material for the same job. 
 
 Exterior Estimating 
 
 No set method of estimating can be correct in every 
 detail, as allowances must be made for a varying number of 
 bays, gables and other projections, also for the difference in 
 absorption of various surfaces, as well as how thick or thin 
 the paint is applied by the individual doing the work. By 
 observing the follow^ing directions, however, anyone should 
 be enabled to obtain a fairly close estimate of the quantity 
 of material necessary for exterior painting on the average 
 surface. 
 
 Body of Building 
 
 To ascertain the number of gallons for body of building, 
 measure the distance around the building and multiply by 
 the average height. This will give the number of square 
 feet to be painted. Divide this by 360, the number of square 
 feet SWP (Sherwin-Williams House Paint) will cover, two coats 
 to the gallon on the average surface, and the result will 
 approximate the number of gallons needed for the body of 
 the building. 
 
 For the trimming, cornices, etc., of the average type of 
 house, allow one-sixth as much SWP as is required for 
 the body of the building. 
 
 [ Page 29 ] 
 
Blinds 
 If the house has blinds, allow about 40 square feet of 
 surface for the average pair of blinds. Multiply the number 
 of blinds by 40 and divide by 360 to ascertain the number 
 of gallons needed for all blinds, two coats. 
 
 Porch Ceiling 
 If the porch ceiling is to be painted with SWP, multiply 
 its length by its width, which will give its area and divide 
 by 360 to give the number of gallons needed for this surface, 
 two coats. If to be finished natural, to estimate the number 
 of gallons of S-W Rexpar Varnish needed for two coats, 
 divide by 275 (covering capacity of Rexpar, two coats). 
 
 Porch Floors and Steps 
 
 For the floor, multiply the length by the width and divide 
 by 360, the number of square feet S-W Porch and Deck 
 Paint will cover, two coats to the gallon. 
 
 For the steps, ascertain the square feet of surface in one 
 step, multiply by the number of steps, then divide by 360. 
 
 Exterior Doors 
 Exterior doors of average size which are to be painted 
 require about one pint of SWP. Doors which are to be 
 varnished require about one pint of Rexpar; if new doors of 
 oak or other open grained wood, one pound of Paste Filler 
 will also be required. 
 
 Shingles 
 
 Shingled roofs to be stained with S-W Preservative Shingle 
 Stain, treated in the usual way with one dip coat and one 
 brush coat, may be estimated by multiplying the length 
 of the house by its width, and adding one- third of that amount 
 which will give the approximate area of an average roof, 
 then divide by 100 (covering capacity in square feet of Pre- 
 servative Shingle Stain, one dip coat and one brush coat to 
 the gallon). If there are any gables, the area per gable may 
 be ascertained by multiplying the length of the rafters by 
 one-half the distance from the cornice to the peak. 
 
 For restaining an old roof which has been previously 
 stained, for which one brush coat is usually sufficient, the 
 approximate covering capacity is considered to be 150 square 
 feet per gallon, one brush coat. 
 
 [ Page 31 ] 
 
Table of Covering Capacity of Sherwin-Williams 
 Products for Exterior Use 
 
 {Approximate on Average Surface ) 
 
 SWP (House Paint) 360 square feet per gallon, two coats 
 
 100 square feet per gallon, for one dip 
 coat and one brush coat. 150 
 square feet per gallon for one 
 brush coat only. 
 
 S-W Preservative 
 
 Shingle Stain __ 
 S-W Carbolic-ol 
 
 Shingle Stain 
 
 S-W Porch and Deck 
 
 Paint 360 square feet per gallon, two coats 
 
 S-W Rexpar Varnish__550 square feet per gallon, one coat 
 S-W Concrete Wall 
 
 Finish 300 square feet per gallon, one coat 
 
 S-W Commonwealth 
 
 Barn Paints 500 square feet per gallon, one coat 
 
 S-W Roof and Bridge 
 
 Paint 600 square feet per gallon, one coat 
 
 S-W Metalastic 800 square feet per gallon, one coat 
 
 Interior Estimating 
 
 In estimating the amount of materials required for in- 
 terior decoration, it is necessary to figure each room separately. 
 The following estimates are based on average conditions, but 
 it should be remembered that the covering capacity of all 
 painting materials will vary according to the surface on which 
 they are applied; a rough plaster wall will require more than 
 smooth plaster, a soft porous plaster will absorb more than 
 a hard plaster, etc. 
 
 Ceilings and Walls 
 
 To determine the quantity of S-W Flat-Tone for three- 
 coat work on the ceiling, multiply the length by the width, 
 which gives the square feet of ceiling area. Divide this by 
 the number of square feet Flat-Tone covers per gallon on the 
 type of surface to be painted, as shown in the Table of Interior 
 Covering Capacities on pages 34 and 35. 
 
 The quantity of Flat-Tone required for three-coat work 
 on the walls can be estimated in the following manner : Multi- 
 ply the distance around the room by the height. This gives 
 the number of square feet of wall space. Subtract from this 
 
 [ Page 32 ] 
 
20 square feet for each window and 21 square feet for each 
 door. Divide the total number of square feet by the number 
 of square feet Flat-Tone will cover three coats to the gallon 
 on the type of surface to be painted. 
 
 On new work, the first coat of Flat-Tone should be mixed 
 with Flat-Tone Mixing Size in the following proportions : 
 
 Sand finish plaster, 
 
 or any porous plaster Equal parts Flat-Tone and Flat- 
 Tone Mixing Size. 
 
 Smooth hard plaster 1 part Flat-Tone Mixing Size to 3 
 
 parts Flat-Tone. 
 
 A simple method to estimate the quantity of Flat-Tone 
 Mixing Size required is as follows: Add the total number 
 gallons of Flat-Tone needed for all coats, walls and ceiling. 
 Divide this by 4 for sand finish or porous plaster, or by 6 for 
 smooth hard plaster. The result will give the number of 
 gallons of Flat-Tone Mixing Size needed for the job. This 
 is to be used for the first coat only, and is to be added to 
 Flat-Tone in the proportions indicated above. 
 
 Woodwork 
 
 In a room of average size (about 12x15) there is usually 
 the following woodwork: 
 
 2 doors (21 square feet each) 42 square feet 
 
 Baseboard {}4 foot high) 27 square feet 
 
 3 windows (20 square feet each) 60 square feet 
 
 Total 129 square feet 
 
 The distance around the room multiplied by the height of 
 the baseboard gives number of square feet in the baseboard. 
 Should the surface be finished natural by applying a coat of 
 shellac and then two coats of Scar-not Varnish, the procedure 
 will be as follows in estimating: Divide the square feet of 
 woodwork by 500 (covering capacity per gallon for one coat 
 of shellac) which will give the number of gallons of shellac 
 necessary. Multiply the square feet of woodwork by 2 (for 
 two-coat work) and divide by 500 (covering capacity of 
 Scar-not to the gallon), the result giving the number of gal- 
 lons of Scar-not Varnish needed. To determine the number 
 of gallons of stain required for woodwork, divide the area of 
 
 [ Page 3Z 1 
 
the surfaces to be treated by 500 (number of square feet 
 Handcraft Stain covers to the gallon). If filler is to be esti- 
 mated, divide the area in square feet by 40 (which will desig- 
 nate the number of pounds needed). 
 
 For a white enamel finish — to ascertain the quantity of 
 undercoater required, divide the number of square feet of 
 woodwork by the number of gallons covering capacity of the 
 undercoater to be used, as shown in the following Table of 
 Covering Capacities. To ascertain the quantity of enamel 
 required for the finishing coats, divide the number of square 
 feet of woodwork by the number of gallons covering 
 capacity of the kind of enamel to be used. 
 
 Floors 
 
 If floors are to be finished natural, three coats of Mar-not 
 should be used. Multiply the area of the floor (length times 
 width) by 3 and divide by 550 (covering capacity Mar-not 
 one gallon one coat). 
 
 To estimate for floors to be stained, divide area of floor 
 by 500 (number of square feet Handcraft Stain and Handcraft 
 Stain Reducer cover per gallon) which will give the number 
 of gallons required. 
 
 Table of Cover mg Capacities of Sherwin-Williams 
 Products for Interior Use 
 
 (Approximate on Average Surface) 
 
 S-W Flat-Tone 
 
 On sand finish walls 1 200 square feet per gallon, three coats. 
 
 On very porous [ (For two-coat work, figure 300 
 
 smooth walls J square feet two coats to the gallon.) 
 
 On hard, smooth 
 
 plaster walls 250 square feet per gallon, three coats. 
 
 (For two-coat work, figure 350 
 square feet two coats to the gallon. 
 
 (Above covering capacities for Flat-Tone are based upon 
 the addition of Flat-Tone Mixing Size to the first coat, in the 
 proportions directed on the preceding page. Do not deduct 
 
 [ Page 34 ] 
 
from the amount of Flat-Tone indicated above on account 
 of adding the Mixing Size.) 
 
 On walls previously 
 
 painted 250 square feet per gallon, three coats. 
 
 (For two-coat work, figure 350 
 square feet two coats to the gallon. 
 S-W Flat-Tone System 
 
 (Glaze Color) 750 square feet per gallon, one coat. 
 
 S-W Flat-Tone Multi 
 
 Color Effects One quart of paint for each stipple 
 
 color to a room 12 x 20. 
 S-W Old Dutch 
 
 Enamel 350 square feet per gallon, one coat 
 
 S-W Enameloid 400 square feet per gallon, one coat 
 
 S-W Enamel 400 square feet per gallon, one coat 
 
 S-W Enamel Under- 
 
 coater No. 12 400 square feet per gallon, one coat 
 
 S-W Old Dutch 
 
 Enamel Undercoater400 square feet per gallon, one coat 
 S-W Inside Floor Paint250 square feet per gallon, two coats 
 S-W Floorlac, Colors _225 square feet per gallon, two coats 
 S-W Floorlac, Ground- 225 square feet per gallon, two coats 
 S-W Concrete Floor 
 
 Paint 250 square feet per gallon, two coats 
 
 S-W Handcraft Stain__ 500 square feet per gallon, one coat 
 
 S-W Oil Stain 600 square feet per gallon, one coat 
 
 S-W Acid Stains 500 square feet per gallon, one coat 
 
 S-W Mar-not Varnish _550 square feet per gallon, one coat 
 S-W Scar-not Varnish. 500 square feet per gallon, one coat 
 S-W Rexpar Varnish. _550 square feet per gallon, one coat 
 S-W Velvet Finish 
 
 Varnish 450 square feet per gallon, one coat 
 
 S-W Mission-lac 600 square feet per gallon, one coat 
 
 SW Shellac 500 square feet per gallon, one coat 
 
 S-W Paste Filler 40 square feet per pound 
 
 S-W Prepared Wax 125 square feet per pound, one coat 
 
 [ Page 35 ] 
 
Ill III 
 
 Jll 
 
 I ill! I 
 
 The Lillle Gray (Uillafje 
 
 Who would think that this nook of the woods could be made 
 so interesting? iVnd yet this little dwelling is equally at home 
 in the more open spot. It is low and rather rambling and 
 nestles quite cosily down amongst the trees. The gray 
 shingles should not be painted but finished in a preservative 
 stain which will retain all the texture of the rough sawn 
 cedar. The ivory white trim is responsible for the clean ap- 
 pearance of this color scheme. 
 
 S pec ifical ions on page liG 
 
Chapter V 
 
 Individual Treatment in Exterior Painting 
 
 IT seems that the subject of painting, the correct colors 
 to combine and the right type of paint to use all form a 
 topic which worries the average home owner, even though 
 the principles involved are few and simple to understand. 
 Obviously the paint most economical to use is that which 
 is made of the best quality materials intended for each surface 
 to be protected. We hope, also, that the reader, after reading 
 the preceding chapters, is thoroughly convinced that it is 
 essential to have these paints applied by a person who knows 
 how or who is willing to study our instructions and will follow 
 these directions faithfully. This is, of course, the mechanical 
 end of the job. 
 
 We will now try to discuss briefly, and in an interesting 
 way, the principles governing the selection of the colors to 
 use to produce certain desired results. 
 
 Almost every one has a certain inherent sense of propor- 
 tion and a feeling of what is appropriate, which should guide 
 him in painting his home. The house should first be con- 
 sidered as to its setting. Is it conspicuously located in a 
 prominent, open spot, or is the building partially hidden by 
 abundant trees and shrubbery? Also are there neighboring 
 houses pressing in close upon it, or does it stand alone .^* One 
 must always keep in mind the relation each house, bears to its 
 neighbors on the street. Many people paint in white simply 
 because it has become a fad and because there is no difficulty 
 in choosing colors. How unpleasant a sight it is, however, to 
 come to a row of houses, once white, but now grown shabby 
 through the combined action of smoke and grime and weather. 
 How much better to have used a combination in color which 
 would have still retained enough interest through color con- 
 trast to make the soil less noticeable 
 
 One still sees an occasional blue or pink house or some 
 atrocious shade of yellow or green, but this and the other 
 
 [ Page 37 ] 
 
alternative just mentioned can be easily avoided. If you 
 do not find it easy to make the decision yourself or do not 
 trust your own judgment, a letter addressed to the Depart- 
 ment of Decoration, The Sherwin-Williams Co., 601 Canal 
 Road, Cleveland, Ohio, will always bring the desired 
 assistance, without charge. 
 
 Do not take it that we mean that white should never be 
 used. Quite the contrary. There are certain homes, such as 
 the small cottage, which are better in white than in any 
 other treatment. Then too, by using a fine gloss white, such 
 as SWP, the house can be washed down every year with 
 Flaxoap and water, renewing the clean appearance. This 
 practice has become very general in the downtown districts 
 of our big cities, where even the white tiled buildings soon 
 become grimy. 
 
 The Prominent Location 
 
 Generally speaking, the building situated in the conspicu- 
 ous plot appears best in the most simple treatment. Neutral 
 grays or drabs, with lighter gray or ivory white for trim, are 
 very satisfactory. If there is much ornament or grill work, 
 render this in the body color so as to keep it less noticeable. 
 
 Where there are plenty of trees and shrubs, light colors 
 are advisable for both the large and the small house. But 
 where the building is unsheltered by trees the use of stone 
 color or warm drab or gray will avoid the bare look that a 
 brighter color would give. 
 
 The House with Close Neighbors 
 
 While it is possible to use brighter, cleaner colors in 
 neighborhood painting, good judgment must be exercised in 
 the work. Where one house is painted in a bright yellow, for 
 instance, its next door neighbor should not be in a bright green 
 nor should it be in too dark a brown, just to be different. 
 A cream gray body color with ivory white trim and green roof 
 would cause both houses to appear best. Where the house 
 under consideration is situated between two buildings in 
 strong colors, a neutral tone is required and if a shade or tint 
 of the strong adjoining colors can be used for either the trim 
 or roof color of the middle house, a "color bridge" will be 
 formed that will bind the three in harmony and make every 
 one improve in appearance. 
 
 [ Page 38 ] 
 
How Color Influences the Appearance of Surfaces 
 
 The idea of color cannot be disassociated readily from 
 some surface to which it is to be applied. And just to the 
 extent that any color is warm and expanding in effect, or cold 
 and contracting, aggressive or receding, is that surface affect- 
 ed to which the color is applied. 
 
 Light warm colors, tints and shades of yellow, make sur- 
 faces appear larger. Dark colors tend to make the surface 
 appear smaller. 
 
 Light gray or green do not seem to change a surface 
 appearance to any extent. Bright warm colors, containing 
 red or orange, make a surface seem nearer to the eye than 
 the medium, neutral or cold colors such as dark gray or dark 
 green, especially a blue-green. 
 
 A practical application of this principle is used in painting 
 the pillars of the porch. A yellow body color, for example, 
 with dark green trim, requires the pillars in the yellow rather 
 than the green so they will hold their place out nearer the 
 eye and preserve the architectural and structural value of the 
 building. 
 
 The Small House 
 
 As a rule, light warm colors like SWP 496 Ivory, 
 462 Cream, 387 Canary Yellow, 470 Golden Yellow, 385 
 Straw or 485 Warm Drab are suitable for the small house, as 
 such colors will make any building appear larger. 
 
 Neutral Colors 
 Light colors which are not warm, such as SWP 354 Sea 
 Green, 360 Cream Gray, 479 Pearl Gray or 357 Silver Gray, 
 are especially pleasing for a building which is not surrounded 
 with trees. These colors, too, will harmonize with practically 
 any color on the neighboring house. 
 
 The Large Building 
 
 The dark warm colors, of which SWP 393 Tobacco Brown, 
 388 Modern Brown, 486 Golden Brown, 499 Antique Brown, 
 382 Rich Maroon are good examples, produce best results on 
 the larger buildings where it is necessary to employ colors 
 which will not be affected by smoke and dirt and where the 
 foliage is not too dense to produce too dark an effect. 
 
 The darker, so-called cold colors, as SWP 353 Light Lead 
 Color, 363 Slate, 362 Crown Green, 355 Sage Green, 498 
 
 [ Page 39 ] 
 
A Happy Trealmeut for the Dutch CoJonial House 
 
 Much of the charm of this simple l)ttk> liome is due to 
 the effective manner in which advantage lias been taken of 
 the natural surroundings. The little Dutch garden in the 
 foreground provides color which makes one appreciate the 
 clean combination of ivory and willow green all the more. 
 Bright color has been introduced in the ])orch curtains and 
 border flowers. Placing the living porch away from tlie front 
 door affords greater privacy. 
 
 S pec ijical ions on page I'lS 
 
Moss Green, are suitable for large buildings not surrounded 
 with foliage and the roofs of which are covered with slate or 
 other dark gray material. 
 
 Surroundings and conditions vary, however, and the large 
 building may be painted in as light a color as Cream and the 
 small bungalow cottage in as dark a tone as Modern Brown. 
 
 The Trim Color 
 
 The trimming is important in the architectural plan of the 
 
 building and is even more so in the painting plan, because 
 
 with the manipulating of the trim color it is frequently possible 
 
 to modify the appearance of the house to a considerable extent. 
 
 The Tall, Narrow House 
 This house can be made to appear lower and broader by 
 keeping the body in a light tone such as SWP 496 Ivory, 
 using a dark contrasting color for trim, such as SWP 
 388 Modern Brown. A two-color treatment is also effective, 
 using the darker color for the upper portion with the roof 
 similar in color. Such a combination would be: Lower Body 
 Color, SWP 375 Colonial Yellow. Upper Body Color, SWP 
 499 Antique Brown. Trim Color, SWP 486 Golden Brown. 
 Following are a few illustrations of typical homes with 
 color recommendations suitable for each type : 
 
 This dwelling gives a pleasing appearance of neat com- 
 pactness which furnishes the key to the painting treatment. 
 
 This is a decidedly well- 
 groomed house and the owner 
 should keep it so. 
 
 The shingles may be either 
 brown or green, but the entire 
 upper part of the house, includ- 
 ing the roof, must be in the 
 same color. 
 
 The lower body and trim 
 are best in one color, either 
 SWP 496 Ivory, or SWP 471 White. SWP 355 Sage Green 
 is an attractive color to use for sash. 
 
 The hard line of the foundation really ought to be broken 
 by planting such formal shrubbery as dwarf evergreens, blue 
 spruce, etc. 
 
 [ Page 41 ] 
 
 The Stuyvesant 
 
Thr Lenox 
 
 This is a most practical and liveable type of home and is 
 
 being used extensively. Treated 
 in white this house needs bright 
 green, such as SWP 461 for 
 the shutters and S-W Shingle 
 Stain Green C-74 for the shin- 
 gle roof, also plenty of foliage 
 to lend color. This is, of 
 course, an ideal scheme for the 
 house in the suburbs or in the 
 country. Only too often, how- 
 ever, does one see this house painted all in white in neigh- 
 borhoods exposed to smoke and dirt. In the city this all- 
 white house rapidly becomes soiled, and, unless washed down 
 with Flaxoap and water every season, soon looks shabby. 
 The use of color then becomes advisable. 
 
 SWP 375 Colonial Yellow, with white trim and Shingle 
 Stain Green C-72 or Red- Brown B-41 roof is excellent. 
 
 SWP 479 Pearl Gray, with white trim and Shingle Stain 
 Green C-72 roof makes a splendid clean gray scheme. Both 
 effects provide color interest. 
 
 We have seen many of these homes painted solid in SWP 
 496 Ivory, with shutters and sash done in SWP 355 Sage 
 Green, which were very pleasing. 
 
 The color scheme for this dwelling should be selected with 
 care so as not to produce a 
 broad, squatty appearance. 
 The all-white treatment is not 
 recommended. Yellow body 
 color, too, being an expanding 
 color, would increase the ap- 
 parent size and width unless 
 some dark color is u.sed for 
 trim, such as SWP 498 Moss 
 Green or SWP 388 Modern Brown, 
 would be the best yellow to use. 
 
 In this house all vertical lines should be emphasized and 
 in homes similar to this all superfluous horizontal lines should 
 be disregarded, that is, should be painted in the body color, 
 as doing them in the trim color would create a broader 
 appearance. 
 
 The A lander 
 
 SWP 387 Canary Yellow 
 
 [ Page 42 ] 
 

 This scheme is recommended: B.ody Color — SWP 357 
 Silver Gray. Trim Color — White. 
 
 Using a light shingle stain for the roof such as our C-74 
 and keeping the gable in a light color — same as the body — 
 will add to the apparent height of the house. 
 
 The outstanding feature of interest in this house is the 
 
 architect's handling of the roof. 
 This has been brought down 
 low in the front so as to pro- 
 duce a feeling of snug coziness 
 usually found only in the 
 small cottage. The roof occu- 
 pies a large part of the space 
 one sees when viewing the 
 The Ingram buildiug and should be kept 
 
 light in tone so as not to contrast sharply with the body 
 color. A light translucent stain will also preserve the variety 
 of color and texture of the shingles. 
 
 Should this building be constructed with weatherboarding 
 the tall gable should be rendered in either stucco or shingles 
 to avoid producing a tall ungainly effect which the house 
 design itself really does not have. 
 
 This scheme is recommended: Roof — S-W Preservative 
 Shingle Stain Light Brown, 0-44. Body — S-W Concrete 
 Finish Cream. Trim and Sash — SWP 499 Antique Brown. 
 
 The prototype of this inter- 
 esting dwelling is the half- 
 timbered English cottage with 
 the thatched roof. To carry 
 this effect through success- 
 fully, keep the shingles light 
 in tone — Brown B-44. Stain 
 the timbering a weathered 
 brown, B-47 and finish the 
 stucco in soft shades of cream or extra light gray. Sash, 
 SWP 388 Modern Brown. Many houses of this type are 
 built today, using tapestry brick for the lower story. The 
 use of brick adds much interest in both color and texture. 
 Rough shale tapestry brick in varied tones of reds, browns and 
 dark grays are ideal. The joints should be raked. 
 [ Page 43 ] 
 
 The Marian 
 
The Renwnod 
 
 The casual observer might say that this and the following 
 
 house could be painted in a 
 similar manner, both having a 
 central entry, a division be- 
 tween first and second stories, 
 etc. There are characteristic 
 architectural details, however, 
 which make the one a mod- 
 ern American type and the 
 other a development of an 
 
 English type, so that individual treatment is necessary. 
 
 One's first impression of this home is that while siding 
 
 could be used both up and down it is much better with 
 
 shingles for the upper body because with this treatment 
 
 more interesting variety of color and material texture is possible. 
 To paint the siding of this rather broad house in upper and 
 
 lower colors would be to cut it in two and make it look too 
 
 broad. It may seem strange, but one can have a shingle 
 
 upper body in a different tone without causing this effect, 
 
 due to the difference in texture. 
 
 This scheme is most satisfactory: Roof — ^Shingle Stain 
 
 Dark Green C-72. Upper Body — Shingle Stain Light Gray 
 
 C-82. Lower Body and Sash — SWP 496 Ivory. 
 
 Shutters — SWP 498 Moss Green. If the house is already in 
 
 siding: Roof — Shingle Stain Dark Green 0-72. Body — 
 
 SWP 357 Silver Gray ; or Roof —Shingle Stain Red-Brown B-41. 
 
 Body— SWP 387 Canary Yellow. Trim— SWP Gloss White. 
 
 Shutters— SWP 498 Moss Green. 
 Unquestionably, the second 
 
 story of this English dwelling 
 
 must be done in shingles. The 
 
 lower body is equally necessary 
 
 to be rendered in stucco in 
 
 order to preserve its character. 
 
 By using soft browns or grays 
 
 of shingle stain the truly 
 
 interesting texture of the two 
 
 building materials can be brought out. 
 
 This scheme is in browns : Roof — Shingle Stain B-47 (a nut 
 
 brown); Upper Body — Shingle Stain B-44 (a soft light brown) ; 
 
 Lower Body and Bays— Concrete Finish Cream; Trim and 
 
 Sash— SWP 499 Antique Brown. 
 
 [ Page 44 ] 
 
 The Kirlley 
 
The Piedmont 
 
 An alternative choice in gray and green: Roof — Shingle 
 Stain Dark Green C-72,; Upper Body — Shingle Stain Light 
 Gray C-82; Lower Body and Bays — Concrete Finish Light 
 Gray; Trim and Sash— SWP 496 Ivory. 
 
 One likes this cottage because the design is simple and sin- 
 cere, so the painting treatment should carry out this idea. 
 While the all-white scheme is 
 appropriate, especially for the 
 country or suburbs, the correct 
 use of color gives much better 
 and more practical results. 
 SWP 387 Canary Yellow with 
 white trim and Shingle Stain, 
 either Green C-74 or Red- 
 Brown B-41, for the roof will 
 stay clean and attractive for 
 a much longer time than white. SWP 357 Silver Gray, or 
 SWP 479 Pearl Gray, are excellent, with white trim and 
 green roof. Shingle Stain C-7''2. 
 
 SWP 496 Ivory is a much better one-color treatment than 
 white and SWP 355 Sage Green or SWP 461 Willow Green 
 for sash will give color interest. 
 
 The intelligent use of permanent shrubs, such as dwarf 
 evergreens, will greatly enhance the appearance of both house 
 and yard. 
 
 How To Secure Blue Prints 
 
 Working Drawings of the Homes Shoivn in (his Chapter 
 
 While the Sherwin-Williams Company does not maintain a 
 Service Department for supplying blue prints and working 
 drawings of the preceding illustrations shown in this chapter, 
 the designers of these homes have extended us the courtesy 
 of permitting us to show them and any person wishing to 
 secure the blue prints and working drawings may do so upon 
 fulfilling the regular requirements made to their customers 
 direct. We are not in a position to quote you the prices on 
 blue prints, but your request will receive prompt attention and 
 you may expect to hear direct from the designers. Address 
 your inquiry to The Sherwin-Williams Department of 
 Decoration. 
 [ Page 45 ] 
 
.1 Uospilahic I fall 
 
 The hall gives one his first impression of a home, which 
 should be one of cheerful hospitality. Cream walls provide 
 an air of sunshine in even the darkest room, and in this hall 
 one's first impression is one of warm sunshine. The comfort- 
 able Windsor chair and glorious bouquet of golden-yellow 
 flowers are evidences of thoughtful consideration provided for 
 the friend who drops in for a moment's call. 
 
 The blue vase makes the yellow flowers more ])leasing. 
 
 Sperijicalioris on pane l-^i7 
 
Chapter VI 
 
 Interior Finishing — Woodwork and 
 Furniture 
 
 IN this chapter we wish to take up, in a very informal 
 manner, the discussion of the best and most effective 
 ways of finishing and refinishing interior woodwork 
 and furniture. 
 
 Much of the work requires the services of a competent 
 painter and finisher, but there are numberless jobs the 
 owner can do himself which might otherwise be postponed. 
 These miscellaneous jobs combine to make a home appear 
 neat and tidy, and prompt attention and the application of 
 the needed paint or varnish, may mean profit and quick 
 action should the house ever be put up for sale. 
 
 To Remove Paint or Varnish 
 
 A prepared paint and varnish remover like Sherwin- 
 Williams Taxite is most effective, both because of its quick 
 action and because it does not burn, discolor or raise the 
 grain of the wood as lye or soda will do. Taxite comes ready 
 for use. 
 
 Directions for Using Paint and Varnish Remoier 
 Shake well before using so as to thoroughly agitate the 
 
 contents. Apply a generous 
 
 coat and allow to stand. After 
 
 about five or ten minutes the 
 
 paint or varnish will be found 
 
 to have softened so that it can 
 
 be removed readily with a dull 
 
 putty knife. 
 
 Note: It pays to take the 
 
 precaution of covering all 
 
 painted or varnished surfaces 
 
 in the vicinity of the operation as, of course, any drops of 
 
 Taxite touching such surfaces, will ruin the finish. 
 
 Removing old paint roritinri ihiit haa hren 
 softened with Taxite 
 
 [ Page 47 ] 
 
Where the paint or varnish film is very heavy through 
 repeated paintings or varnishings, a second or third applica- 
 tion of Taxite may become necessary. 
 
 Note — Mouldings, corners and other difficult parts to 
 reach are most easily cleaned by scrubbing with a small 
 vegetable brush, dipped in Taxite. After th^ bulk of the old 
 coating is removed, wash the surface with a cloth or scrub 
 it with a brush wet with Taxite to make certain there is none 
 of the old finish left. 
 
 Important — After the old material is removed, scrub 
 thoroughly with benzine or gasoline to remove all remaining 
 Taxite, as any remaining on the surface will prevent the drying 
 of subsequent finishing coats; then sandpaper surface clean. 
 
 Varnishing 
 
 To refinish varnished surfaces which are in good condi- 
 tion, first wash with Sherwin-Williams Flaxoap and water, 
 rinsing thoroughly with clear water; sandpaper with 00 sand- 
 paper and wipe with a cloth saturated with benzine or 
 gasoline, then simply apply one coat of varnish as it comes 
 from the can. If a polished or dull rubbed effect is wanted, 
 follow directions given on pages 52-53. 
 
 Note — For a dull rubbed effect without hand rubbing use 
 Sherwin-Williams Velvet Finish No. iOUU. This varnish is 
 designed to be used as a finishing coat over a varnish or shellac 
 finish to give the effect of a dull rubbed finish. It dries dull 
 without rubbing. 
 
 If the surface to be varnished is in only fair condition, 
 sandpaper thoroughly to remove all rough, uneven spots, 
 then apply two coats of varnish, sanding the first coat lightly. 
 The last coat may be left in full gloss or rubbed to a polish 
 as desired. Treatment for varnish surfaces in very bad condi- 
 tion follows: 
 
 To Refinish Woodwork and Furniture Previously 
 Painted or Varnished 
 There are two methods of procedure. First, to clean the 
 surface and start afresh; second, to cover the old finish with 
 a solid color and to build the finish colors upon this. 
 
 First Method, To Clean Off the Old Finish 
 Apply a full coat of S-W Taxite, paint and varnish remover, 
 over the entire surface to be cleaned (or as much as can be 
 
 [ Page 48 ] 
 
conveniently worked at one time, if an entire room is being 
 refinished) and proceed as directed on page 47. 
 
 Second Method. (The second method is given on page 63.) 
 
 Open-Grain Woods 
 
 Open-grain woods such as oak, walnut, chestnut, mahogany, 
 etc., will require refilling as the Taxite and scrubbing usually 
 removes the filler as well as the finish. Filling the pores of 
 the wood is necessary to level the surface for the finish coats. 
 
 Mission Effect 
 Of course, where a Mission finish is desired the filler is 
 omitted. Apply a coat of S-W Handcraft Stain Fumed Oak, 
 Weathered Oak, Green Weathered Oak or Cathedral Oak. 
 Follow with a thin coat of pure White Shellac and finish with 
 a coat of S-W Mission-lac or Velvet Finish Varnish No. 1044. 
 
 Stain Precedes Filler 
 
 When re-staining open-grain woods which are to be filled, 
 the stain must precede the filler. Allow the stain to dry over 
 night and the filler to dry forty-eight hours. See page 56 for 
 directions on the use of fillers. 
 
 Note: For staining refinished work a penetrating stain, 
 such as S-W Handcraft Stain, is necessary, as a water stain 
 or an oil stain is not able to penetrate the wood satisfactorily. 
 
 Sealing the Stain 
 Wood that has been stained should always receive a 
 thin coat of pure white shellac (orange shellac only as specially 
 indicated) before applying the varnish. Shellac seals in the 
 stain which otherwise would "bleed" into the varnish and 
 frequently even interfere with the drying of the varnish. 
 This "bleeding" would cloud the finish, discolor the brush, 
 and produce an uneven and spotted appearance in the finished 
 job. Shellac which is too heavy should be reduced with 
 denatured alcohol. 
 
 Kind of Varnish to Use 
 
 For furniture and all interior standing woodwork, use 
 S-W Scar-not or Excello Varnish. 
 
 For interior floors, use S-W Mar-not Varnish. 
 
 For all out-of-doors varnishing, window sills and sash, 
 always use S-W Rexpar or Kopal Varnish. 
 [ Page 49 ] 
 
1 Lirinq-Boon} in Old Ivory, Hliir and Mulberry 
 
 The simplicity of the wall treatment ])ermits the atten- 
 tion to drop to the comfortable chairs and the full rich blue 
 of the rug. The floor has been stained dark in tone to hold 
 the scheme together and provide a feeling of repose and 
 solidity. What a homey touch is furnished by the small 
 bouquet of old-fashioned flowers — the invitation of the 
 thoughtful mistress of this home that here one may sit down 
 and refresh himself. 
 
 Sprrijinitioiis mi piuj,' I 'iS 
 
Practical Varnishing Suggestions 
 
 How to Apply Varnish to Get Best Results 
 Never apply varnish with any but a clean brush. (See 
 
 page 25 on how to care for brushes). On any work where you 
 
 are particular as to the results, do as follows: 
 
 Pour out about a half cup of varnish. Fill the brush full 
 
 of this varnish and scrape it out over the edge of another 
 
 cup. Repeat the operation, using up the half cup of varnish, 
 
 and the brush should be in shape to give good results. 
 
 This varnish may be strained through a cloth and can be 
 
 used for some other bit of work where one doesn't require the 
 
 cleanest material. 
 
 Kind of Brush to Use 
 A stiff bristle brush is suitable for use only on floors and 
 should not be used for heavier bodied furniture varnish, as 
 brush marks would show. A soft fitch or Russian oxhair 
 brush is the best suited for furniture and woodwork. Use a 
 two-inch chisel or oval brush for large surfaces such as table 
 tops, door panels, baseboards, etc. An inch brush is very 
 convenient to have ready for small mouldings, corners, etc. 
 Remember that for all but the finishing varnish coats, thin 
 applications of varnish are far superior to heavy coats. 
 
 Use of Sandpaper 
 Sandpaper each coat except the last, using 00 paper. 
 Sand the entire surface, rubbing just enough to remove the 
 gloss of the varnish and produce a smooth, even surface for 
 the following coat. Rub with the grain of the wood. The 
 scratches will show if you rub across the grain. 
 
 Applying the Varnish 
 
 The application of varnish to any surface may be divided 
 into three operations. 
 
 1st — Brushing the varnish on to the surface. 
 
 Apply the varnish freely and quickly, brushing with the 
 grain of the wood. 
 
 2nd — Spreading the varnish out in an even film. 
 
 "Lay off" the surface by brushing across the grain of the 
 wood. Do this without refilling the brush, as this operation 
 is intended to spread the varnish over any spots missed the 
 first time and to produce an even film. 
 
 [ Page 51 ] 
 
3rd — Removing the excess varnish. 
 
 Wipe the brush on the edge of the cup to remove most of 
 the varnish and then "straighten out" the surface by brushing 
 with the grain of the wood, wiping the brush occasionally 
 against the edge of the varnish cup so as to keep it fairly 
 dry. When "laying off" and "straightening out" a panel, 
 table top or any broad surface, always run the brush strokes 
 to the edge without stopping. 
 
 How to Produce a Rubbed Finish 
 There are two types of rubbed finishes, the dull rubbed 
 effect and the high polish. The first process uses powdered 
 pumice-stone and rubbing oil. The second process calls for 
 powdered pumice-stone and water, as will be described later. 
 If your dealer handles more than one grade of powdered 
 pumice, buy the best as it will cut faster and cleaner. 
 
 The Dull Rubbed Polish 
 
 Use a regular rubbing oil such as supplied by any good 
 
 paint or hardware store, or any good sewing machine oil will 
 
 do. Place the powdered pumice-stone in any convenient 
 
 open dish and dip into this the cloth moistened with the oil. 
 
 Rubbing Felt 
 A heavy piece of rubbing felt one or two inches thick 
 
 will be best and easiest to 
 use, although a soft cloth 
 formed into a pad will do for 
 small jobs. 
 
 How Much to Rub 
 Usually only about six or 
 eight strokes over each por- 
 tion of the surface are neces- 
 sary to cut the gloss and give 
 a satisfactory dull finish. 
 .\lwavs rub with the grain of the wood. 
 
 Dish of powdered pumice, block icilh fell 
 tacked on the ends, piece of heavy rubhinij 
 fell, small vegetable brush for mouldings 
 
 Note : 
 
 Do Not Rub the Surface With Too Heavy a Pressure 
 " The pumice and oil naturally soften the varnish some- 
 what and too heavy a pressure will cut clear thrtjugh the 
 film. When rubbing a table or a panel it is always best to 
 do the entire length in one stroke, at least the last few strokes. 
 This will avoid any possibility of a patchy appearance. 
 
 [ Page 52 ] 
 
A Brush for the Mouldings 
 Any mouldings, carving or relief work can best be reached 
 by using a small vegetable brush moistened with the oil and 
 dipped into the pumice. 
 
 To Clean Off the Surface 
 Wipe off the surface with a dry cloth, rubbing with the 
 grain. Powdered corn starch sprinkled on the cloth will help 
 dry up the oil. 
 
 To Secure a High Polish 
 
 Follow directions just given for oil rubbing except that 
 water is used instead of oil. After the first rubbing with 
 pumice-stone, wait a day and then rub with powdered rotten- 
 stone and water for a high polish, and then give a final polish- 
 ing with S-W Polish-ol. 
 
 Pianos and fine furniture are usually finished off in the 
 factory after rubbing with rotten-stone, by rubbing with the 
 palm of the bare hand. 
 
 Special Note: The rubbing of fine varnished or enameled 
 furniture calls for the exercising of considerable good judg- 
 ment, and the amateur is advised to have the piano or other 
 expensive furniture refinished by a person who makes a 
 specialty of such work. 
 
 The Use of Stains in Interior Finishing 
 
 To Stain New Wood 
 There are three principal types of stains suitable for use 
 on new woods: water or acid stains, penetrating or spirit 
 stains and oil or pigment stains. Each type has its ad- 
 vantages. 
 
 Sherwin-Williams Acid Stains 
 
 S-W Acid Stains provide the richest and most permanent 
 wood dyes one can secure. 
 
 Sandpaper the wood thoroughly before applying the stain. 
 Some recommend sponging the wood first with water and then 
 sanding the surface smooth when dry. Apply a full coat of 
 the stain, using a soft brush. 
 
 Note: Before applying any stain make a test sample on a 
 piece of the same kind of wood to make sure of the color and 
 intensity. Acid Stains may be diluted with water if a lighter 
 tone is desired. Allow to dry over night and sand very lightly 
 
 [ Page 53 ] 
 
A Dining- Room in Gray 
 
 In this dining-room, found in an old Colonial country- 
 home, a Spanish atmosphere is felt. The rounded door head, 
 although really Colonial, gives very much the same impres- 
 sion as the rounded arches in the Spanish mission — the gray 
 wall suggesting adobe construction helps this. The strongest 
 note, however, is in the deep maroon of the carpet, carried up 
 to the solid back chairs, which might be done in Spanish 
 leather or tapestry. 
 
 Specificalions on page i'tS 
 
with 00 sandpaper, or finer, as the water in the stain will 
 raise the grain slightly. Apply a second coat of stain if neces- 
 sary because of the sanding. Brush over lightly when dry 
 with very fine sandpaper or old worn sandpaper. 
 
 S-W Handcraft Stains 
 
 S-W Handcraft Stains are very satisfactory, producing 
 clean, attractive tones which are very permanent. These 
 stains have an advantage of not raising the grain of the wood 
 and do not require sanding after staining. Handcraft Stain 
 Reducer may be used to make these stains less intense if 
 desired. Apply with a soft brush and allow to dry over 
 night. 
 
 S-W Oil Stains 
 
 S-W Oil Stains are popularly priced and although very 
 satisfactory for use on hardwoods, are especially satisfactory 
 for pine and all soft woods, because of their type. 
 
 S-W Oil Stains come ready to apply and should be brushed 
 freely on to the wood and after standing for a few minutes to 
 permit penetration, are to be wiped off with a soft cloth. 
 The stained effect may be made lighter by wiping off sooner. 
 
 The time for penetration required by different woods 
 varies, even in different samples of the same wood. Roughly, 
 oak requires about five minutes and pine two or three minutes. 
 Allow to dry over night after wiping off. 
 
 As stated elsewhere, fillers are necessary on open grain 
 woods except for "mission effect." These fillers follow, the 
 next day, directly over the stain (see page 56). Page 57 gives 
 a description of special art effects to be produced over Acid 
 and Handcraft Stains by using light colored fillers or toners. 
 
 All stains require a sealing coat of pure white shellac as 
 indicated under the subject of varnishing on page 49. (See 
 color plates on pages 82 to 98 showing stain effects on various 
 woods) . 
 
 To Stain Re-Finished Wood Surfaces 
 
 Clean the wood thoroughly with S-W Taxite (see page 47) 
 taking special care to wash out as much of the old stain as 
 possible. 
 
 As there will still be some stain remaining in the wood, 
 this must be reckoned with in re-staining, i. e., a wood pre- 
 viously stained in mahogany should be stained either mahog- 
 [ Page 55 ] 
 
any again, or in one of the darker browns such as Handcraft 
 Stain Brown Mahogany, Brown Oak or Cathedral Oak. 
 Note: S-W Handcraft Stains, because of their penetrat- 
 ing qualities, are the only stains which are effective for refinish 
 work. When once a wood surface has been stained and 
 varnished, the porous quality of the wood surface is destroyed 
 and the wood is seemingly filled up, so that a water stain or 
 an oil stain cannot take effect. 
 
 Woods previously stained in green will be best finished 
 in either a green again, Handcraft Stain Bog Oak, or Weather- 
 ed or Green Weathered Oak, as the green remaining would 
 dirty up a brown or mahogany shade. These points are well 
 to be remembered as a stain is a transparent dye and, of 
 course, does not entirely hide the color or previous stained 
 effect of the wood except in the very darkest shades. 
 
 Previously finished wood in natural color does not present 
 these difficulties, although the color of the wood may be darker 
 and yellower than the original wood, due to aging, so that 
 silver gray effects will not be as clean in tone as might be 
 desired. 
 
 Purposes and Use of Paste Fillers 
 
 Open-grain woods such as oak, walnut, chestnut and 
 mahogany require the use of a paste filler to fill the pores of 
 the wood and level the surface for the application of the 
 finishing coats. The close-grain woods such as maple, birch, 
 pine, etc., do not require a filler. An exception may be 
 made of birch. While birch is really classed as a close-grain 
 wood, the use of a paste filler in connection with red and brown 
 mahogany and walnut effects, helps bring out the beauty and 
 character of the grain very effectively. 
 
 The fillers most commonly used are divided into two classes 
 — liquid and paste. Liquid fillers are usually quick drying, 
 are brushed on to the wood and allowed to dry. A liquid 
 filler does not really fill the wood, but rather coats it over with 
 a shell of pigment and varnish or shellac. It does not impart 
 a clear tone to the wood, and being brittle, is especially 
 undesirable where the surface is to receive hard usage. A 
 liquid filler is intended to furnish a quicker and cheaper 
 method than the standard, but is not to be highly recom- 
 mended. 
 
 [ Page 56 ] 
 
NcUural 
 Wood 
 
 Filler 
 
 Paste fillers come in paste form and require thinning 
 with benzine to brushing consistency. S-W Paste Fillers 
 are supplied in the following color 
 effects: Oak, Antique Oak, Golden 
 Oak (which stains as well as fills). 
 Red Oak, Mahogany (a red-black). 
 Walnut, and Transparent (does not 
 change the color of the wood). 
 Fillers always follow the stain, if 
 a stain is used, although they are 
 frequently used over the new wood 
 — after sanding smooth. The filler 
 does not require sanding. A paste 
 filler serves two purposes: It fills 
 the pores of the wood, leveling 
 the surface for the varnish finishing 
 coats which would otherwise sink 
 into the hollow pores, causing a 
 pebbled appearance. It helps bring 
 out the beauty and character of 
 the grain. Both floors and wood- 
 work are frequently filled (omitting 
 the stain) with a dark filler producing very pleasing effects. 
 
 Directions for Use 
 
 Thin to a creamy consistency with benzine an 1 apply to 
 the entire surface. When the material starts to set, indicated 
 by partial flatting out, wipe off by rubbing with a soft cloth, 
 first across the grain; then wipe clean. This will remove all 
 material except that which has entered the pores of the wood. 
 Allow to dry for forty-eight hours before applying varnish. 
 
 Handcraft System Effects for Interior Woodwork 
 and Furniture 
 
 These are unique art effects worked out over stained woods. 
 Handcraft System Effects are practical only on open-grain 
 woods, such as oak, chestnut, American walnut, etc. They 
 are characterized by the use of a light colored filler, or toner, 
 in place of the customary black or dark brown filler. An ex- 
 ception to this classification, of course, is the use of Trans- 
 parent Paste Filler for natural oak effects. These fillers are 
 termed toners because they lend a different tone to the wood 
 
 [ Page 57 ] 
 
Breakfast Room in Blue and Tan 
 
 The breakfast room has come to be an institution in the 
 American home. This is the chummy spot where the family 
 gathers first thing in the morning. In order to start the day 
 out right the breakfast room should furnish the needed 
 stimulus in the form of clean, bright color, which should be 
 in such refreshing combinations of tones as shown in this cut. 
 
 The enameled furniture can be so easily cleaned and the 
 cretonne curtains give the feeling of sunshine even on a gray 
 day, that somehow or other the bacon and eggs taste better 
 here than they would in the formal dining-room. 
 
 Specijkalions oti piiqe I'i8 
 
over which they are applied. S-W Flat-Tone is the product 
 most suited to this purpose. White, Silver Gray, Cream, 
 Bright Sage and Cocoanut Brown are the colors most used. 
 Handcraft System Effects are most effective over hew 
 wood. Wood that is being refinished will take these effects 
 satisfactorily, however, if the surface is scrubbed vigorously 
 to remove any finish lodged in the pores of the wood. 
 
 Directions for Use 
 
 See that the wood is smooth and free from dirt and grease. 
 Dirt may be cleaned off with sandpaper. Grease can be 
 removed by washing with benzine 
 or gasoline. It is advisable to brush 
 the wood thoroughly with a regular 
 wire brush before staining so as to 
 open up all the pores of the wood. 
 This will enable the toner to enter the 
 pores and thus bring out the figure 
 of the grain satisfactorily. Apply one 
 coat of Handcraft Stain (or Acid 
 Stain) the shade specified and allow 
 to dry for twenty-four hours. Apply 
 a thin washcoat of pure white shellac 
 (shellac reduced 50 per cent with 
 denatured alcohol). When the shel- 
 lac is hard, brush on a coat of Flat- 
 Tone in the color specified. Thin 
 slightly with pure spirits turpen- 
 tine. Allow this to set for a few 
 minutes and then wipe the surface 
 clean by rubbing with a soft cloth, 
 first across the grain of the wood. Let this dry for twenty- 
 four hours. Follow with a coat of Velvet Finish Varnish 
 No. 1044. 
 
 The following effects are recommended to be used with- 
 out the coat of shellac over the stain: 
 
 IValaral 
 Wood 
 
 Stain 
 
 Thin wash 
 coat of 
 Shellac re- 
 duced 50% 
 IV ith 
 
 denatured 
 Alcohol 
 
 Flat-Tone 
 Toner 
 
 Velvet 
 Finish 
 Varnish, 
 No. iOM 
 
 Effect No. 
 
 Handcraft Stain 
 
 Flat-Tone 
 
 40 
 
 Weathered Oak and Fumed 
 Oak, equal parts 
 
 Silver Gray 
 
 41 
 
 Weathered Oak 
 
 Cream 
 
 42 
 
 Old English Oak 
 
 Bright Sage 
 
 4S 
 
 Old English Oak 
 
 Cocoanut Brown 
 
 [ Page 59 ] 
 
 
 
For these effects allow the stain to dry for twenty-four 
 hours and then apply Flat-Tone, wiping off as instructed pre- 
 viously. This method allows the stain to "bleed" into the 
 Flat-Tone Filler somewhat and produces a blurred and 
 softer effect than where the shellac is used to seal in the stain. 
 
 Dark colored w^oods, such as black walnut, may have a 
 toner of Flat-Tone applied directly to the unstained wood, 
 to be finished with a thin wash coat of white shellac and a 
 coat of Velvet Finish Varnish No. 1044. Flat-Tone Silver 
 Gray is a very satisfactory toner for black walnut. 
 
 To Enamel Woodwork and Furniture 
 
 New Work 
 
 Probably in no other type of finishing is the importance 
 of the preliminary coats and the preparation of the surface 
 quite so apparent as in enameled finishes. Everyone's con- 
 ception of enamel is that the finish shall resemble porcelain 
 in brilliancy, smoothness and even surface as much as possible. 
 
 Kind of Wood for Foundation 
 
 Of all the woods, birch, because of its fineness and even- 
 ness of grain, is best for enamel work. It is very hard and 
 does not dent or bruise readily. Whitewood or poplar, 
 white pine and well seasoned gumwood, come next. Such 
 woods as yellow pine and cypress are not desirable because of 
 their relatively high pitch content. Where it is necessary to 
 enamel over these last named woods, it is advisable and good 
 practice to seal the wood with shellac before proceeding with 
 the undercoating. 
 
 Open-grain woods such as oak are unsatisfactory for 
 enameling. Where a piece of furniture in oak or some other 
 open-grain wood has to be enameled to match other pieces, 
 special treatment is necessary. Remove the old finish with 
 S-W Taxite as described on page 47 and then fill the pores of 
 the wood carefully, using S-W Transparent Paste Filler as 
 directed on page 56. 
 
 Greater care will be necessary in sanding each coat of 
 undercoater smooth so as to avoid a rough or pebbly appear- 
 ance. Whenever possible it is advisable to restain an oak 
 piece in a color to harmonize with the other pieces. 
 
 [ Page 60 ] 
 
Enameling Surfaces Requiring Complete Refinishing 
 
 Remove the old finish with S-W Taxite as directed on 
 
 page 47. Close-grain woods 
 1^ ■ a need only to be cleaned and 
 
 ^^^^w sanded if rough. Open- 
 
 grain woods require filling as 
 just stated. Any wood which 
 
 #^plfllWj' has been previously stained, 
 
 1 I ! 1 1 /I especially in any stain con- 
 
 taining a red dye, should be 
 given an extra washing with 
 S-W Taxite to remove all 
 stain possible. The surface, 
 of course, is to be washed 
 with benzine as directed else- 
 where in connection with Tax- 
 ite. The wood should then be 
 given a thin coat of shellac, 
 as any particle of stain re- 
 maining in the wood might come through any number of 
 enamel coats, discoloring the finish. 
 
 Directions for Enameling 
 The process of enameling any surface consists first of 
 building up the foundation with undercoaters and second, 
 of applying the enamel finishing coats. The first is even more 
 important than the second. 
 
 Function of the Undercoater 
 
 The undercoater has to provide a solid, opaque foundation 
 which will thoroughly hide the wood surface, as the enamel 
 itself is rather transparent by nature. 
 
 For the undercoats use S-W Old Dutch Enamel Under- 
 coater, S-W Enamel Undercoater No. 12, SWP Inside Flat 
 White, S-W Flat-Tone or one of the several other excellent 
 undercoaters we make for this purpose. The first coat should 
 be thinned about ten per cent with pure spirits of turpen- 
 tine on new work to satisfy the absorption of the wood 
 and secure good penetration. On surfaces shellaced (pre- 
 viously mentioned) thin only as necessary to work well. 
 
 Second and third coats may be thinned slightly if 
 necessary. 
 
 [ Page 61 ] 
 
The fourth coat should consist 
 of equal parts of the Enamel Un- 
 dercoater and the Enamel in the 
 desired color. The darker colors 
 of enamel require the undercoater 
 to be tinted to match the color 
 of the enamel, although when using 
 dark colors of enamel on reed or 
 wicker furniture, the undercoater 
 can frequently be dispensed with. 
 
 The fifth coat should be the 
 enamel as it comes from the can. 
 
 Sandpapering 
 
 Sandpaper each coat of under- 
 coater carefully with 00 sandpaper. 
 This is to remove any brush marks 
 and put the surface in condition for 
 the following coat. Rough sandpaper 
 will scratch the film and show up in final effect. The final 
 enamel coat may be left in the natural gloss or it may be 
 rubbed to a dull finish with powdered pumice-stone and oil 
 (see page 52) or use S-W Old Dutch Enamel, Dull. 
 
 Kind of Brush 
 The importance of using the right kind of brushes for 
 enamel work cannot be over-emphasized. Probably one can 
 learn only from experience the big difference in the way 
 enamel and enamel undercoaters go on 
 when applied with a stiff bristle brush 
 or a soft fitch brush. It is next to im- 
 possible to lay on these materials with 
 a stiff brush without leaving ridges or 
 brush marks. With the soft brush these 
 marks can all be avoided. 
 
 For enameling wide surfaces such 
 as the panels of a door, a table or 
 dresser top, use a two or two-and-a- 
 half-inch brush. For narrow sur- 
 faces, corners, etc., an inch-and-a- 
 half brush will be very convenient 
 (see page 25 for the care of brushes). 
 
 [ Page 62 ] 
 
 Oral brush for varnishing floors 
 or enameliitq ivall; 2 Vi-inc/l 
 flol Jitrh l>riish for broad panels; 
 i-iiich lilch brush for smaller 
 surfaces and general work 
 
How to Apply Enamel 
 
 Brush the undercoater or enamel on to the surface 
 freely and quickly, stroking with the grain of the wood. 
 Then lay the surface off, that is brush the material 
 across the grain of the wood. This will drag the color 
 over any spot missed the first time and also help distribute 
 the color in an even film over the surface. If there is too 
 much enamel, this "laying off" will take up the surplus which 
 would otherwise result in "sagging." Then with light strokes 
 "straighten out" the surface by brushing with the grain of 
 the wood. Unless the enamel has been used too heavy in 
 body, this process will produce the smoothest possible job. 
 
 Remember that in applying these materials it is necessary 
 to move quickly, as any brushing into the surface after the 
 enamel sets will result in a rough finish. 
 
 Exercise special care to keep the brushes clean and also 
 the surface to be finished. Where sandpaper has been used 
 it will be necessary to dust off all fine, loose particles which 
 always show up greatly magnified in the finished effect. 
 
 Second Method of Re-Finishing Woodwork and 
 Furniture 
 
 The Sherwin-Williams Floorlac Process 
 There are many surfaces about the house where either 
 the condition or quality of the wood does not permit the use 
 
 of a natural varnished finish 
 or a stained finish, or where 
 one doesn't care to invest the 
 time and effort in this type of 
 finish. Here are a few such 
 surfaces: the old pine floor, 
 badly marred and discolored, 
 or perhaps previously painted; 
 „, , . ; J „ ; , , ,, chairs and tables for the 
 
 r loorlac is applied in ihe direiiton nl Ihe 
 
 boards, not across them kitclieu, brcalvfast uook or 
 
 veranda; old woodwork needing brightening up and a host 
 of other surfaces found in every household. Sherwin-Wil- 
 liams Floorlac, a combination stain and varnish product, 
 is provided for just such purposes. 
 
 Floorlac is made with Mar-not Varnish as a base in which 
 are incorporated the best and most permanent dyes ob- 
 tainable. 
 
 [ Page 63 ] 
 
A Kilchen in Iron' mid Blue 
 
 This is a simple room in which i)rovision has been made 
 for ease in keeping every inch of space clean, sweet and at- 
 tractive. The white enameled wainscoting and porcelain 
 drainboards are both suggestive of cleanliness and are made 
 doubly interesting by the checkered linoleum in blue and 
 white. The walls and ceilings may be in either dull or gloss 
 finish, as preferred. 
 
 Specifications on page I 'i8 
 
--r!?^;-. 
 
 Floorlac produces a stain and varnish effect in one opera- 
 tion. It is frequently used directly over new wood such as 
 unfinished tables and chairs, and is equally effective over 
 objects varnished in the natural color. 
 
 When applying Floorlac over surfaces previously stained 
 
 and varnished, select a color 
 of Floorlac similar to the 
 old color, as Floorlac is 
 transparent and the old 
 color will show through 
 somewhat, i.e., do not ex- 
 pect to produce good re- 
 sults with Floorlac Mahog- 
 any applied over some 
 green stained wood, etc. 
 If such a change of color 
 is desired it can be ac- 
 complished, of course, but 
 first cover the old color with two coats of Floorlac Ground. 
 
 When Floorlac Ground is Needed 
 
 One case has just been cited. Very often floors, woodwork 
 and furniture are so badly marred and discolored that it is 
 desirable to hide the old surface. Floorlac Ground is then 
 applied (two coats) and Floorlac in the desired color applied 
 over this. 
 
 Grained Effects 
 
 Very attractive imitation grain effects may be produced 
 by applying over the ground color a coat of S-W Graining 
 Preparation, graining it as applied by the use of a standard 
 half-round graining roller and steel graining comb. The 
 graining coat is to be followed, when dry, by Floorlac in the 
 desired shade. 
 
 Directions for Using Floorlac 
 
 Stir contents of the can thoroughly before using. See that 
 the surface to be finished is free from grease and dirt. 
 
 New Woods 
 
 Over new woods or surfaces in good condition, apply two 
 or more coats of Floorlac, according to depth of color desired. 
 [ Page 65 ] 
 
Old surface 
 
 Coat of 
 Floorlac 
 Clear, or 
 Mar-not 
 Varnish 
 
 Note: Sandpaper the original surface smooth and sand 
 each coat lightly except the last, 
 with 00 sandpaper. 
 
 It is advisable to use Floorlac 
 Clear or Mar-not Varnish as a 
 finishing coat over Floorlac on 
 surfaces receiving hard usage. This 
 will prevent the surface wearing un- 
 even and spotty in doorways, etc. 
 When using Floorlac on floors, 
 start at the edge of the room farthest 
 from the door. Apply Floorlac over 
 two or more boards width, as con- 
 venient, and varnish these boards 
 clear across the room. Then take 
 the next few and continue in this 
 manner over the entire surface. 
 This will avoid lapping, which pro- 
 duces unsightly spots. 
 Old Woods 
 
 Follow instructions just given 
 except that two coats of Floorlac Ground are needed to hide 
 the old color and prepare the surface before varnishing. Thin 
 the first coat of Ground slightly with turpentine if necessary. 
 
 A Painted Finish 
 
 For a painted finish on interior surfaces of any kind, the 
 only directions to be observed are: 
 
 See that the surface is clean, free from grease, and ab- 
 solutely dry. 
 
 Be sure to stir paint thoroughly from the bottom of can 
 immediately before using. 
 
 Apply as many coats of the desired color as may be neces- 
 sary to get a satisfactory finish. 
 
 Should thinning be found necessary, follow the directions 
 for thinning given on the label of the particular paint used. 
 
 Brush evenly and with the grain of the wood. 
 
 Never apply one coat before the preceding coat is thorough- 
 ly dry. 
 
 Write the Sherwin-Williams Department of Decoration 
 should difficulties present themselves not covered by this 
 chapter. 
 
 [ Page 66 ] 
 
Chapter VII 
 
 The Treatment of Floors 
 
 NOTHING is more pleasing than a well-kept floor. It 
 goes a long way toward giving a room a pleasant 
 appearance and emphasizes the beauty of rugs, cur- 
 tains, draperies, etc. On the other hand, a marred, shabby- 
 looking floor detracts greatly from the appearance of the 
 room, no matter how well it may be furnished. 
 
 Floors deserve more particular attention than any other 
 interior surface, as there is no part of the house where the 
 wear and tear is so severe, or where there is so great an 
 exposure to hard usage. The following pages tell how to 
 finish floors properly and keep them beautiful and sanitary 
 with least possible effort and expense. 
 
 In finishing a floor, see that it is kept as free from dust as 
 possible. Never apply a second coat of any kind without 
 first carefully wiping up the dust with a cloth dampened with 
 benzine or turpentine. Avoid doing anything that will tend 
 to raise dust while the material is being applied; such as 
 unnecessary tramping back and forth in the room being 
 finished, or cleaning in one room while the finish is being 
 applied in another. 
 
 Fin ish in g New Floors 
 Natural Varnished Finish (Hard or Soft Wood) 
 
 Preparation of surface — Floors should be allowed to 
 season about a month after being laid. They should then be 
 scraped and sandpapered smooth with No. 3^ sandpaper. 
 If floor is an open-grain wood (see explanation of open and 
 close grain woods on page 56), a coat of S-W Paste Filler 
 of the desired color should next be applied as directed on 
 page 56 to fill up the pores (liquid fillers should never be used, 
 as they are a poor substitute for paste filler). Close-grain 
 woods do not require the use of a filler. 
 
 [ Page 67 ] 
 
A Bathroom in Soft Sea (ireen 
 
 Just to say, "This is a sanitary bathroom," sounds too 
 prosaic. And yet this term describes this room so well; no 
 inaccessible corners around the bowl or tub. The walls done 
 in Flat-Tone and the woodwork and wainscoting, tile-like 
 in their mantle of Old Dutch Enamel, so easily washed. 
 Let the children splash to their heart's content — there is 
 nothing they can damage. 
 
 Specificalions on page 1U7 
 
Application of finish — After the surface has been prepared 
 as indicated above, apply three coats of S-W Mar-not Varnish. 
 The first coat should be thinned with one pint of pure spirits 
 turpentine to each gallon of Mar-not, so that varnish will 
 penetrate well into the wood. The following coats should be 
 applied as the varnish comes from the can. Each coat 
 should be allowed about 48 hours to dry before applying the 
 next coat. All coats except the last coat should be sand- 
 papered lightly with 00 sandpaper. 
 
 If a fiat or dull finish is desired the last coat should be 
 rubbed with pumice-stone and oil, pumice-stone and water, 
 or steel wool, after it has been allowed to dry at least 48 
 hours. 
 
 Waxed Finish {Hard or Soft Wood) 
 
 A waxed finish may be applied over either varnish or 
 shellac. 
 
 Preparation of surface — Follow the instructions on preced- 
 ing page under caption "Preparation of Surface for Varnished 
 Floors." 
 
 Application of varnish or shellac — For a varnish finish, 
 apply the varnish as directed at top of this page under the 
 caption "Application of Finish." For a shellac finish, simply 
 apply two coats of S-W Pure White Shellac thinned to the 
 proper brushing consistency, allowing each coat to dry hard. 
 
 Next apply a thin coating of S-W Prepared Wax with a 
 soft cloth. Then polish to the proper finish with a clean, soft 
 cloth, or a weighted waxing brush. 
 
 Stained Finish {Hard or Soft Wood) 
 
 Some finishing specifications call for a stained floor, some- 
 what darker than the natural and popular hardwood effects 
 most generally seen. 
 
 After floors have seasoned well for about a month, if 
 possible, they should be scraped and sandpapered smooth 
 with No. }4 sandpaper. A coat of S-W Handcraft Stain of 
 the desired color should then be applied direct to the wood. 
 
 After stain has dried for 24 hours, if floor is an open- 
 grain wood (see explanation on page 56), a coat of filler should 
 be applied as directed on page 56 (if floor is a close-grain 
 wood, filler should be eliminated). 
 
 [ Page 69 ] 
 
Goud looking floors arc essfrtlial to a 
 good looking room 
 
 Then apply two or three coats of S-W Mar-not Varnish, 
 allowing each coat to dry 48 hours and sanding each coat 
 except the final coat lightly with 00 sandpaper. 
 
 Varnish Stain Finish — {Soft or Hard Wood) 
 
 Where it is desired to finish the cheaper woods in popular 
 
 hardwood effects, or where 
 either hard or soft wood 
 floors are not in good 
 condition to varnish or wax, 
 the best method of finishing 
 is with a varnish stain, like 
 S-W Floorlac, which covers 
 up all imperfections and 
 at the same time produces 
 a good varnish finish imita- 
 ting natural woods. 
 
 Preparation of surface — 
 Follow instructions on page 67, for varnished floors. 
 
 Application of finish — Apply one or two coats of Floorlac 
 of the desired color as it comes from the can, using a soft 
 bristle brush and brushing out into thin even coats. Allow 
 each coat to dry for 48 hours. Before starting, it will be found 
 a good idea to try out the finish on a small piece of the same 
 kind of wood upon which it is to be used to see if the shade 
 is satisfactory, as the shade varies slightly according to the 
 kind of wood. Another thing to keep in mind is that Floorlac 
 is considerably different in character than paint. Two, three 
 or four coats of paint applied over each other do not affect the 
 color of the surface; but each succeeding coat of Floorlac 
 darkens the surface perceptibly. If one or two coats do not 
 produce exactly the right effect on the small sample, an 
 additional coat may produce just what is wanted. If no small 
 strip of wood is available, the try-out might be made on the 
 floor back of the door or in a dark corner of the room. In 
 applying Floorlac a few boards should be followed through 
 from one end of the room to the other, instead of trying to 
 finish a large square surface at a time and then going back 
 and finishing another square, as this latter practice will have 
 a tendency to show laps. 
 
 [ Page 70 ] 
 
Following the use of Floorlac colored, apply one coat of 
 S-W Floorlac Clear or S-W Mar-not Varnish. It is always 
 advisable to apply a finishing coat of the Clear, even omitting 
 one of the coats of Floorlac colored, if necessary, for the 
 following reason. Where no finishing coat of Clear is applied 
 you have wear on the color right away, foot wear commencing 
 to change the color of the surface in all pathways of foot 
 trafiic, from the first day of use. Whereas, if a finishing coat 
 of Clear is applied, it serves indefinitely as a protecting coat 
 over the color. 
 
 Splendid grained effects may be produced by applying a 
 coat of S-W Graining Preparation directly over the ground 
 color, then graining with a regular graining roller or steel 
 comb. 
 
 Painted Finish {Soft Wood) 
 
 Frequently soft wood floors have become badly dented 
 and marred, so that they will not appear well in a varnished 
 or waxed finish unless they are rescraped to a fresh surface. 
 There is no reason, however, why these floors cannot be made 
 attractive by using S-W Inside Floor Paint, 
 
 Preparation of surface — No special preparation is ordinarily 
 necessary for the application of Inside Floor Paint, except to 
 see that the surface is free from dirt, grease and moisture. 
 
 Application of finish — First pour the liquid on the top 
 into another can. Stir the pigment thoroughly with a paddle; 
 then add the liquid a little at 
 a time until all of it has been r 
 mixed with the paint, stirring 
 constantly. Brush the paint 
 out well and work thoroughly 
 into the pores of the wood. It 
 is better to apply three thin 
 coats than two heavy coats — 
 they will wear better. Thin 
 the first coat with one pint ™^ 
 
 raw linseed oil to the gallon i ,„■,„./,„ s/,,,. ,/,,„•//„■„„„/,-,■„,„ oi^ ' 
 
 of paint. Allow plenty of air '"•' "•' """ ^"""' '" "" "'""' 
 
 to circulate through the room after painting — it hastens 
 drying. Inside Floor Paint dries hard over night and can be 
 walked on next morning, but it is better to allow 48 hours 
 between coats. 
 
 [ Page 71 ] 
 
A Man's Jiouni 
 
 It is hardly necessary to say that this room may be the 
 sanctum sanctorum of the college chap or possibly that same 
 fellow grown up but still retaining his love for soft, rich tones 
 whose sombre quality makes his book and pipe all the more 
 friendly. 
 
 Specifications on page 1^6 
 
Refinishing Old Floors 
 
 One of the very important things in refinishing old floors 
 is to clean the floor thoroughly, immediately before applying 
 the finish. The surface dust should be swept up; then floor 
 should be cleaned with soap and water (preferably S-W Flax- 
 oap, a linseed oil soap, which is especially good for this pur- 
 pose). This should always be followed by wiping up the floor 
 with a cloth moistened with benzine, which removes any grease 
 that may remain from the soap. It is especially important 
 to wipe up kitchen floors around the stove or sink carefully 
 with benzine to remove grease drippings, soapy substances, etc. 
 
 Filling the Cracks 
 
 To obtain a perfectly smooth finish on old floors, all nail 
 holes, crevices or cracks caused by boards shrinking and 
 coming apart, should be filled with S-W Crack and Seam 
 Filler. This filler should never be applied to the bare wood 
 as the oil content woul)d have a tendency to soak into the 
 wood, leaving the pigment to dry out and crumble. It should 
 be applied either after the first coat of paint (or varnish) is 
 thoroughly dry or after the cracks and holes have been care- 
 fully primed. 
 
 In applying the filler, it is important to fill the cracks 
 thoroughly by pressing the filler all the way to the bottom 
 of the crack. If this is not done, it is apt to hang on the sides 
 and later on give way, come loose and drop, causing a break in 
 the surface film and greatly disfiguring the floor. 
 
 Varnished Finish — ( Hard or Soft Wood) 
 
 If floor is in first-class condition one or two coats of 
 Mar-not Varnish, applied as it comes from the can, will renew 
 the finish to its original condition. Each coat should be 
 allowed to dry for 48 hours. 
 
 If the floors are in unsatisfactory condition, and it is 
 desired to secure the finest effect, the old finish should be 
 removed with S-W Taxite, as directed on page 47, and the 
 floor scraped, if necessary. 
 
 When the floor has been cleaned down to the bare wood, 
 proceed as directed in the specification "For A Varnished 
 Finish on New Wood" on page 67. 
 
 [ Page 73 ] 
 
A Homey Livijig-liuuni 
 
 The soft grays, rendered doubly pleasing by the trans- 
 parent, luminous quality of the glaze effect, give an added 
 richness to the more intense tones of the furnishings of this 
 room. A decidedly summery feeling is created by the cre- 
 tonne cover which is to protect the tapestry chair for the 
 summer months. The flowers and bright candy jars furnish 
 the right accent. 
 
 The knitting, drop])ed for the moment, speaks eloquently 
 for the comfort and livability of this room. 
 
 Specijiculioris on piigc 1 '/6 
 
Waxed Finish (Hard or Soft Wood) 
 
 In cases where the floor, through unusually hard wear or 
 neglect, is in an unsatisfactory condition and requires 
 refinishing, the old finish may be removed by first taking ofiP 
 the wax with turpentine or benzine, then removing the 
 shellac coatings with S-WTaxite as directed on page 47. Then 
 apply waxed finish as explained on page 69. 
 
 Varnish Stain Finish — {Hard or Soft Wood) 
 
 If floor has previously been finished with a varnish stain, 
 such as S-W Floorlac, and is in fairly good condition, the 
 finish can be renewed by applying one or two coats of Floorlac 
 Clear or Mar-not Varnish. Forty-eight hours should be 
 allowed between each coat for drying, sandpapering each coat 
 except the last one as directed on page 70. 
 
 Always be sure surface is free from dirt or grease before 
 applying finish. 
 
 Painted Finish — (Soft Wood) 
 If floor is cracked or boards have shrunk apart, use S-W 
 Crack and Seam Filler, before applying paint, as directed 
 on page 73. 
 
 . Be sure that floor is free from grease and moisture, then 
 apply one or two coats of S-W Inside Floor Paint, as directed 
 under caption "For a Painted Finish, New Floors" on page 71. 
 
 Linoleum 
 
 Linoleum, one of our most practical floor coverings, is 
 recommended for both new and old floors in kitchens, bath- 
 rooms, basements, etc. It may 
 be obtained in pleasing and 
 suitable patterns and color 
 effects, and, because it is not 
 so hard and unyielding as a 
 wood or concrete floor, is much 
 easier on the feet, and does 
 not fatigue the housewife. 
 
 Printed linoleum needs the 
 protection of a good floor 
 varnish, however, in order to save it from destructive wear 
 and prevent effacement of the design. Varnish also makes 
 either printed or inlaid linoleum much easier to clean; clean- 
 
 
 The figure worn off. A proleclive film of 
 varnish would have prevented this. (Photo 
 courtesy of H. A. Gardner.) 
 
 [ Page 75 ] 
 
ing with a mop or a cloth being sufficient, and scrubbing un- 
 necessary as the dirt does not grind into the linoleum. 
 
 It is a very simple matter to varnish linoleum and takes 
 very little time. All that is necessary is to clean thoroughly 
 with soap and water (preferably S-W Flaxoap); then wipe 
 off with a cloth saturated with benzine. When dry, apply 
 one or two coats of S-W Durable Linoleum Finish, S-W 
 Mar-not Varnish or S-W Floorlac Clear, these varnishes being 
 especially adapted for use on linoleum. Allow 48 hours for 
 drying after each coat. 
 
 Dancing Floors 
 
 Maple is the most durable and satisfactory wood for 
 dance floors. 
 
 The floor should be scraped and sandpapered to the 
 smoothest surface possible with No. 3^ sandpaper. 
 
 With close-grain woods (see explanation of open and close 
 grain woods on page 56) like maple, the use of a filler is 
 unnecessary, but if floor is one of the open-grain woods, a coat 
 of S-W Paste Filler Natural should be applied as directed 
 on page 56. 
 
 Then apply a thin coating of S-W Prepared Wax with a 
 soft cloth, and polish to the proper finish with a floor weight. 
 
 The Care of Floors 
 
 Floors should be gone over once a day with a cloth or 
 oil mop, saturated with S-W Floor-Wipe. When this is done 
 a few moments a day will keep several rooms looking fine. 
 
 Waxed floors can be kept in good condition for a long 
 time by polishing with a weighted waxing brush or by rubbing 
 briskly with a cloth, at frequent intervals, and applying a new 
 coating of wax from time to time. 
 
 At intervals it is advisable to clean floor with S-W Flaxoap 
 and water. Flaxoap is a linseed oil soap, and, its use will re- 
 new the life of the finish. 
 
 Never use laundry soap, scouring soaps, washing powders 
 or prepared cleansers which contain alkali, acids, lye, etc. 
 
 Use lukewarm water — not hot. Never "flood" the floor 
 with water. Wash about a square yard at a time, rinse with 
 clear water, and dry thoroughly. 
 
 [ Page 7G ] 
 
After washing floor, to secure a nice bright floor apply S-W 
 Floor- Wipe or S-W Polish-ol. Simply dampen a cloth with the 
 liquid or use a floor mop. Then polish with a dry cloth. 
 
 Cement Floors 
 
 There are two distinct methods of treating cement floors. 
 
 One method is to paint the floor with an oil gloss paint, 
 wherever a painted finish is desired. 
 
 The other method is for floors showing a tendency to dust, 
 which usually occurs where floors are subjected to hard wear. 
 For this purpose we recommend a cement floor hardener. 
 
 A Painted Finish 
 
 Where a painted finish is desired, very satisfactory results 
 may be obtained through the use of S-W Concrete Floor Paint. 
 No special preparation of the surface is necessary before 
 applying the paint, other than removing all grease, loose 
 dirt and foreign matter (never wash or scrub floor immediately 
 before painting, as moisture is detrimental to good results). 
 
 Three coats of S-W Concrete Floor Paint should be applied, 
 thinning the first and second coats with one pint pure tur- 
 pentine to the gallon of paint. 
 
 Satisfactory painting of cement surfaces depends on cement 
 being neutral or free from acid. On newly laid floors, suf- 
 ficient time must be allowed for all moisture to dry out. 
 Cement floors laid directly on the ground without adequate 
 drainage are poor surfaces for painting. 
 
 Concrete and Cement Hardener 
 
 W^here a dust proofing and hardening treatment is desired 
 on floors subjected to hard wear the application of S-W 
 Cement and Concrete Hardener, a colorless liquid chemical 
 preparation to the surface of the floor will immediately stop 
 dusting and permanently harden and seal the floor without 
 changing its color to any appreciable degree. 
 
 Concrete and Cement Hardener should never be used 
 as a preparatory coat on floors that are to be painted unless 
 the concrete is subject to such excessive dusting that some 
 hardening measure is absolutely necessary. 
 
 Full instructions for the use of this material will be furn- 
 ished upon application to The Sherwin-Williams Company. 
 
 [ Page 77 ] 
 
A Diniii'j-Rooin in I he Spirit of Old llolony Days 
 
 The furnishings of this dining-room have been chosen 
 from the simplest types avaihible and the unpretentious lines 
 of the table, chairs and clock make for a quiet dignity which 
 is in very good taste. 
 
 The wall color, varying from soft blendings of blue and 
 brown, gives a range of blue-grays, gray-greens and browns 
 which seem to find their parent colors in the dark Colonial 
 mahogany and rich green rug and admirably set off both 
 to full advantage. 
 
 SpeciJ'icnlions on page I'/O 
 
Chapter VIII 
 
 Interior Woodwork 
 
 Some of the Best Cabinet Woods: How to Finish Them 
 
 FORTUNATE indeed is the man who can retain a com- 
 petent architect or well-posted builder to look after 
 his interests in finishing the interior woodwork when 
 building a new home. Even where it is possible to specify 
 any wood one's fancy might dictate, there still remains the 
 problem of securing the stains and varnishes that will truly 
 enhance the beauty of the wood provided. Each operation 
 from the installing of the wood down through the preparation 
 of the surface, sanding, staining, filling, sealing, varnishing 
 and rubbing, is so important and closely related to each sub- 
 sequent operation, as to merit most careful supervision. 
 
 Any person who goes to the trouble and expense of secur- 
 ing choice finishing lumber should make definite provision to 
 cover these important conditions: The plaster must be thor- 
 oughly dry before the lumber is even delivered to the house. 
 The better the lumber is seasoned the more thirsty it is for 
 water, which will be absorbed readily if the atmosphere 
 within the building is damp. This will result frequently in 
 warping, but is certain to cause the grain of the wood to 
 raise even if already sanded, so that even where wood is 
 not permanently damaged, considerable uncalled-for expense 
 is incurred through necessity of again sanding the wood. Of 
 course, all lumber should be sanded smooth after it has been 
 installed, but this is a comparatively light operation if the 
 grain of the wood hasn't been affected. 
 
 Never have woodwork installed if the plaster is damp. 
 When it is necessary to do this work during the wet or rainy 
 season of the year, artificial heat should be provided to keep 
 the house dry. 
 
 For very best results, paint the back of all wood trim 
 with a coat of a good linseed oil paint, such as SWP, 
 
 [ Page 79 ] 
 
before installing. This will prevent moisture (which may be 
 in the wall at a later date) from entering the wood from its 
 unfinished side to cause warping. 
 
 Have the painters or finishers on the job to begin their 
 work just as soon as the carpenter is through with his part. 
 It is well for the home owner to remember that he has an 
 investment in his woodwork, which plays a part, second 
 almost to no other feature, in making the home attractive 
 to live in and readily salable. The cost of stain and varnish 
 materials usually represent less than one-half per cent of the 
 entire cost of the building, so it is very apparent that even a 
 dollar or two on a gallon of stain or varnish is not to be con- 
 sidered when compared to the results and length of service 
 obtained. Every manufacturer is compelled, through demand, 
 to manufacture materials of second quality in addition to his 
 best. The value, of course, is there for thie price paid, but 
 the economy is, many times, questionable. It is good prac- 
 tice, therefore, to specify the materials recommended as the 
 best for the purpose by the manufacturer. 
 
 It is hoped that this book will serve a purpose in addi- 
 tion to merely giving specifications, namely, that of furnish- 
 ing new ideas of materials, effects and finishes. It is not 
 always practicable to use some of the old standbys in finishing 
 interior wood trim, nor is it always desirable. The cost of 
 the lumber very often requires careful consideration on the 
 part of the architect or the man who has the ambition to 
 build and own a home. It is much to be preferred that a 
 good grade of a moderately priced wood be employed for 
 interior wood trim and floors, than a poorer grade of some 
 more expensive wood. From the illustrations given on pages 
 82 to 98, it will be seen that exceedingly beautiful work 
 may be done with pine, cypress, Douglas fir (Oregon pine), 
 California redwood and other woods, all of which cost less 
 than some woods frequently desired by the home builder. 
 The treatment of these woods may be worked out in harmony 
 with the walls, because they one and all possess beauty of 
 grain which may be properly brought out and quality, not 
 cheapness, indicated through correct stain and varnish treat- 
 ment. It is, after all, the successfully developed ideas one 
 displays in home building, and not cost of material used, that 
 will represent ultimate value in the completed building. 
 
 [ Page 80 ] 
 
A.ny problem not covered in the suggestions offered in this 
 volume should be referred to the staff of our Department of 
 Decoration, because it is our desire, as thoroughly as it is 
 yours, to see that your woodwork trim is all that could be 
 desired and more. 
 
 Oak 
 
 Mighty oak! This wood has always been associated 
 with the thought of actual physical strength and long life. 
 Oak has a most characteristic grain. As used in furniture, 
 fine woodwork and floors, we are equally familiar with both 
 the straight sawed and the quarter-sawed wood. The latter 
 furnishes the most striking figuration due to the cutting cross- 
 wise of the medullary rays of the log which then appear as 
 the streaks or flakes darting across the grain and which make 
 quarter-sawed oak so characteristic and in such extensive 
 demand for fine furniture. Striking patterns can be selected 
 which are splendid for table tops and large panels. For the 
 general run of woodwork and floors, a more modest grain is 
 desirable as producing a more quiet and restful effect in the 
 room. 
 
 Oak is an open-grain wood, i. e., there are open spaces or 
 pores, varying in size, between the fibres of the wood. This 
 is both an advantage and a disadvantage. These open pores 
 follow the figure of the grain so that by making them con- 
 spicuous or inconspicuous, one may greatly intensify or 
 modify the character of the grain. 
 
 Oak or any open-grain wood requires that the pores be 
 filled where a varnish finish is desired. A specially prepared 
 paste filler is provided for this purpose which fills the pores 
 and levels the surface for varnishing. When the filler is 
 omitted a "bumpy" effect results, due to the varnish sinking 
 into the open pores. This "bumpy" surface wears through 
 very quickly on fioors, so they soon look shabby. A properly 
 filled and varnished oak floor is one of the most desirable 
 and attractive of all floors and with an occasional revarnish- 
 ing, is good for a lifetime. 
 
 The so-called Mission Finishes in fumed oak, weathered 
 and cathedral oak, are simply stained finishes to represent 
 these types, and are usually given only those finish coats as 
 are absolutely necessary to protect the wood. They retain 
 
 [ Page 81 ] 
 

 'ii'ltl'Hn.iiiiiiSf,,' 
 
 Oak, No. 1 
 
 Oak, No. 2 
 
 Oak, No. 8 
 
 Oak, No. 
 
 Oak, No. 5 
 
 Oak, No. 6 
 
 Oak, No. 
 
 Oak, No. 8 
 
 Oregon Fir 
 No. 9 
 
 Chestnut 
 No. 10 
 
 Oak, No. 11 Oak, No. 1-2 
 
 Specifications on pages 95-97 
 
that craftsman-like "woody" appearance which is so rugged 
 and attractive. In these finishes, the pores of the wood are 
 not filled. 
 
 The grain of oak may be brought out by the use of either a 
 dark filler or a light colored or white filler, usually referred to 
 as a toner. In using a toner, the oak should first be brushed 
 with a wire brush to thoroughly open all the pores of the wood 
 and assure the even distribution of the toner. Only a lack of 
 knowledge as to the correct color combinations and right 
 procedure has retarded a broader use of these truly beauti- 
 ful treatments of oak. They are appropriate for either 
 straight or quarter-sawed wood. 
 
 A very wide range of color effects is possible and ap- 
 propriate to work out over oak. Red mahogany stains, how- 
 ever, are out of place on oak. The grain of oak is so charac- 
 teristic, that a red mahogany finish appears as a too obvious 
 imitation of the other wood. Where the furniture of a room 
 is red mahogany and a light oak piece would be out of place, 
 it is advisable to finish that piece in Dark Brown Mahogany 
 or a reddish-brown such as Handcraft Stain Old English 
 Oak or Cathedral Oak (see page 47 on refinishing old furniture 
 and woodwork). 
 
 Silver gray effects are popular on oak. Selected white 
 oak alone is suitable for this work, however, as red oak while 
 yielding a pleasing effect, does not permit of a true gray 
 because of its reddish cast. 
 
 Oak is a valuable cabinet wood and deserves careful 
 handling and finishing. Any care used in carrying out the 
 detailed specifications in finishing, given by the manufacturer, 
 will be amply repaid as oak responds splendidly to so many 
 types of finishes. 
 
 Chestnut 
 
 Chestnut exhibits a rather coarse grain in which the pores 
 of the wood are quite conspicuous. To the trained cabinet 
 maker and finisher these pores at once offer an opportunity 
 to produce unique art effects through the use of colored 
 toners. With the pores of the wood open, prominent and 
 receptive, why not make them attractive through color 
 interest .►^ A builder or decorator uses such woods as chestnut 
 and ash for special effects and uses oak for standard effects. 
 One of the many craft effects possible with chestnut wood is 
 
 [ Page 83 ] 
 
shown on page 82. If a home or building is to be finished in 
 chestnut trim, additional suggestions may be secured by 
 writing The Sherwin-Williams Co. Department of Decoration, 
 601 Canal Road, Cleveland, Ohio. 
 
 Ash 
 
 Ash is the same type as oak, although of a somewhat 
 lighter color. It is an open-grain wood and requires a paste 
 filler for satisfactory results and service in a full varnish 
 finish. Advantage has been taken of the light color of ash in 
 the color reproduction shown on page 86. This illustrates a 
 pleasing weathered gray effect which would be exceedingly 
 restful and pleasing for a living-room or den. Finished in this 
 manner, the gray toner replaces the customary paste filler. 
 
 Pine 
 
 Pine may be classed as our most useful wood. It is a 
 structural wood, used for the framing and enclosing of our 
 best frame dwellings, and has so interesting a texture and 
 grain, that it is widely used for the interior trim as well. 
 
 Differing from oak, the quarter-sawed or edge grain in 
 pine is not interesting in figuration. Edge grain pine is 
 harder than the straight-sawed wood, however, and is speci- 
 fied for floors for this reason. 
 
 White pine does not have as spirited a grain as Southern 
 pine, but is preferred along with birch for enamel woodwork, 
 because of its close texture and freedom from resinous spots 
 which tend to discolor white enamel. 
 
 Southern pine, while finished very frequently in the 
 natural, is really better, because of its bright yellow tone, 
 finished in stain. Practically any stain effect is good over 
 pine with the exception of silver gray. The yellow of the 
 wood makes it difficult to produce a true silver gray. Oregon 
 pine veneer doors frequently are exceedingly well figured 
 and while of course, pine does not resemble mahogany as do 
 birch and figured red gum, it does take mahogany stains 
 very well. Walnut, brown mahogany, brown oak and 
 weathered oak, are a few of the many other effects recom- 
 mended. Use S-W Oil Stains or Handcraft Stains for stain- 
 ing pine. Acid Stains tend to raise the grain of pine and their 
 use is not recommended. See page 86 for additional sugges- 
 tions in color. 
 
 [ Page 84 ] 
 
Oregon Pine or Douglas Fir 
 
 This wood may be distinguished from pine by its general 
 redder tone in place of the sharp yellow color of Southern 
 pine. The figure of the grain is more angular, too, than pine. 
 
 Fir wood takes oil-stains and spirit stains with splendid 
 depth of color. Acid stains, because of their water content, 
 raise the grain of fir, making it very ridgey and rough, so that 
 it cannot be sanded smooth again. For certain craft effects, 
 this is deliberately induced as the wood will then accept a 
 toner with unique results. Color reproductions of stained 
 effects on this wood, are shown on pages 8'i and 86. 
 
 Mahogany 
 
 Mahogany enjoys the unique distinction of being always 
 associated with quality in cabinet work. This marked quality 
 is responsible for the large number of imitations encountered. 
 Strangely enough, the color of red commonly associated with 
 the term mahogany, is not the natural or characteristic color 
 of the wood, which is a light, warm brown varying with dif- 
 ferent specimens. This red is the stained effect used over 
 mahogany quite generally until recent years, when the 
 antique or brown mahogany came into favor. And while the 
 brown tone is at present the more popular and is surely sup- 
 planting the older red color, the latter will for a long time 
 still be thought of as "mahogany." 
 
 Mahogany was first introduced into England in 1597 by 
 Sir Walter Raleigh, in one of whose ships this wood had been 
 used for some repair work. The wood itself was greatly ad- 
 mired at the time, but it was not until about 150 years later 
 that mahogany became an article of commerce. Mahogany 
 was, in fact, first used to some extent in shipbuilding in place 
 of oak, and is still used in building small pleasure craft. 
 
 The natural wood has a warm reddish-brown tone, light 
 in color but darkening with age. It is almost always stained, 
 as staining enhances and strengthens the character of the 
 grain. The tree grows rapidly in good soil, but the texture 
 of the wood becomes coarser than when the tree is found 
 in more barren locations, where it grows slower. Here the 
 grain is finer and possesses better figuration and is superior 
 for the cabinetmaker's art. 
 
 [ Page 85 ] 
 
Southern J'iiie 
 No. 13 
 
 Southern Pine 
 No. li 
 
 Southern Pine 
 No. 15 
 
 Southern Pine 
 No. 16 
 
 Soutlierii Pine Southern Pine 
 
 No. 17 No. 18 
 
 Soutliorn Pine 
 No. 1!) 
 
 Soutiiern Pine 
 No. 20 
 
 Ash, No. 21 Oregon Fir Uri't;oa i"ir Oregon Fir 
 
 No. 22 No. 23 No. 2i 
 
 Specifications on pages 97-99 
 
Mahogany has open pores which require the use of a 
 paste filler. A dark filler is generally used, black with a bit of 
 red in it, which is always applied after staining. (S-W Ma- 
 hogany Paste Filler.) 
 
 Mahogany is found principally along the Florida Keys, 
 the Bahamas, West Indies, Mexico, the Philippines, Central 
 America and down as far as Peru and Brazil. The so-called 
 Spanish mahogany is regarded by some as the best quality 
 and comes from Cuba, San Domingo and the West Indies. 
 Mexican mahogany perhaps ranks next, being named after 
 the port of shipment and the quality is recognized in the order 
 given: Frontera, Laguna, Santa Anna and other ports. Afri- 
 can mahogany is coming to rival American wood quite gener- 
 ally. 
 
 Besides the true mahoganies, there are several other 
 woods able to be sold along with mahogany because of their 
 very close resiemblance to the true wood, even down to the 
 type of grain figuration and arrangement of the pores. 
 
 Prima Vera, called white mahogany, is one of these woods. 
 It grows in Mexico and Central America and is of a golden 
 yellow color when finished without staining, and for certain 
 color schemes is a highly desirable wood. Butternut and 
 white walnut are sometimes sold as white mahogany, but 
 may be readily detected. 
 
 Spanish cedar, another "mahogany," is found in Mexico, 
 Cuba and the West Indies. This tree grows very rapidly, 
 and is rather porous. It resembles mahogany and is frequently 
 sold and used in place of mahogany. Its principal use, how- 
 ever, is for cigar boxes. Its porous quality assists in seasoning 
 the cigars and its odor is said to improve the flavor of the 
 tobacco. Mexico is the chief source of American supply. 
 
 The grain of mahogany varies from very straight wood to 
 the most gorgeous markings found in veneers taken from the 
 crotch of the tree, i. e., where a branch joins the trunk. Furni- 
 ture made of the solid board is usually of rather straight, 
 modest grain. The veneered panel is really stronger than the 
 solid board and permits matching and placing of grain figura- 
 tions at will. In making veneer panels, the grains of the 
 core wood and the veneer are placed at angles, thereby 
 strengthening the piece and preventing warping and splitting. 
 
 [ Page 87 ] 
 
Sherwin-Williams Mahogany Stains are furnished in the 
 Acid (permanent) type, the Handcraft (or spirit) Stains, and 
 Oil Stains, each having well-defined advantages and charac- 
 teristics. These stains are designed to produce the accepted 
 standard tones of red and brown mahogany on true mahogany 
 wood, and on the other woods used as substitutes. They are 
 also highly pleasing on birch, gumwood and pine. (See page 
 90 for color reproductions of these effects.) 
 
 American Walnut 
 
 English or royal walnut (Juglans Regia), a native of Persia 
 was the only available species of walnut until the introduction 
 of North American black walnut (Juglans Nigra), about the 
 middle of the seventeenth century. This beautiful ca,binet 
 wood was one of the first imports to England from the new 
 world and by 1750 was supplanting English and Continental 
 walnut used for furniture. 
 
 The English, French and Italian walnut is somewhat 
 similar to American walnut, but inferior in both strength and 
 beauty. The Circassian and Turkish walnuts are of the same 
 species, but are good examples of the influence of environment 
 and soil upon tree life. The barren soil or other adverse con- 
 ditions are directly responsible for a stunted, gnarly growth 
 which, while impairing the beauty of the tree, gives us ex- 
 tremely unique and attractive figurations of grain, usually 
 streaked with black. This wood is used only for veneers. 
 The English walnut is cultivated extensively in this country 
 for its fruit, which is the English walnut of commerce. 
 
 It is interesting to know that one of the largest uses to 
 which walnut was originally devoted, was the manufacture of 
 gun-stocks. It is still the only wood that is fully satisfactory 
 for the purpose. During the late war the entire production of 
 walnut was under government control and used solely for 
 gun-stocks and as first choice for airplane propellers. 
 
 For thirty years prior to the war Europe had been taking 
 almost the entire annual production of American walnut for 
 furniture and interior trim. This naturally created a scarcity 
 of the wood here and the impression that the walnut supply 
 was exhausted. Fortunately the war has shown that this is 
 not the case. 
 
 t Page 88 ] 
 
In addition to plain, straight grain wood there are oc- 
 casional trees that show "figure" when cut. Much of the 
 figured walnut seen in pianos, phonographs and furniture panel 
 work comes from the stump of the tree and most of the 
 matched symmetrical figures are of stump wood. These are 
 veneers, of course, and not practicable for use in average 
 interior woodwork except in doors and paneled wainscotings. 
 
 There is another source of figured walnut veneers found in 
 walnut "burls," which are large knots or excresences usually 
 found at the base of the tree. The largest of these weigh up 
 to two tons and when sound, furnish a beautiful mottled or 
 bird's eye effect. 
 
 The principal cause, as we see it, for the change of public 
 taste from walnut to the golden oak craze, which was with us 
 for so long, was a combination of poor design and too sombre 
 finish. With the advent of well designed period furniture in 
 walnut, has come a return of popular favor with wicker and 
 enameled finishes furnishing the demand for brighter, light 
 colored pieces. 
 
 Walnut is a dark toned wood which may be finished in its 
 natural color or stained as desired. It is an open-grain wood 
 and requires the use of a walnut paste filler for a full varnish 
 finish. 
 
 Unique art effects which are truly beautiful, may be pro- 
 duced with walnut by using a light colored toner in place of 
 the regular dark filler. As a suggested effect, apply S-W 
 Handcraft Stain Walnut, a very thin coat of pure white 
 shellac, using Sherwin-Williams Flat-Tone Silver Gray as the 
 toner. This should then be finished with a thin coat of pure 
 white shellac and S-W Velvet Finish Varnish No. 1044. 
 Carved portions of the furniture are splendid polichromed in 
 dull gray-blues, orange and greens. (See page 57 for Handcraft 
 System Effects.) 
 
 Birch 
 
 One can hardly be censured for referring to this cabinet 
 wood as "Beautiful Birch." Its fine silky grain gives birch 
 a rather feminine quality, although the wood itself is very 
 hard and does not dent or bruise easily. These two qualities 
 of hardness and fineness of grain make birch the very finest 
 wood possible for enamel finishes. There are others as close 
 grained, such as gum wood, poplar and white pine, but these 
 are not so hard. 
 
 [ Page 89 ] 
 
Mahogany 
 No. 25 
 
 Mahogany 
 No. 26 
 
 Birch, No. 27 
 
 liirch, No. 28 
 
 Mahogany 
 No. 29 
 
 Mahogany 
 No. 30 
 
 American 
 Walnut 
 No. 31 
 
 Circassian 
 Walnut 
 No. 32 
 
 Gum Wood 
 No. 35 
 
 Cium Wood 
 No. 36 
 
 Speci/ications on pajea 93-101 
 
Selected birch often displays interesting grain figuration 
 and curly birch is most attractive. Such wood is most beauti- 
 ful stained in either red or brown mahogany, walnut or brown 
 oak. White birch (the heart wood of the tree is known as 
 red birch) lends itself readily to silver gray effects. 
 
 Although birch is classed as a close-grain wood, there 
 are, nevertheless, minute pores which will take a paste filler, 
 thereby bringing out the character of the wood more eflFec- 
 tively. We recommend the use of a dark paste filler with 
 stain effects on birch — a white filler or toner for silver gray 
 stain on birch. See page 94. 
 
 Cherry 
 
 Cherry wood has a pleasing reddish tone and is a fine 
 grain hardwood. Cherry is not as common as mahogany, but 
 deserves an equal rank. The natural color of the wood is not 
 in favor at present, nor is the color known as "cherry" in 
 demand. This wood takes a mahogany stain very well, 
 however, and its naturally interesting grain should give a very 
 satisfactory room. See page 94. 
 
 Cypress 
 
 The grain of cypress is very easily recognized. It has a 
 lacy pattern, truly beautiful. Cypress is an oily wood pos- 
 sessing great durability for exterior work. This same pro- 
 perty is probably responsible for the fact that cypress wood- 
 work does not swell or shrink to any degree. 
 
 For most effective and clean work with staining cypress, it 
 is advisable to wipe off the surface carefully with benzine 
 to remove the oil and facilitate penetration of the stain. It 
 is necessary to do this shortly before staining, however, as the 
 oil has a tendency to rise again. 
 
 Cypress varies somewhat in color, some specimens being 
 quite white and others quite red in tone. Any of the brown 
 stains take well on cypress and red mahogany is quite strik- 
 ingly attractive. On page 94, are shown effects somewhat 
 out of the ordinary. The use of Handcraft Stain Silver Gray 
 gives a very pleasing Circassian Walnut tone while Green 
 Weathered Oak is very interesting too. Sherwin-Williams 
 Handcraft Stains or Oil Stains will produce the most satis- 
 factory effects on this type of wood. 
 
 [ Page 91 ] 
 
Sugied cypress is produced by charring the surface of the 
 wood with a blow torch. The flakes of the wood do not burn 
 as readily as the softer parts. A wire brush is then used to 
 remove most of the charcoal and the wood may then receive 
 a white or colored toner, shellac and Velvet Finish Varnish. 
 
 California Redwood 
 California redwood is the commercial lumber obtained 
 from the giant Sequoia trees of that state. It is claimed that 
 the great age of these trees, ranging from 800 to 2000 years, 
 gives the wood great natural preservative qualities, afford- 
 ing the wood a natural seasoning which prevents warping 
 or splitting. It is not unusual to see redwood panels five feet 
 wide which keep their shape without shrinking or swelling. 
 The wood, because of the size of the trees, is remarkably free 
 from knots. In color it is of a pronounced reddish hue which 
 may be finished in the natural or stained. 
 
 Green stains produce dark rich velvety tones which are 
 truly beautiful, inasmuch as the red of the wood still is in 
 evidence in the harder portions of the grain. Sherwin-Williams 
 Handcraft Stains or Oil Stains are recommended for finishing 
 redwood. Acid Stains tend to raise the grain of this wood so 
 badly that satisfactory effects are difficult to secure. 
 
 Interesting color samples of stain effects with redwood 
 are shown on page 98. 
 
 Gum Wood 
 
 Difficulties experienced at one time in the curing and 
 seasoning of the lumber, have been overcome so that gum 
 wood is a highly satisfactory wood for cabinet work and in- 
 terior finish. Gum is a very close-knit wood of fine texture. 
 The tree produces both heart and sap wood, the former being 
 the red gum of commerce. 
 
 It seems that the figuration of grain is largely a matter of 
 individuality with each tree, there being no reason to determine 
 why one log will saw up and produce interesting grain, while 
 the next one will prove relatively plain and uninteresting. 
 Soil and situation undoubtedly have their influence on the 
 figuration of the wood. In a good log figured grain is found by 
 either quarter-sawing or straight-sawing. The figure does not 
 follow any line of yearly deposit as with oak or chestnut for 
 
 t Page 92 ] 
 
example, but the colors cross the yearly rings in every direc- 
 tion. In this respect the figure of red gum resembles that 
 of Circassian walnut, so that with a special stain for the 
 purpose, very good Circassian walnut effects may be pro- 
 duced with figured red gum wood. Figured gum veneers, 
 when made by the rotary cut process, give wide panels in a 
 single piece. 
 
 Plain gum is suitable as a base for enamel finishes because 
 of its fine, even texture. Figured gum has been extensively 
 used by furniture makers for both walnut and mahogany 
 substitutes. It is most valuable, however, for furniture and 
 wood trim, finished in natural color. See page 90. 
 
 [ Page 93 ] 
 
Birch, No. ;?7 Birch, No. 38 Birch, No. .'JO Birch, No. 40 
 
 Birch, No. 41 Birch, No. 4^2 Birch, Xo. 4:? 
 
 Cherry 
 No. 44 
 
 ( 'yi)rcs: 
 No. 46 
 
 Cypress 
 No. 47 
 
 Cvpresfs 
 No. 48 
 
 Specifications on pages 101 - 10" 
 
specifications for Wood Panels 
 
 Shown on pages 82, 86, 90, 9^, 98 
 
 Number /^Quartered Oak, finished natural. Suitable for 
 
 woodwork or floors. 
 Sherwin-Williams Oak Paste Filler or Transparent Paste 
 
 Filler. 
 Three coats Sherwin-Williams Scar-not Varnish for 
 
 woodwork. 
 Three coats Sherwin-Williams Mar-not Varnish for floors. 
 Reduce the first coat of varnish 10% with pure spirits 
 
 turpentine to secure penetration. 
 Three coats of varnish are recommended, the first two 
 
 sanded with 00 sandpaper, the last coat left in the 
 
 natural gloss or rubbed dull and waxed if desired. 
 
 (See page 52.) 
 
 Number 2 — Quartered Oak, finished with Sherwin-Williams 
 
 Antique Oak Paste Filler. 
 This finish is suitable for both woodwork and floors. 
 
 Antique Paste Filler darkens the wood in addition 
 
 to filling the pores. 
 On selected wood or quarter-sawed wood where it is 
 
 desired to bring out the full character of the grain, 
 
 the wood should be brushed with a stiff bristle brush 
 
 to open up the pores before filling. 
 This effect requires the same finishing coats as number 
 
 one. 
 
 Number 3 — Straight Oak, finished in Brown Oak Stain. 
 Suitable for woodwork and in certain cases, 
 public buildings, etc. It is suitable for floors. 
 
 Sherwin-Williams Handcraft Stain Brown Oak. 
 
 Sherwin-Williams Golden Oak Paste Filler. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish for wood- 
 work. 
 
 Two coats Mar-not Varnish for floors. (See page 51.) 
 
 Number 4^Quartered Oak, a cool Gray effect suitable for 
 
 woodwork trim. 
 Sherwin-Williams Handcraft Stain Early English Oak. 
 Sherwin-Williams Golden Oak Paste Filler. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 
 page 51.) 
 
 Number 5 — Straight Oak, finished in a Fumed Oak effect. 
 
 Suitable for woodwork and furniture in the 
 
 Mission or Craftsman style. 
 Sherwin-Williams Acid Stain Fumed Oak, or 
 Sherwin-Williams Handcraft Stain Fumed Oak. 
 Thin coat pure White Shellac or Sherwin-Williams 
 
 Mission-lac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 Wax may follow the Shellac or Mission-lac, if preferred. 
 
 [ Page 95 ] 
 
Number 6 — Straight Oak, finished in Cathedral Oak effect. 
 
 Suitable for woodwork. 
 Sherwin-Williams Handcraft Stain Cathedral Oak. 
 Thin coat pure White Shellac or Sherwin-Williams 
 
 Mission-lac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 7 — Straight Oak, finished in a soft Weathered Gray 
 effect. Suitable for woodwork and for 
 furniture in the Mission or Craftsman style. 
 
 Sherwin-Williams Handcraft Stain Weathered Oak. 
 
 Thin coat pure White Shellac or Sherwin-Williams 
 Mission-lac. 
 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 1044. 
 
 Number 8 — Quartered Oak, finished in a two-tone effect. 
 Sherwin-Williams Handcraft Stain Old English Oak. 
 Thin coat pure White Shellac, reduced with denatured 
 
 alcohol if too heavy. 
 Sherwin-Williams Flat-Tone Bright Sage toner. fSee 
 
 page 59.) 
 Thin coat pure White Shellac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 9 — Oregon Pine or Douglas Fir, finished in a two- 
 tone Gray effect. 
 
 Sherwin-Williams Acid Stain Silver Gray. 
 
 Sherwin-Williams Flat-Tone Mixture Buff Stone and 
 Pale Azure toner. (See page 59.) 
 
 Thin coat pure White Shellac. 
 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 1044. 
 
 Number iO — Chestnut Wood, finished in a two-tone effect. 
 Sherwin-Williams Handcraft Stain Old English Oak. 
 Thin coat pure White Shellac, reduced with denatured 
 
 alcohol if too heavy. 
 Sherwin-Williams Flat-Tone Forest Green toner. (See 
 
 page 59.) 
 Thin coat pure White Shellac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 11 — Quartered Oak, finished in a two-tone Gray 
 
 effect. 
 Sherwin-Williams Handcraft Stains Weathered Oak and 
 
 Fumed Oak, equal parts. 
 Sherwin-Williams Flat- Tone Silver Gray toner. (See 
 
 page 59.) 
 Thin coat pure White Shellac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 [ Page 96 ] 
 
Number 12 — Quartered Oak, finished in a Silver Gray effect 
 
 with toner. 
 Sherwin-Williams Acid Stain Silver Gray. 
 Sherwin-Williams Flat-Tone White toner. (See page .59.) 
 Thin coat pure White Shellac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 13 — Southern Pine, finished in Dark Oak. 
 Sherwin-Williams Oil Stain Dark Oak. 
 Two coats Sherwin-Williams Scar-not Varnish for 
 
 woodwork. 
 Two coats Sherwin-Williams Mar-not Varnish for floors. 
 
 Number iU — Southern Pine, finished in Colonial Oak. 
 
 Sherwin-Williams Oil Stain Colonial Oak. 
 
 Two coats Sherwin-Williams Scar-not Varnish for 
 
 woodwork. 
 Two coats Sherwin-Williams Mar-not Varnish for floors. 
 
 Number 15 — Southern Pine, finished in Weathered Gray. 
 Sherwin-Williams Handcraft Stain Weathered Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish for 
 
 woodwork, or 
 Thin coat pure White Shellac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 16 — Southern Pine, finished in Mahogany effect. 
 
 Sherwin-Williams Handcraft Stain Extra Dark Ma- 
 hogany. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 17 — Southern Pine, finished in Nut Brown. 
 Sherwin-Williams Handcraft Stain Brown Oak. 
 Thin coat pure Wliite Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 18 — Southern Pine, finished in Dark Gray. 
 
 Sherwin-Williams Handcraft Stain Early English Oak. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 19 — Southern Pine, finished in Cathedral Brown. 
 Sherwin-Williams Handcraft Stain Cathedral Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish, or 
 Thin coat pure White Shellac. 
 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 1044. 
 
 Number W — Southern Pine, finished in Forest Green. 
 Sherwin-Williams Handcraft Stain Bog Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 [ Page 97 ] 
 
California 
 
 Redwood 
 
 No. 49 
 
 California 
 
 Redwood 
 
 No. 50 
 
 California 
 
 Redwood 
 
 No. 51 
 
 California 
 
 Redwood 
 
 No. 52 
 
 California 
 
 Redwood 
 
 No. 53 
 
 California 
 
 Redwood 
 
 No. 54 
 
 California 
 
 Redwood 
 
 No. 55 
 
 Caiiloriiia 
 
 Redwood 
 
 No. 56 
 
 Maple, No. 57 
 
 Cypress 
 No. 58 
 
 Cypress 
 No. 60 
 
 Specifiriiliiins- on pntjes lOi-103 
 
Number 2i — Ash, finished in Weathered Gray. 
 
 Sherwin-Williams Handcraft Stains Weathered and 
 
 Fumed Oaks, equal parts. 
 Thin coat pure White Shellac. 
 Toner, Flat-Tone Silver Gray. 
 Thin coat pure White Shellac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 22 — Oregon Pine or Douglas Fir, finished in 
 Colonial Oak. 
 Sherwin-Williams Oil Stain Colonial Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish 
 
 Number 23 — Oregon Pine or Douglas Fir, finished in a 
 
 Silver Gray effect. 
 Sherwin-Williams Acid Stain Silver Gray. 
 Toner, Flat- Tone Shell Pink and Pale Azure, equal parts. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 2U — Oregon Pine or Douglas Fir, finished in Warm 
 Brown. 
 
 Sherwin-Williams Oil Stain Walnut. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 25 — Mahogany Wood, finished in Antique Brown. 
 
 Sherwin-Williams Acid Stain Antique Brown Mahogany, 
 
 No. 700. 
 Sherwin-Williams Mahogany Paste Filler. (See page .56.) 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 
 page 51.) 
 
 Number 26 — Mahogany Wood, finished in Dark Colonial 
 Mahogany effect. ' 
 
 Sherwin-Williams Acid Stain Dark Colonial Mahogany, 
 No. 700. 
 
 Sherwin-Williams Mahogany Paste Filler. (See page .56.) 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 page 51.) 
 
 Number 27- — Birch, finished in Antique Brown Mahogany 
 eflfect. 
 
 Sherwin-Williams Acid Stain Antique Brown Mahogany, 
 
 No. 700. 
 Sherwin-Williams Mahogany Paste Filler. (See page 56.) 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 
 page 51.) 
 
 [ Page 99 ] 
 
Number 28 — Birch, finished in Dark Colonial Mahogany 
 
 efiPect. 
 Sherwin-Williams Acid Stain Dark Colonial Mahogany, 
 
 No. 700. 
 Sherwin-Williams Mahogany Paste Filler. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 
 page 51.) 
 
 Number 29 — Mahogany Wood, finished in Adam Brown 
 Mahogany effect. 
 
 Sherwin-Williams Handcraft Stain Adam Brown Ma- 
 hogany. 
 
 Sherwin-Williams Mahogany Paste Filler. (See page 56). 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 page 51.) 
 
 Number 30 — Mahogany Wood, finished in Dark Mahogany 
 effect. 
 
 Sherwin-Williams Handcraft Stain Extra Dark Ma- 
 hogany. 
 
 Sherwin-Williams Mahogany Paste Filler. (See page 56.) 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 page 51.) 
 
 Number 31 — ^American Walnut, finished in full varnish finish. 
 
 Sherwin-Williams Walnut Paste Filler. (See page 56.) 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 page 51.) 
 
 Number 32 — Circassian Walnut Wood, finished in full varnish 
 finish. 
 Sherwin-Williams Walnut Paste Filler. (See page 56.) 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 page 51.) 
 
 Number 33 — Figured Red Gum Wood, finished in a Cir- 
 cassian Walnut effect. 
 
 Sherwin-Williams Handcraft Stain Circassian Walnut or 
 
 Sherwin-Williams Handcraft Stains Early English Oak, 
 3 parts and Brown Oak, 1 part. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 page 51.) 
 
 Number J4 — Birch, finished in a soft Brown effect. 
 Sherwin-Williams Handcraft Stain Brown Oak. 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 page 51.) 
 
 [ Page 100 ] 
 
Number 35 — Figured Red Gum Wood, finished in Antique 
 Brown Mahogany. 
 Sherwin-Williams Acid Stain Antique Brown Mahogany, 
 
 No. 700. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 36 — Figured Red Gum Wood, finished in J)ark 
 
 Colonial Mahogany. 
 Sherwin-Williams Acid Stain Dark Colonial Mahogany, 
 
 No. 700. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. (See 
 
 page .51.) 
 
 Number 37 — ^Birch, finished in Silver Gray. 
 
 Sherwin-Williams Acid Stain Silver Gray. 
 Toner, Flat-Tone White. 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Velvet Finish Varnish No. 
 1044. 
 
 Number 38 — Birch, finished in Cathedral Brown. 
 
 Sherwin-Williams Handcraft Stain Cathedral Oak. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 39 — Birch, finished in Adam Brown. 
 
 Sherwin-Williams Handcraft Stain Adam Brown Ma- 
 hogany. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number W — ^Birch, finished in Moss Green. 
 
 Sherwin-Williams Handcraft Stain Green Weathered 
 
 Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number Ui — ^Birch, finished in Mouse Gray 
 
 Sherwin-Williams Handcraft Stain Early English Oak. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number U2 — -Birch, finished in Empire Green 
 Sherwin-Williams Oil Stain Moss Green. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number U3 — -Birch, finished in Dark Mahogany. 
 
 Sherwin-Williams Handcraft Stain Extra Dark Ma- 
 hogany. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number Uh — ^Cherry, finished in Light Mahogany. 
 
 Sherwin-Williams Handcraft Stain Light Mahogany. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 [ Page 101 ] 
 
Number ^5 — Cypress, finished in Olive Green. 
 
 Sherwin-Williams Handcraft Stain Green Weathered 
 
 Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number ^6 — Cypress, finished in Warm Brown. 
 Sherwin-W'illiams Oil Stain Walnut. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number Ul — Cypress, finished in Circassian Walnut effect. 
 Sherwin-Williams Handcraft Stain Silver Gray. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number U8 — Cypress, finished in Cathedral Brown. 
 
 Sherwin-Williams Handcraft Stain Early English Oak. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number ^9 — California Redwood, finished in Deep Forest 
 Green. 
 Sherwin-Williams Handcraft Stain Bog Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 50 — California Redwood, finished in Dark Ma- 
 hogany. 
 
 Sherwin-Williams Handcraft Stain Extra Dark Ma- 
 hogany. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 51 — California Redwood, finished in Cathedral 
 Brown. 
 Sherwin-Williams Handcraft Stain Cathedral Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 52 — California Redwood, finished in Nut Brown. 
 ' Sherwin-Williams Handcraft Stain Brown Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 53 — California Redwood, finished in Weathered 
 
 Sherwin-Williams Acid Stain Silver Gray. 
 Toner, Flat- Tone Buff Stone and Pale Azure, equal parts. 
 Thin coat pure White Shellac. 
 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 1044. 
 
 Number 5U — California Redwood, finished in Flemish Brown. 
 
 Sherwin-Williams Handcraft Stain Early English Oak. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 [ Pagre 102 ] 
 
Number 55 — California Redwood, finished in Tavern Green. 
 Sherwin-Williams Handcraft Stain Green Weathered Oak. 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish, or 
 Thin coat pure White Shellac. 
 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 1044. 
 
 Number 56 — California Redwood, finished in Old English 
 
 Brown. 
 Sherwin-Williams Handcraft Stain Old English Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish, or 
 Thin coat pure White Shellac. 
 One coat Sherwin-Williams Velvet Finish Varnish No. 
 
 1044. 
 
 Number 57 — Maple, finished for floors. 
 
 Three coats Sherwin-Williams Mar-not Varnish, first 
 coat reduced ten per cent with pure spirits of tur- 
 pentine. 
 
 Number 58 — Cypress, finished in Warm Brown. 
 
 Sherwin-Williams Handcraft Stain Brown Oak. 
 
 Thin coat pure White Shellac. 
 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 59 — Cypress, finished in Dark Mahogany. 
 
 Sherwin-Williams Handcraft Stain Extra Dark Ma- 
 hogany. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 Number 60 — Cypress, finished in Brown Mahogany effect. 
 Sherwin-Williams Handcraft Stain Old English Oak. 
 Thin coat pure White Shellac. 
 Two coats Sherwin-Williams Scar-not Varnish. 
 
 [ Page 103 ] 
 
A Charming Lirinq- Room in (i ray and Green 
 
 What a pleasant surprise it is to come into a cool room such 
 as this. Bright bits of color have been introduced very 
 subtly in the gorgeous Chinese lacquered cabinet whose dull 
 tan and red-orange seem to call for just such complementary 
 spots of color as are furnished by the blue pillows in the 
 lounging chair. A veritable splash of color is contributed by 
 the lilies, whose tiger-like beauty furnish a rare spirit for the 
 general scheme. The stippled wall robs the room of all pos- 
 sibility of stiff formality. 
 
 Specifications on ptuje l^i7 
 
Chapter IX 
 
 Color Harmony Applied in the Home 
 
 WHILE the subject of color and its application, like 
 music, may be made a lifetime study, a familiarity 
 with the rudimentary principles underlying the use of 
 color will be valuable and can be obtained readily even where 
 one hasn't the time for more extended reading. Colors do not 
 just happen. Every tint or shade one sees has its own individ- 
 uality and its group of related colors and shades. To know 
 the relationship any color has to its neighbors in the color 
 wheel is to know what tones to put together to make a room, 
 a picture, a piece of embroidery, a dress or one's own person 
 appear to best advantage. 
 
 With this knowledge of the relationship of colors must 
 come, also, an understanding of the effect a certain color 
 has upon the appearance of a surface and the sensation 
 one feels in being surrounded by any color or group of colors, 
 as color affects color. In the spectrum there are three colors, 
 red, yellow and blue, which are regarded as the primary colors 
 because from them all colors are made. As a color becomes 
 lighter the result is designated as a tint of that color. Pink 
 is a tint of red; lavender of violet, etc. As a color is made 
 darker it is called a shade of that color. 
 
 Combining these primary colors one produces the binary 
 or secondary colors: 
 
 Red and yellow produce orange. 
 Red and blue give violet. 
 Yellow and blue give green. 
 These further combinations can be carried out: 
 
 Yellow and orange combined give yellow orange. 
 Red and orange combined give red orange. 
 Red and violet combined give red violet. 
 Blue and violet combined give blue violet. 
 Yellow and green combined give yellow green. 
 Blue and green combined give blue green. 
 These twelve colors then complete our circle. 
 
 [ Page 105 ] 
 
Every color we know is some form of the colors shown 
 around the edge of this circle. Perhaps the color is a simple 
 tint or shade of one of these colors. Very often the color in 
 question lies somewhere between two complementary colors 
 ui)on the line which connects them. These in-between tones 
 represent one of the principal colors to which some of its 
 complement has been added. For example: Add a small 
 amount of orange to its complement blue — ^the blue becomes 
 slightly grayed. As more orange is added the blue will finally 
 become a neutral gray. If orange is still added the resultant 
 color will come over to the orange side and become a gray- 
 orange and so the process may be carried out with any two 
 related colors until we have all the colors at our disposal 
 required in decorative art. 
 
 The question frequently comes up as to what is a clean 
 color and what makes a color appear dirty. A color may be 
 satisfactory and pleasing as a wall color which would be 
 unsuited and dirty in appearance if made up into a dress. 
 
 BLUE GREEN 
 
 RED ORANGE 
 
 BLUE 
 
 GRAY VIOLET 
 
 • k • 
 
 BLUE VIOLET ^^W RED VIOLET 
 VIOLET 
 
 RED 
 
 [ Page 106 ] 
 
Here the sense of what is appropriate must govern one's 
 choice. Inasmuch as a pure color such as prismatic blue, red, 
 yellow, orange, violet and green are much too intense in tone 
 to use generally in very large quantities, the various colors 
 we know as wall colors and colors for fabrics have to be what 
 are really known as grayed colors. Any one of these can be 
 made to appear dirty if placed in combination with colors 
 which are too pure in tone or to which they are unrelated. 
 The remedy would be to determine the color which charac- 
 terizes the tone under consideration and to then introduce the 
 complementary color in either bright small bits as in a flower 
 or to use that color in a softer, grayed tone. 
 
 Color, in its relation to home life, is more important than 
 in any of its many other uses. It influences our daily thoughts 
 and actions and can make a home a pleasant place for all or 
 something quite otherwise. Colors, red, yellow, blue and their 
 many related hues have as definite and individual character 
 as any person and are as positive in the effect they produce. 
 Like persons, colors are affected by adjacent colors with which 
 they may be combined and the success of the final result calls 
 for careful planning in their placing. 
 
 Most people show good taste in selecting articles in color 
 with which to surround themselves and with few exceptions 
 the rooms of these homes will be fairly pleasing in general 
 effect even where lacking individuality. Frequently, however, 
 the changing of a rug, the overdrapes or the introduction of 
 some brighter bit of color will tone up the entire scheme and 
 produce results little short of marvelous. 
 
 Everyone has certain colors which are preferred over 
 others. These colors are naturally in mind as what that 
 person wants in his room or his house. Usually the thought 
 does not become any more definite than that a blue room, or 
 a yellow room, is desired. When the keynote, or leading color, 
 for each room has been decided upon, a color scheme should 
 be carefully built up which will make that color appear most 
 interesting. 
 
 Monochromatic Harmony 
 
 There are three kinds of color harmony one may employ: 
 Monochromatic, analogous and complementary. Mono- 
 chromatic makes use of one color, treating the various sur- 
 faces and objects of the room in different shades and tints of 
 
 [ Pag:e 107 ] 
 
A Cheerful hiniiuj-Boom in Modem ircdlincnl 
 
 A combination in dull blue and old ivory is always clean 
 and refreshing. The blue has been made possible for these 
 walls by first graying the blue and then freshening it up by 
 stippling over with the cream gray. The result is a soft 
 tapestry-like texture altogether pleasing. The deep blue of 
 the rug makes it possible to bring in the brighter blue of the 
 conventional piece over the buffet. The yellow notes and the 
 orange of the flowers and lamp shade are necessary for ac- 
 cent. 
 
 Specijirulions on page I'i7 
 
that color. Such a scheme, for instance, would call for a very 
 light blue for the ceiling, walls a darker blue, a still darker blue 
 for rugs and overdrapes, with white curtains and white enamel 
 furniture and woodwork. This scheme, while correct, will 
 become very monotonous. 
 
 Analogous Harmony 
 Analogous harmony enables one to use related colors lying 
 next in the color scale to the one chosen. Using blue again, 
 these related colors would be blue-green and violet, with, of 
 course, the different tints and shades of both. Now inasmuch 
 as one would not want blue walls in combination with either 
 blue-green or violet curtains, etc., a different handling becomes 
 necessary. The scheme would then be: Ceiling an oyster 
 gray, or an ivory-white; walls, a warm gray; rugs, a dark 
 blue; overdrapes, in figured cretonne with blue as the principal 
 color and other tones in gray, blue-green and violet. This room 
 is more interesting than the monochromatic harmony, but 
 very great improvement can be made. 
 
 Complementary Harmony 
 
 Complementary harmony calls for the most careful com- 
 bining of colors so as to retain a balanced effect, but through 
 its use the most pleasing results can be had, which will have a 
 permanent value and will not become tiresome. Let us take 
 our monochromatic scheme in blue and see what complemen- 
 tary harmony will do for it. The ceiling will become ivory- 
 white, the woodwork ivory-white enamel, both very light 
 tints of orange, the complementary color of blue. Deeper 
 orange may be used for the sofa or cushions and the curtains 
 may be ecru net with blue overdrapes, while the rugs can 
 contain both dull blue and old ivory. A brilliant orange vase 
 will add accent and a delightful color note. 
 
 In connection with planning any room in color, it is 
 essential to remember this, that the larger the surface the 
 softer should be the tone. This is accomplished in two ways, 
 by adding either white or black to the color to make it lighter 
 or darker, as circumstances demand, or by graying the color 
 by adding to it a small amount of its complementary color. 
 Orange added to blue will make a gray-blue. Green added to 
 red will produce a grayer tone, etc. Refer to page 106, where 
 a color chart is shown. 
 
 [ Page 109 ] 
 
The reader may say that his woodwork will be oak and 
 the room a dining-room. The same plan may be followed by 
 adapting the colors to the type of the furnishings. Ivory 
 enamel is one of the very lightest tints of orange; suppose the 
 opposite be chosen. Among the darkest shades of orange are 
 found the tones of brown mahogany, walnut and such oak 
 stains as cathedral oak. Any one of these stain effects is 
 splendid. When a figured rug in Chinese blue, for instance, is 
 used, there will be found soft tones of old ivory, browns, 
 grays, so that upholstering in plain blue for the chairs will be 
 satisfactory. Where a plain blue rug is used, however, figured 
 orange tapestry or velour will be most interesting. 
 
 Of equal importance with the choosing of the right set of 
 colors to combine, is the retaining of the true balance in the 
 effect. One color must, of course, predominate. 
 
 Balance in Color Harmony 
 
 A balanced effect in color is secured when there is just 
 enough of the contrasting tones to give the predominating 
 color a feeling of support. The amount of either color which 
 may be used may be determined in a comparatively simple 
 manner. 
 
 Estimating the amount of color in a room at 100 percent, 
 approximately 60 per cent ought to be on the side of the key- 
 color, that is, the true color and its related tones, and 40 per 
 cent on the side of the complementary color and its related 
 tints and shades. In this connection, space is not estimated 
 as quantity, but the combined intensities of all surfaces 
 rendered in blue tones, for instance, and the combined 
 intensities of all surfaces done in the complement, orange 
 with its related hues. Now to explain what is meant by 
 differentiating between intensity of color as quantity as com- 
 pared to the amount of space covered. 
 
 The Blue Room 
 
 Assuming that one has a quantity of orange to use, in a blue 
 room, represented by 40 per cent, this amount of orange may 
 be used over a relatively small surface or may be reduced to 
 cover proportionately more ground. For example: Say that 
 a bottle of ink will brush out over ten square feet of surface 
 and give a full intense tone, it may be diluted with water so 
 that it will cover an entire wall ; but the color will be much less 
 intense. 
 
 [ Page 110 ] 
 
The amount of any color one uses is measured by the sense 
 of feeling of red, yellow or blue, etc., the surface gives. And 
 so in decorating, a surface is less orange, for instance, as it 
 becomes lighter tint or a darker shade. This means, then, 
 that dark reddish-brown woodwork such as brown mahogany, 
 walnut or cathedral oak, will give the same feeling of orange 
 intensity as a very soft buff. It is very simple to understand, 
 then, how a room with blue as its keynote may have walls 
 and woodwork which really belong on the complementary 
 orange side, that orange, of course, reduced in intensity in 
 proportion to the space over which it is spread. This is of 
 most practical value, because a poorly lighted room appears 
 much brighter with walls in buff rather than in blue. 
 
 Fortunately, the rules governing the application of color 
 are flexible enough to permit of arranging a room to suit 
 almost any legitimate taste. One person will want the walls 
 done in heavy browns, while another will prefer backgrounds 
 of cream gray or ivory tan, with the principal colors more 
 daintily handled so that the finished room may be truly said 
 to reflect the personality of him for whom the room was 
 designed. 
 
 One should never forget the true function of the walls and 
 ceiling of a room. In addition to affording a sense of protec- 
 tion, the walls serve as a background for both the furnishings 
 and occupants of the room. It is obvious, then, that any 
 treatment which makes the walls so aggressive as to press in 
 upon one, defeats this purpose. 
 
 The best way to avoid a too hard appearance in wall color 
 is to use a broken treatment instead of one solid color. This is 
 responsible for the wide use of figured wall-papers. The 
 effect to produce something unique has, however, resulted in 
 using large obstrusive patterns which frequently fairly scream 
 from the wall. One wants texture, surely, but whatever is 
 used should never cause the wall to "hide" the pictures or 
 furniture placed against it; that would be camouflage, not 
 decoration. A good test would be to ascertain whether or 
 not the wall patterns will melt into a soft neutral shade when 
 viewed from across the room, looking with the eyes half closed. 
 In a painted wall treatment one has an exceptional oppor- 
 tunity to produce such a broken wall color by using several 
 colors in combination. Splendid soft blues, tans, etc., may be 
 
 [ Page 111 ] 
 
produced in either the S-W Flat-Tone Multi-Color or S-W 
 System Effects. In both processes can be shown most interest- 
 ing texture effects which disclose an infinite variation of inter- 
 esting pattern, still retaining the neutral character desired in 
 wall colors. Great care is necessary in combining such intense 
 tones as are furnished for tinting colors, especially, but in 
 the chapters outlining these processes much valuable informa- 
 tion is given. 
 
 It is not possible to lay down a set of rules which will 
 govern the placing of color in all cases. Color is so definite 
 and so active a thing and each color has so different an in- 
 fluence upon us that what is true of the blue-orange scheme 
 may not be practical for our next consideration, red-green. 
 
 Red is the most aggressive of the colors. Its rays travel 
 fastest, giving it the property of making surfaces appear 
 closer to the eye than other colors. Red is a most exciting 
 and stimulating color also. These qualities make it unsuited 
 for general use in the walls of the home. There are places, of 
 course, where red is most valuable, as in the theatre auditori- 
 um, where an exhilarating effect is desired and where it is of 
 decided advantage to have the stage and the walls seem closer 
 than they are. But for the home, red is restless and dis- 
 quieting in effect. 
 
 The Pink Room 
 
 With pink, one of the tints of red, many charming effects 
 are possible. The complement of red is green, and of pink a 
 light green, so in this case complementary harmony will prob- 
 ably be unsatisfactory, at least not as pleasing as analogous 
 harmony, for pink and green are much prettier colors in 
 flowers than in the permanent decoration of the room. The 
 explanation for this is not difficult to find. Every color is 
 made more intense in tone by being used in connection with 
 its complement. Pink is already so aggressive in tone that 
 the average person, through instinct, always uses pink by 
 neutralizing it considerably by the extensive use of white. 
 Green, then, would really spoil the effect of this truly pretty 
 color, unless used in such minute quantities such as a small 
 case or plant, when naturally it would not be important enough 
 to create a feeling of general complementary harmony for the 
 entire room. 
 
 [ Page 112 ] 
 
Analogous harmony gives us pink, red orange and red 
 violet. The two latter when grayed by the addition of their 
 respective complements, blue-green and yellow-green, give us 
 our tones of cream gray and warm gray, which everyone knows 
 are admirable to use with pink and rose. 
 
 With the pink wall either white or ivory-white enamel 
 woodwork is ideal. Rose, a darker shade of pink, has been 
 used effectively in certain types of living-rooms where there 
 is considerable woodwork stained in silver gray. The rugs 
 may be gray and rose and the curtains white marquisette. 
 Figured cretonne overdrapes, introducing gray and rose, will 
 complete the scheme. 
 
 Inasmuch as it does not require a great amount of color to 
 give the feeling of a pink room, there will be many who will 
 prefer the daintier treatment secured by using a delicate 
 warm gray for the wall color, introducing pink in the fur- 
 nishings; white net curtains, pink or rose overdrapes, ivory 
 enamel furniture, stripes with pink and gray, and rose in the 
 rugs. 
 
 The Green Room 
 
 The reverse of the scheme just considered, the green-red 
 room, presents no such difficulties in obtaining a pleasing color 
 balance. Green is known as a static color and does not ma- 
 terially affect the apparent position of the surface. Green, as 
 generally supplied for decorative purposes, is a very restful 
 color. The complement red is, of course, not required in 
 full strength, but is supplied through red mahogany woodwork 
 or walnut and brown mahogany where the green used is grayed 
 and softened in tone. 
 
 Soft olive-green and blue-green grays are reduced forms of 
 the analogous tones of green and are admirably suited for 
 use as wall colors. With the olive green, represented by our 
 wall color Flat-Tone Mixture Buff Stone and Pale Azure, the 
 woodwork may be brown mahogany, the curtains buff, with 
 figures in blue-green and red-violet, the complementary color, 
 and the rug in a figured pattern with rich maroon and warm 
 browns predominating. This wall color is very effective when 
 handled in the Multi-Color Process, as purer green and cream- 
 gray can be applied as an over-pattern most effectively. A 
 soft blue-green, such as our Flat-Tone Mixture Bright Sage 
 and Pale Azure, will produce a room quite pleasingly out of 
 
 [ Page 113 ] 
 
the ordinary. The woodwork may be in either ivory-white 
 enamel or brown mahogany. The rug will be effective in 
 either a dark blue-green, monochromatic harmony, or in dark 
 mahogany brown, a dark shade of the complementary color, 
 red-orange. The curtains are best in a creamy buff back- 
 ground, with orange flowers and touches of yellow-green and 
 brown. A dark reddish-brown tapestry brick fireplace will 
 add the needed note of accent in both these rooms. 
 
 The Yellow Room 
 
 Yellow is the third color for us to consider. Strange to 
 say, yellow, which is our light-producing color, does not lend 
 itself readily for use as a general wall color except in extremely 
 reduced form. Many a so-called yellow room is in reality a 
 yellow-orange room. Ivory, made by tinting white with 
 chrome yellow light, is the only true yellow not too intense 
 to use. It is, of course, only a very light tint. Tan, a darker 
 shade of yellow, is used extensively. This color is similar to 
 our Flat-Tone Mixture of Tan and Silver Gray. Violet is the 
 complementary color of yellow. A pleasing yellow room would 
 be: Ceiling, white; walls, ivory; woodwork, white enamel; 
 furniture, white or ivory-white enamel striped in lavender, a 
 tint of violet; rag rugs in lavender, white and black. A brilliant 
 bowl of Chinese yellow, filled with lavender chrysanthemum, 
 would add a delightful touch. The large amount of white 
 specified is necessary to enhance the quality of yellow. Violet, 
 the complement of yellow, gives us a soft, pleasing wall color 
 when grayed down considerably by the addition of white 
 and some yellow. We refer to the shade produced by com- 
 bining S-W Flat-Tone Shell Pink and Silver Gray. 
 
 This scheme is very satisfactory: Ceiling,' ivory-white; 
 walls, gray-lavender; woodwork, ivory-white enamel; furni- 
 ture, ivory enamel striped in lavender; curtains in cretonne 
 with yellow flowers and black over a background of gray. In 
 the Multi-Color Process ivory-gray is stippled over the laven- 
 der to produce a still softer effect. 
 
 In this chapter an attempt has been made to give the reader 
 information and suggestions which can be put to practical 
 use. The subject of color and its relation to our every day 
 life is worthy of a lifetime study, as has been previously 
 stated. The more one reads and studies along these lines, 
 however, the more he is convinced that no set of ironclad rules 
 
 [ Page 114 ] 
 
can be laid down to cover every case. But if, as someone has 
 said, rules are made only to be broken, let us study these 
 rules, or principles, so that we may know how to use them 
 wnth best results and so we may know when an exception 
 may be made with good results. 
 
 [ Page 115 ] 
 
Chapter X 
 
 Wall and Ceiling Treatment 
 
 THE decorated wall, whether it be in the hotel, club 
 or private residence, must possess a certain amount 
 of interest or the room will appear bare. In the hotel, 
 club or public building, this interest can be supplied by ar- 
 chitectural treatment, using more or less elaborate combina- 
 tions of pilaster, cornice and panel in ways beyond the means 
 of the home owner and usually not appropriate except 
 in the larger residence. 
 
 Where interest is not supplied by architectural form, it is 
 necessary to provide it through texture and applied decora- 
 tion. In wall-paper, for instance, one finds all degrees of 
 texture, ranging from pleasing oatmeal papers to the most 
 violent patterns imaginable. It is this demand for interest 
 and pattern that has militated, in many cases, against the 
 painted wall. This is possible only because many people are 
 not familiar with the wonderful effects in texture the painted 
 wall will give when treated intelligently. 
 
 The eye is readily satisfied with texture indicated by pleas- 
 ing contrast in light and dark color and does not demand actu- 
 al, tangible texture as in fabrics. Thus a wall may be covered 
 with a smooth paint film which can be easily washed and yet 
 have a most pleasing visible texture. 
 
 In considering the degree of interest the walls of a room 
 should show, it is first necessary to decide, is this a living- 
 room where the walls function as a background, or are the 
 walls to be a special feature of interest as in a formal reception 
 room, parlor or theatre .^ In the theatre or ballroom the expanse 
 of wall in so large a room frequently calls for the greatest in- 
 genuity in the combining of architectural treatment and the 
 use of wall texture and applied decoration. The size of the 
 room decides also how fine or coarse may be the effect of wall 
 texture. The small room appears still smaller with large 
 obtrusive figures leaping out upon one from every wall, 
 [Page 117] 
 
while a large room appears larger and plainer if the texture 
 applied to the wall is too fine or close. Where furniture is to 
 be placed directly against the wall, however, there should be no 
 figuration on the wall that would destroy the outline or bal- 
 ance of the furniture. 
 
 Shenvin-}] illiams Flat-Tone Glazing System 
 
 Flat-Tone Glazing System is a method of wall treatment 
 developed by The Sherwin-Williams Company, which affords 
 most pleasing and interesting effects for wall and ceiling 
 decoration. The color plates on pages 74 and 78 show the 
 possibilities of this treatment. Flat-Tone Glazing System 
 Effects consist, briefly, of a coat of Flat-Tone Glazing Liquid 
 applied to the wall over a foundation of S-W Flat-Tone. 
 This coat may consist of Glazing Liquid tinted in one, two or 
 more colors. When a one-color glaze is used, this color may 
 be blended off from dark at the floor to the merest suggestion 
 of a tint at the ceiling, or worked out in a uniform tint over 
 the entire wall. The blended treatment is very effective, too, 
 in panel treatment. 
 
 Glazing Liquid is to be tinted for this work with Flat- 
 Tone Glaze and Stencil Colors. These are oil colors supplied 
 
 in tubes and are especially 
 suitable for this work be- 
 cause of their clearness and 
 brilliancy of tone and also 
 because of their transparency. 
 Any tendency in the Glaze 
 Color to become cloudy or 
 muddy would mar the beauty 
 of this process. Because of 
 this rather transparent qual- 
 ity of the glaze coat, the tone 
 of the underbody color of 
 Flat-Tone shows through to 
 a considerable extent, producing a rich, luminous depth of 
 color, truly beautiful. Texture, in Flat-Tone Glazing System 
 Effects, is produced by stippling the glaze coat with a 
 crumpled cloth held loosely in the hand. This stippling 
 must be done as the glaze coat is applied, or before the glaze 
 
 Tinting the Glazing Liquid tvilh Glaze and 
 
 Stencil Color. The color is broken up in the 
 
 liquid with the brush 
 
 [ Page 118 ] 
 
Apply the Glaze Color Mixture to the 
 wall in generous quantities 
 
 "sets up." This "setting up" may be delayed and the work 
 
 of stippling facilitated by coating 
 the wall with clear Glazing Liquid 
 immediately before applying the 
 tinted Glazing Liquid. The tinted 
 liquid should be brushed on in 
 generous quantities also. 
 
 Note — Flat-Tone is a washable 
 flat oil paint manufactured by the 
 Sherwin-Williams Company for ar- 
 tistic wall and ceiling decoration. 
 A piece of old soft gingham is the 
 ideal cloth to use. Cheesecloth, 
 frequently recommended, is notdesir- 
 able. Experimenting alone will teach 
 the beginner the best way to crumple 
 and hold the cloth in the hand. A 
 smooth pad will give a very fine tex- 
 ture and is usually not desired. 
 Wrinkling the cloth will roughen the 
 texture, and by exerting a twisting 
 and lifting motion with the wrist 
 most beautiful scrolls may be pro- 
 duced. This scroll texture may be 
 made as rough as desired. By twist- 
 ing the hand without any side motion 
 of the arm, the scroll will resemble 
 flowers, while a sweeping movement 
 
 will produce a more branching effect. 
 
 Intensity of Cotor 
 
 Tint the Glazing Liquid to ap- 
 proximately the depth of color of the 
 effect desired. In other words, do 
 not make the color darker than the 
 finished effect is to be, with the inten- 
 tion of stippling most of the color off 
 to lighten the effect. This will 
 destroy the beauty of texture and 
 also not leave enough of a glaze 
 film to make a practical wall. 
 Where an effect requires more than one color, tint the several 
 
 [ Page 119 ] 
 
 Producing the texture in wall 
 
 color by stippling with 
 
 a crumpled cloth 
 
 Medium scrolls give pleas- 
 ing walls 
 
batches of Glazing Liquid to the same relative strength of 
 tone. Then if the room is to have a browner or bluer tone, 
 for instance, apply the desired color over larger spaces of 
 wall. The two (or more) colors are to be applied simultaneous- 
 ly to the wall in adjoining patches. Run the colors together 
 somewhat and blend them so that one color will go into the 
 other softly, otherwise the wall will appear spotty. This 
 blending is to be done with the brush before stippling with the 
 cloth. On rough plaster especially it is difficult to "move" 
 or blend the color except with the brush. 
 
 Changing the stippling cloth when the wall is in one color 
 is not essential except as the cloth becomes too wet -to use. 
 When two or more colors are being stippled, it is advisable 
 to stipple all the spots of one color, change the cloth to a clean 
 surface and stipple the next color, and then go over those 
 portions where the colors are blended together. Observing 
 t;his practice closely will keep the effect clean and prevent a 
 muddied appearance. 
 
 To Blend a Wall Color 
 
 It is possible but not advisable to try to blend a wall in 
 any but a one-color effect. Tint the Glazing Liquid to the 
 depth of tone desired for the lower 
 wall. Pour off about one-third of this 
 mixture and add to it an equal 
 amount of clear Glazing Liquid. Size 
 the wall with a coat of clear Glazing 
 Liquid as mentioned previously and 
 then apply the lighter mixture, start- 
 ing at the ceiling angle and bringing 
 the color down to about three or four 
 feet from the floor. Brush on the 
 darker mixture, carrying the color 
 , , „ -.u ,.u I. ^ well up into the lighter tone. Blend 
 
 1 '. Ir<l wall wilhoul the hard ^ '^ 
 
 line between light and dark |-]^g color by brushiug back and forth. 
 
 Start the stippling at the ceiling and work down into the 
 darker color. In this manner one can avoid the appearance of 
 the "high water" mark or break in the two tones. 
 
 Plain Color Flat-Tone Walls 
 
 Sherwin-Williams Flat-Tone produces equally satisfactory 
 results on either rough or smooth plaster or many of the 
 
 [ Page 120 ] 
 
excellent wall boards on the market. Flat-Tone dries with a 
 finish which is soft and velvety in appearance and leaves 
 little to be desired where a simple soft tone is wanted. There 
 are many rooms in which anything but a most simple treat- 
 ment of this type would be very much out of place. In a 
 bank lobby, in a formal parlor or reception room, the architect 
 frequently makes use of a paneled wall. In a large building 
 the panel may be either recessed slightly or may be set off by 
 the use of a low relief moulding. Adam style has many 
 excellent examples of this. In such a wall it is difficult to imag- 
 ine anything but a simple color of Flat-Tone. In almost any 
 other type of wall there is considerable advantage to be gained 
 through the introduction of texture by the use of the Flat- 
 Tone Multi-Color Stipple Process, explained below. The 
 rooms of the modern home offer an exceptional opportunity 
 to use stippled wall colors. 
 
 Flat-Tone Mnlti-Color Stipple Effects 
 The Sherwin-Williams Multi-Color Stipple Process is 
 carried out entirely through the use of the regular colors of 
 Flat-Tone, which can be combined effectively and for which 
 we have prepared careful schedules. A foundation color is 
 required, over which is printed a lace work pattern, produced 
 by printing the stipple color on to the wall with a sponge. 
 
 Preparation of the Sponge 
 The sponge is used very much in the manner of a rubber 
 stamp and, like a stamp, will print whatever its printing 
 
 surface or texture happens to be. 
 We have found the deep sea wool 
 sponges most suitable for Multi- 
 Color Stipple work. They seem to 
 have the best texture and are tougher 
 and wear longer than the more 
 common variety of grass sponge. 
 
 The bottom of the sponge is the 
 surface to use for stippling. It should 
 be trimmed by slicing off with a 
 knife. To do this wash the sponge 
 out carefully and allow it to dry 
 hard. It can be cut very easily with 
 a large knife. When being used for stippling, the sponge 
 should be wrung out of water and be damp. 
 
 [ Page 121 ] 
 
 A good type of sponge to use 
 
A one-color slipple 
 
 Colors Required for Stippling 
 
 The colors regularly shown in the Flat-Tone color card 
 will produce all the specified Multi-Color Effects. Some of 
 these specifications, however, call for mixtures of these regular 
 colors. Certain specifications call for two parts of one color 
 and one part of another color. These 
 measurements should be carefully 
 carried out. Use a small cup as a 
 measuring unit. Much of the beauty 
 of these stippled wall colors depends 
 upon the proper degree of contrast 
 between the foundation and stipple 
 colors. In a large room, where the 
 eye is normally at some distance from 
 the wall, the stipple may be in a more 
 contrasting color. Take the audi- 
 torium, for instance, the ball room 
 or store. In a room not brightly 
 lighted, this contrast may be more noticeable too. Here 
 is an example: Multi-Color Stipple Effect number twenty- 
 five has for its foundation color Flat- 
 Tone Silver Gray. Over this is 
 stippled a mixture of Flat-Tone 
 Silver Gray and Ivory, equal parts. 
 Ivory being the lighter color, will 
 make the stipple color lighter as the 
 proportion of Ivory to Silver Gray is 
 increased. Two parts Ivory to one 
 part of Silver Gray would, therefore, 
 produce a much more contrasted effect 
 when stippled over Silver Gray than 
 the regular specification. With but 
 few exceptions, however, our regular 
 specifications will be found to be most satisfactory. 
 
 Most of the Multi-Color specifications call for the addition 
 of one-fourth part Flat-Tone Mixing Size to the stipple 
 color. This varnish size causes the stipple color to dry in a 
 slightly more transparent color, so that the general tone of 
 the wall is softer. Where the effect is desired to be as crisp as 
 possible, the size may be omitted and turpentine substituted 
 to thin the Flat-Tone slightly. 
 
 A lico-folor slipple 
 
 [ Page 123 ] 
 
Directions for Applying the Stipple Effects 
 The foundation color must first be carefully brushed on. 
 Over new walls this foundation recjuires that the first coat 
 should consist of equal parts Flat-Tone, in the color specified, 
 and Flat-Tone Mixing Size. This is the proportion of size 
 required for rough or sand-finish plaster. Hard, smooth 
 plaster requires about one-fourth to one-third part Mixing 
 Size. Allow the first coat to dry twenty-four hours before 
 the second coat is applied, as the paint comes in the can. 
 Frequently two coats will be found to be sufficient. Apply a 
 third coat if necessary to obtain a good solid covering. Pre- 
 pare the stipple color as directed for the effect specified. The 
 stipple coat may be applied the same day as the second coat 
 of the foundation color, if convenient. 
 
 Amount of Stipple Color Required 
 
 In a home the average room of about twelve by twenty feet 
 will require about one quart of each stipple color specified. 
 Note: If the color mixture Silver Gray and Cream is specified, 
 for instance, one quart of the mixture is meant, i. e., one pint 
 of each color poured together and stirred. 
 
 Pour some of the stipple color out on a board, cardboard 
 or tin, and rub the bottom of the dampened sponge into this. 
 See that the bottom of the sponge is thoroughly covered. 
 
 Tap the sponge on to a dry paper until the sponge appears 
 merely moist. It is then ready to stipple on to the wall. 
 Having too much paint in the sponge will make a dauby 
 print, while using the sponge too dry will produce an uneven 
 print and one that is too light. 
 
 Where two or more stipple colors are specified, stipple the 
 first color over the entire wall. Clean out the sponge and 
 stipple the second color directly over the first. 
 
 To Clean the Sponge 
 Wash the sponge out in gasoline and leave submerged 
 in a pail of water if the sponge is to be used again the next 
 day. Otherwise it is advisable to wash it thoroughly with 
 Flaxoap or good laundry soap to prevent the sponge harden- 
 ing. It can then be put away for future use or be used for 
 any general household purpose. When cleaning out the sponge 
 to use in some other stippling color, wash out in gasoline, 
 rinse in water to open up the sponge and proceed as before. 
 
 [ Page 124 ] 
 
Chapter XI 
 
 Stencils 
 
 EVERY decorated room should have some focal point 
 of interest, some object, surface, design in which the 
 principal colors of the room are gathered together, 
 as it were, in purer and brighter tones than is possible in the 
 general wall color. In the average room, which has relatively 
 simple woodwork, baseboard and moulding, this interest is 
 best supplied in the stencil border pattern. 
 
 In a room whose walls are divided in panel treatment the 
 interest is supplied by the panel with the possible placing 
 of a medallion design in each panel. 
 
 When the architectural treatment includes beamed ceil- 
 ing and a heavy cornice, a stencil border is often not needed. 
 In cases, however, where there is too great a contrast between 
 the wall color and the color of the cornice and beams, as for 
 instance, cream walls and cathedral oak woodwork, the 
 
 
 
 
 
 L Page 125 ] 
 
stencil is really necessary to break the hard line and form a 
 bridge between the light color and the dark. Where the wall 
 color is complex, i. e., a stippled or mottled effect, and contains 
 the tones of the woodwork color, the stencil need not be so 
 conspicuous. 
 
 The stencil border keeps the center of interest well up in 
 the room, good practice especially where one doesn't want 
 the furniture and rugs too prominent (see page 50). Simple 
 walls, especially in plain colors, give a feeling of a higher 
 ceiling because the interest drops down to chairs, tables and 
 rugs. Where a spacious feeling is desirable as in the formal 
 parlor, small room or display room, the stencil border should 
 not be made too prominent or the colors in too high a key. 
 
 The stencil border should not be confused with the free- 
 hand design. Each has its own particular advantage and 
 either one loses as it attempts to imitate the other. The 
 stencilized design must have come from the hands of the 
 artist who has taken his motif from some nature form, some 
 geometrical or fantasy form, conventionalizing or treating 
 it to bring it to the form and style of the decoration. Stencil 
 designs which aim at a too naturalistic effect are not true 
 to their type and are but poor imitations of the freehand 
 mural painter's art. 
 
 Wall Stencils — Their Use and Application 
 
 The stencil has a technique all its own. A stenciled 
 design is recognized by the fact that the pattern is usually 
 made up of numerous spots of various forms separated from 
 their adjoining parts of the design by fairly uniform unpainted 
 spaces. This is due to the fact that in cutting the design, the 
 different parts of the sheet have to beheld together by ties 
 or narrow strips of uncut paper so that the sheet will not fall 
 to pieces. 
 
 The clever designer makes intelligent use of this seeming 
 limitation and produces patterns in which the stencil tech- 
 nique plays an important part. He conventionalizes the 
 picture or drawing of a flower, bird, or other object, so that 
 while one knows that a picture of the object is no longer 
 intended, the design (if a good one) becomes interesting because 
 of itself and the agreeable way in which colors and pleasing 
 forms have been assembled. In the truly successful stencil 
 
 [ Page 12G ] 
 
design, the ties holding the different parts together form an 
 important part of the interest of the pattern. One cannot 
 paint a portrait with a stencil of any object such as a man, a 
 flower or a bird. But it is possible to give a rendition of any 
 one of these, which if used in a decorative way, will be very 
 charming. 
 
 The stencil as used in wall decoration should not be con- 
 fused with the art of the mural painter. This artist works 
 out his landscapes, figures, flowers, etc., through freehand 
 sketching, although frequently making legitimate use of 
 pounce patterns to furnish the rough proportions and draw- 
 ing of the figure work. His work results in either a more 
 or less naturalistic or a fantasy form of the subject. Of 
 course many of these artists use block stencil designs, work- 
 ing them over by hand with a rather naturalistic effect, in 
 which case the stencil serves only as a guide to furnish the 
 drawing and ceases to be a stencil design as it is worked over. 
 
 In rendering flowers and other objects, the mural painter 
 does not limit himself strictly to nature's own colors. He sees 
 nothing amiss in painting blue roses, red tree trunks, an 
 ultramarine blue sky, deep lavender shadows, providing he 
 can achieve a certain result he has pictured in his mind's eye. 
 Of course any mural decoration in which these color effects 
 are used, verges upon fantasy, or may even be entirely the 
 creation of the artist's fertile imagination. But, rightly con- 
 ceived and executed, this is a true decorative art. While it 
 is true that the stencil design may be made to approach the 
 work just described through handwork, such effects lose 
 their stencil technique in proportion as they do take on the 
 other character. 
 
 From what has just been stated, it must not be assumed 
 that no freehand work is of advantage in the true stencil 
 design. Quite the contrary. That handwork, however, 
 must only enrich the design and not attempt to modify 
 it into a too naturalistic effect. There are many touches 
 which may be given that will improve the pattern many 
 times over. One may wipe out certain spots to produce a 
 "highlight," or shadow, and in other places brighter color 
 may be applied for emphasis. But the finished effect must 
 have the appearance of applied design and not of oil paint- 
 ings of flowers, etc., draped along the wall. 
 
 [ Page 127 ] 
 
Applying the second color with the 
 second part. The first part 
 is already on 
 
 Stencils are divided into two types: the block stencil and 
 the outline stencil. 
 
 The Block Stencil 
 
 The block stencil gives a complete pattern when applied. 
 This type of stencil is usually furnished in as many parts as 
 
 the finished pattern shows colors, 
 each part providing openings for 
 a certain color. For convenience 
 in handling, two colors are fre- 
 quently applied from one stencil 
 where the openings are separated 
 far enough to be brushed easily 
 without blurring into the other 
 color. In the stencil pattern call- 
 ing for two or more parts, guide 
 marks are provided so the flowers 
 register correctly with leaves, etc. 
 
 There are some very simple designs which look best when 
 left just as they are when stenciled on, such as Roman key 
 designs, or other small one and two-color patterns which 
 would look fussy if worked over too much. The person ap- 
 plying the stencil should use careful judgment as to whether 
 the circumstances really demand special treatment of the 
 stencil design. 
 
 Shading With the Brush 
 
 The amount of paint required to apply a stencil is rela- 
 tively small, so that a person can conveniently carry several 
 colors on a board or pallette while working. When stenciling 
 out a flower, for example, apply the flat color first, which is 
 the principal color of the flower. This will frequently be white 
 tinted with the required stencil color. With a brush apply 
 a darker shade (or a lighter tint according to the appearance 
 of the flower in nature) by brushing lightly with a rotary motion 
 over the center of the flower. This same principle may be ap- 
 plied to the leaves in certain cases. This blending should not 
 be overdone, however, or the border will look too spotty. 
 
 Block stencils may be applied in two ways, with opaque 
 color or transparent color; both have their place. Any trans- 
 parent color becomes opaque as soon as white or some of 
 
 [ Page 129 ] 
 
the wall color is added. Opaque colors are, of course, neces- 
 sary where the design is to be lighter than the background. 
 Opaque colors always appear softer and more pleasing when 
 
 they are thinned with 
 Glazing Liquid in pre- 
 ference to turpentine, 
 as they dry with a 
 slight sheen and have 
 
 
 This same stencil showing flower and leaves shaded 
 
 Stencil No. ;oM. a greater depth of 
 
 The block stencil applied simply in two colors color whcrCaS tur- 
 
 pentine frequently 
 causes the colors to 
 dry "chalky." 
 
 By transparent 
 colors we mean our 
 regular stencil colors 
 thinned to the desired intensity with Flat-Tone Glazing Liquid. 
 Transparent colors are always specified for use over 
 a glazed wall in Flat-Tone System Effect and for filling in 
 outline stencils. In using transparent colors the result 
 achieved is a soft, tinted effect, except where the colors are 
 used in too full strength, which permits the texture and color 
 of the wall to show through somewhat. 
 
 As these colors are fairly thin in consistency, the brush 
 should be used fairly dry. Too much color in the brush w^ill 
 cause the paint to run under the edges of the stencil and blur 
 the design. A little more care is necessary in using trans- 
 parent colors so that each repeat will be just as dark as its 
 neighbors. 
 
 If good judgment is used excellent results may be obtained 
 by varying the color (not depth of color) of the leaves and 
 flowers of the stencil design as it progresses around the room. 
 The colors used to make the roses redder, more orange, 
 grayer, brighter, etc., must be added gradually and the 
 variation must be kept within certain limitations. Through 
 this expedient, however, greater individuality is obtainable 
 and any resemblance to more conventional wall-paper border 
 effects avoided. In producing this variation always keep in 
 mind the colors of the rugs, drapes, etc. 
 
 [ Page 130 ] 
 
A Good Precaution 
 
 Lay the stencil face down on a newspaper, after applying 
 each length or two of the design, and wipe off the back with 
 a soft cloth. Be careful so that the cloth does not catch and 
 tear the stencil. 
 
 How Strong to Make the Stencil Color 
 
 Let the stencil be seen and not heard! Do not under any 
 consideration make the stencil so strong in color or so large 
 in size that it becomes the first and only thing one can see in 
 a room. If the stencil is in good color with the wall, each 
 will help the other and the stencil will give character to the 
 room. The colors should not impress one as too noticeable, 
 hard or aggressive in comparison with the other furnishings 
 of the room. 
 
 If the stencil design selected seems to be somewhat too 
 wide for the size of the room, this defect may be made less 
 obvious by keeping the colors in tones which do not stand 
 out too sharply from the wall. In garland stencils or in 
 designs which divide themselves in upper and lower parts, 
 the upper part should be made stronger and the lower part 
 softer in tone. The effect then will be of a much narrower 
 border. 
 
 The border which is too narrow cannot be helped by the 
 reverse treatment, however, as to render it in stronger colors 
 would result in its appearing conspicuously small and pinched. 
 The stencil commonly known as the binder stencil, fills a 
 somewhat different purpose. It is usually used in place of a 
 moulding, to frame a wall panel or cover the breaks in the 
 wall colors, as between the upper wall and the dado. In these 
 cases, the stencil is applied in heavier or stronger colors with 
 proper effect. 
 
 The Outline Stencil 
 
 The outline stencil gives one the outline, only, of the 
 design so that the filling in of leaves, flowers, etc., is done 
 by hand. This type of stencil permits of the very highest 
 quality in effect. The outline stencil is generally to be pre- 
 ferred for walls finished in a glazed, blended or mottled wall 
 finished in the Flat-Tone System Effects. It is not so practical 
 
 [ Page 131 ] 
 
Applying the Outline Stencil 
 
 to use over a plain color, that is, a wall not glazed or stippled. 
 
 The outline is to be applied in a 
 color darker than the wall so 
 that it will still show after the 
 fill-in colors have been applied. 
 This should be allowed to dry 
 hard before filling in the other 
 colors. As a rule, use one of the 
 colors in which the wall has been 
 glazed, grayed or neutralized, thin- 
 ning as necessary with Glazing 
 Liquid. For the filling in, have 
 several soft brushes of varying 
 widths for convenience, the wide 
 brush for the larger spots, and the narrow ones for the 
 stems and smaller spots. Fill in the spots of one color 
 first, stippling the surface lightly with a cloth to take 
 off the surplus color and remove brush marks. Use or- 
 dinary care not to brush or rub ^^^^^^^^-^~^^^_ 
 the color over the outline so as 
 to smear up the background. This 
 filling in should move along well 
 and not require too much time. 
 
 After the color has set for 
 about an hour (more or less accord- 
 ing to the rapidity of the drying) 
 certain spots can be picked out 
 by wiping with a cloth over the 
 finger, so as to produce the high lights. Shadows can be 
 used very effectively with outline stencils. As a rule, 
 
 these should be brushed on in a 
 uniform width under the lower 
 right hand edge of each leaf or 
 flower stem. They should be 
 stippled slightly as applied and 
 should not be too dark. The 
 effect produced should be that of 
 light coming from a certain direc- 
 tion and will be found to give a 
 greater depth of color and the pat- 
 
 Picking out the high lights tcm Stauds OUt in relief. 
 
 ,^^^ 
 
 l^i£^^c> 
 
 Filling in the Outline 
 
 [ Page 133 ] 
 
Correct Use of the Stencil 
 
 The stencil should be held flat against the surface to be 
 decorated. If necessary, a few thumb-tacks can be used to 
 prevent the stencil slipping. These will not injure the wall. 
 
 Apply the colors through the 
 openings of the stencil to the 
 exposed surface with a rotary, 
 scrubbing motion, making the 
 stencil brush help hold down the 
 stencil while it is applying the 
 color. A small stencil may 
 be held in position with one 
 hand while brushing with the 
 other. (Illustration page 129). 
 Use a regular stencil brush. It 
 should be clean and in good 
 order. See page 25 on the care of brushes. A short bristle 
 brush is best, as the color can be rubbed into the surface to 
 be decorated without danger of the bristles spreading and 
 working under the edge of the stencil. Stencil brushes may 
 be had in various sizes. A brush an inch-and-a-half in diameter 
 is best for general work. A half-inch brush is best, however, 
 for blending work in a design the size of the one shown in 
 illustration on page 130. 
 
 Hold the brush up straight against 
 the stencil 
 
 Stencil Paint and its Preparation 
 
 Sherwin-Williams Flat-Tone Glaze and Stencil Colors are 
 made for all stencil work over a wall decorated in Flat-Tone 
 or an oil paint. Sherwin-Williams Distemper Fresco Colors 
 or S-W Decotint are furnished for surfaces finished in water- 
 mixed paints. 
 
 Sherwin-Williams Glaze and Stencil Colors have great 
 tinting power, being made up in the full strength of the 
 various colors, for example; S-W Glaze and Stencil Color 
 Emerald Green gives a rich, full emerald hue, not a weak, 
 light or grayed color. A tube of these colors, then, goes a 
 long way, very little paint being necessary to tint white, 
 which is often used as the base for stencil colors. 
 
 This economy, together with their permanency, makes the 
 stencil colors desirable for all types of art work. 
 
 [ Page 134 ] 
 
To Reduce Strength of Color 
 
 The stencil colors, as they come from the tube, are fre- 
 quently too dark and intense to use. Reduction to secure a 
 lighter tint is therefore necessary. This may be accomplished 
 by one of these two methods: (1) Thin with S-W Glazing 
 Liquid. (2) Add Stencil White and thin to brushing con- 
 sistency with Glazing Liquid. Turpentine, which is a satis- 
 factory thinner for most paint, evaporates too quickly for 
 stencil work, causing the paint to pile up on the pattern so 
 that the stencil is liable to break when cleaning. Glazing 
 Liquid helps avoid this, and in addition does not cause the 
 stencil to dry too dead as turpentine will do, or too glossy as 
 when oil is used for thinning. 
 
 The addition of white causes the Glaze and Stencil Colors 
 to become opaque, but is necessary when the stencil color is 
 to be lighter than the background. 
 
 How Thick or Heavy to Have the Paint 
 
 If the paint is too heavy to brush on easily, the result 
 will appear spotty and will be hard to work. 
 
 When the paint is too thin, it is liable to run under the 
 stencil and blur. This may be avoided even with thin paint 
 by using the brush fairly dry, with little paint in it. When 
 "breaking in" a new stencil, make several prints on a piece of 
 wrapping paper, as there is a slight tendency in a brand new 
 stencil to run under on the first print. 
 
 Always try out the brush on a board or paper to see that 
 both brush and color are working right. 
 
 The Placing of the Stencil 
 
 Stencils of the type shown on page 129 give no dif- 
 ficulty to the worker. The border can be started at one 
 corner and carried around the room. This is true of any 
 stencil which does not separate noticeably into prominent 
 spots, large flowers or medallions. Where there are promi- 
 nent points of interest, the room will be in better 
 balance if these features are centered over the door or other 
 conspicuous opening or fixture of the room. Apply the 
 stencil at these points and work from there, filling in any odd 
 spaces with the leaf part or less important part of the design. 
 [ Page 135 ] 
 
stencil Rules 
 
 The selection as well as the proper placing of the stencil 
 pattern to conform to the construction of the room, division, 
 etc., is in itself a study. We feel the need of giving fundamen- 
 tal rules regarding just this feature of decorating, as the im- 
 proper placing has often been called to our attention. 
 
 Rule 1. — Use size of borders which will correspond to the 
 proportion of the room. Smaller borders are necessary in the 
 low ceilinged room, while the larger designs are required in 
 public interiors where the ceilings are often from twelve to 
 fifteen feet high. 
 
 Rule 2. — Select the character of the pattern which will 
 conform to the character of the room, as for instance, employ 
 the more conventional designs in those rooms which are con- 
 structed along the severe type, while the more floral patterns 
 are suitable in those rooms where the other features give a 
 suggestion of beauty of line. 
 
 Rule 3. — Do not use a simple stencil border in a room which 
 is to be decorated and furnished in a most elaborate style, 
 and vice versa, do not use an elaborate border in a simply 
 decorated and furnished room. 
 
 Rule 4. — Do not attempt to introduce a stencil border 
 when the wall is of such a character that a pattern will only 
 detract from the appearance. This is true with the wall 
 which is so much broken and cut up by window and door 
 spaces, other fixtures, etc., that unless the stencil is especially 
 designed for the particular room, it cannot be used with any 
 great amount of freedom. Panel work in some cases is ad- 
 visable under such conditions, but special stencil patterns 
 must be designed for this work. 
 
 Rule 5. — The color for the stencil has been mentioned 
 previously. As a rule, stronger colors are best for small 
 borders. For the larger border, colors which harmonize with 
 the wall color to a greater extent, are desirable. 
 
 Other Interesting Uses for Stencils 
 
 The Japanese are probably the most skilled of all artisans 
 in stencil cutting. They have, in fact, made the stencil it- 
 self a work of art, entirely independent of the stencil print. 
 Paper is used very similar to our heavy manila wrapping 
 
 [ Page 188 ] 
 
, paper. This is stained in dark antique effect, using burnt 
 umbers. The stencil when cut and completed is mounted 
 over bright colored silk and framed. The effect and work- 
 manship are wonderfully beautiful. Many of these stencils 
 resemble lace rather than stencils, so finely are they cut, the 
 design covering practically the entire space. Many of these 
 stencils are so fragile that the ties are re-enforced by hair 
 stretched across at intervals and cemented on. These de- 
 signs (defying our Occidental patience to reproduce) make 
 splendid framed exhibits or can be used for tea wagons and 
 trays, covered with glass. 
 
 Hand decorated velvets and curtainings will always be 
 in demand. Periodically there is a craze for this type of work 
 which usually plays itself out through being done to death, 
 and also because of poor results produced through lack of 
 skill. Hand stenciled velvets and curtains fall into the same 
 class as hand blocked wall-papers and fabrics, and do not 
 lend themselves to quantity production. Hand stenciled 
 fabrics can, of course, vary in color in the repeats which gives 
 this work a distinctive quality, not found in printed goods. 
 
 Either a border or an all-over pattern may be used. The 
 colors employed need not be run uniform over the entire 
 piece. The variation should, of course, be kept within certain 
 limitations, and where a red, for instance, is blended into a 
 red-orange, the blending should be gradual. This may be 
 accomplished by taking on a small amount of the red-orange 
 with the brush along with the red, without any great effort 
 being required. This is true of other colors also. A knowledge 
 of the simple rules of color harmony will .help make the right 
 choice of colors to use in blending. 
 
 If interested in stencil patterns write to the Department 
 of Decoration, The Sherwin-Williams Co., 601 Canal Road, 
 Cleveland, Ohio, and ask for complete stencil catalogue. 
 
 [ Page 139 ] 
 
Specifications follow covering the color plates shown in 
 the preceding pages: 
 
 A Neighborhood of Homes 
 
 The variety shown in the types of houses in this neigh- 
 borhood of homes is possible to reproduce "any where at will. 
 If a person purchases a lot and intends to build in a neigh- 
 borhood where there are already a number of homes of good 
 design, it is really incumbent upon him to give most careful 
 consideration to the selection of type in the home he is to 
 build. He will not be limited to only one style, but there will 
 probably be several styles he ought not to build — good in 
 themselves but not suitable when considered in relation to 
 his neighbors' homes. 
 
 Even though the most appropriate style of building might 
 be a possible second choice as far as personal preference is 
 concerned, the improved neighborhood or group effect would 
 result in increased value for every house. The same is true 
 of the painting treatment. Even though every person in 
 the neighborhood preferred the all white treatment in paint- 
 ing, the result would be unfortunate if all houses were white. 
 They would all become soiled with weather and would pre- 
 sent a very shabby street scene. White, or any color for that 
 matter, is interesting only as shown in some pleasant associa- 
 tion with other tones which will improve it and in turn are 
 improved themselves. 
 
 America has made a very definite contribution to archi- 
 tecture in the Colonial home. There are — broadly speaking — 
 three general types. One type is traced back to the style 
 home of which we still have many splendid specimens, whose 
 sturdiness has survived the ravages of wind and rain for all 
 these years. This type was popular in the northern states. 
 A modern reproduction of this style is shown as the center 
 home in our plate on page 16. 
 
 The Southern Colonial mansion made free use of the 
 column with splendid effectiveness and also gave us, very 
 largely, our American love of the porch or veranda. The 
 southern house made very general use of the second floor 
 porch also, or balcony. 
 
 The third type we call the Dutch Colonial house, which is 
 characterized by the hip roof. This broken roof provides 
 for more space in the upper story than could be had with a 
 
 [ Page 140 1 
 
straight roof. The small gray shingle cottage to the right in the 
 plate on page 12 is a modern rendering of this type. The 
 cobblestone chimney gives promise of a deep-throated fire- 
 place within and cosy winter evenings. 
 
 The home at the left is a virile example of the modern use 
 in architecture of primitive types. The gables with their 
 trimmed peaks remind one strongly of the English thatched 
 roof. The stucco walls may be trowelled smooth or given a 
 sandfloat finish which produces a more interesting texture and 
 light effect. 
 
 Specifications 
 House at the left: 
 
 Roof CoIor—S-yV Preservative Shingle Stain B-41. 
 Body Color — S-W Concrete Finish Cream. 
 Trim Co/or— SWP 388 Modern Brown. 
 Sash Color— SWF 496 Ivory. 
 
 Front Door — S-W Handcraft Stain Brown Oak, protected with S-W 
 Rexpar Varnish. 
 
 Center House: 
 
 Roof Color — S-W Preservative Shingle Stain C-74. 
 Body and Trim Color — SWP Outside Gloss White. 
 Front Door and Benches — S-W Old Dutch Enamel White. 
 Blinds— SWF 461 Willow Green. 
 
 Alternate Scheme: 
 
 Roof Color — S-W Preservative Shingle Stain B-41. 
 
 Body and Trim Color— SWF 496 Ivory. 
 
 Sash Color and Blinds — SWP 355 Sage Green. 
 
 House at the right: 
 
 Roof Color — S-W Preservative Shingle Stain C-72. 
 Body Color — S-W Preservative Shingle Stain C-82. 
 Trim and Sash Co/or— SWP Gloss White. 
 Blinds— SWF 498 Moss Green. 
 
 The Bungalow Home 
 
 Although the California background makes these homey 
 little bungalows doubly attractive, the lover of our eastern 
 scenery will place them as effectively wherever he "builds 
 his nest." 
 
 A gratifying sign of the times is the growth of community 
 plannings. Many contractors and building companies plan 
 and build entire neighborhoods with a view toward securing 
 harmony in style and painting treatment. Such practice 
 insures every individual home of appearing its best, both 
 alone and in the neighboring group of houses. 
 
 [ Page 141 ] 
 
Specifications 
 House at the left: 
 
 Roof Color— S-W Preservative Shingle Stain C-72. 
 Body Color — S-W Preservative Shingle Stain B-47. 
 Trim Color— SWF 391 Quaker Drab. 
 Front Door — Same as trim color. 
 
 Center House: 
 
 Roof Color — S-W Preservative Shingle Stain B-41. 
 Body Color — S-W Concrete Finish Cream. 
 Trim Co/or— SWP 499 Antique Brown. 
 
 Front Door — S-W Handcraft Stain Fumed Oak, protected by S-W 
 Rexpar Varnish. 
 
 House at the Right: 
 
 Roof Color — S-W Carbolic-ol Shingle Stain, Extra Dark. 
 
 Body Cofor— SWP 496 Ivory. 
 
 Trim Color— SWF 355 Sage Green. 
 
 Front Door — S-W Golden Oak Stain, protected with S-W Rexpar. 
 
 A Small English Stucco Residence 
 
 To the person who has an appreciation of architectural 
 values, the simple quaintness of this little home with its 
 English casement windows and Gothic door, would be a 
 constant source of delight. 
 
 The concrete bird basin has been made the center of in- 
 terest in a clump of formal dwarf evergreens. It will provide 
 an interesting spot both in itself and the bird life it will bring 
 to the lawn. 
 
 Specifications 
 
 Body Color — S-W Concrete Finish Extra Light Gray. 
 
 Trim Color — Window Casings and Sash, SWP 496 Ivory. 
 
 Door — S-W Handcraft Stain Weathered Oak, protected with S-W 
 
 Rexpar Varnish. 
 Roof Color — S-W Preservative Shingle Stain B-41. 
 
 A Home in Colonial Yellow 
 
 A dominant feature of the old Colonial homes that have 
 come down to us, is the scrupulous care bestowed upon the 
 detail of doors and entryways, cornice, paneling, etc. Our 
 best makers of standard millwork have caught the spirit so 
 that one may now secure very creditable pieces for the modern 
 Colonial residence, 
 
 [ Page 142 ] 
 
Good design is the element of architecture which never 
 goes out of style, and we are only beginning to come to a 
 true appreciation of the value of our old colonial architecture 
 and the lessons it still holds for us. 
 
 The brick walk adds a touch of color texture and is less 
 formal then plain flagging would be. 
 
 Specifications 
 
 Roof Color — S-W Preservative Shingle Stain B-41. 
 Body Color— SWF 375 Colonial Yellow. 
 Trim Co/or— SWP Outside Gloss White. 
 Front Door— S-W Old Dutch Enamel White. 
 Blinds— SWF 498 Moss Green. 
 
 A Cosy Little Farm Cottage 
 
 The last few years have brought about the most remark- 
 able change in the type of farm homes. Freer communication 
 and transportation facilities have brought about a wider 
 interchange of ideas, so that the principal difference between 
 the modern farm home and the city residence is that the 
 farm home has decidedly the better setting of the two. With 
 more people passing his door in a day now than formerly 
 went by in a month, the farmer naturally has a greater in- 
 centive, pride and pleasure in having a real home, than ever 
 before. Any one of the homes shown in this volume, there- 
 fore, is just as much a farmer's home as a city or suburban 
 residence. 
 
 Specifications 
 
 Roof Color — S-W Preservative Shingle Stain C-74. 
 Body and Trim Color— SWF Outside Gloss White. 
 Blinds— SWF 461 Willow Green. 
 Barn and Wood Silo — S-W Commonwealth Barn Gray. 
 
 A Comfortable Living- Room 
 
 A glowing log in the fireplace, a great big arm chair, your 
 favorite book and the soft light of the reading lamp by your 
 shoulder — who could ask for more on a long winter evening? 
 
 The Colonial built-in bookcase can be furnished ready to 
 install by our modern makers of fine mill work. The mantel- 
 piece would, we think, be just as interesting done in tapestry 
 brick as in the marble or sandstone of our illustration. The 
 polychrome candlesticks may be wired for electric lamps 
 
 [ Page 14.3 ] 
 
and furnished with parchment shades with wonderful effect. 
 Parchment shades provided for the candelabra too, will pro- 
 vide a softer and more diffused light than the open fixture. 
 Specifications 
 
 Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 
 
 Wall Color — Flat-Tone Mixture Silver Gray and Caen Stone or Flat-Tone 
 Multi-Color Stipple Effect No. 26, requiring Flat-Tone Silver Gray 
 and Caen Stone equal parts foundation color, stippled with Flat- 
 Tone Silver Gray and Cream. Put on with sponge. Thin with 
 one part Mixing Size to three parts Flat- Tone. 
 
 Woodwork, Oak — Sherwin-Williams Handcraft Stain Brown Oak. Sher- 
 win-Williams Scar-not Varnish (see page 53). 
 
 Floor, Oak — Protected with Sherwin-Williams Mar-not Varnish. 
 
 A Dainty Room in Ivory Tan and Blue 
 
 Here is a suite of rooms which would be the delight of any 
 girl, and the girl's mother too, for that matter. The sunshine 
 in this room was put there when the colors were chosen for 
 the walls, the friendly ivory of the enameled woodwork and 
 furniture, and the genial warmth of the pongee curtains. 
 Deep blue rugs always give a feeling of richness when combined 
 with old ivory. 
 
 Specifications 
 
 Ceiling Color — Sherwin-Williams Flat- Tone Ivory White. 
 
 Wall Color— Flat-Tone Ivory Tan or Flat-Tone Multi-CoIor Stipple 
 Effect No. 40, requiring Flat- Tone Ivory Tan foundation color, 
 stippled with Flat- Tone Silver Gray 2 parts, Cream 1 part. Put on 
 with a sponge. Thin with 1 part Mixing Size to 3 parts Flat-Tone. 
 
 Stencil Border — Design No. 7071 applied with S-W Glaze and Stencil Colors. 
 Stems, Japanese Brown; Leaves, Olive Lake, Raw Sienna and 
 White, equal parts; Bird, White, tinted with Rose Lake and Black. 
 
 Woodwork — Sherwin-Williams Old Dutch Enamel Ivory White. 
 
 Floor, Oak — Protected with S-W Mar-not Varnish. 
 
 Rug — Deep blue in solid color. 
 
 Curtains — Pongee. 
 
 Furniture — Ivory White Enamel striped with rose. 
 
 Adjoining Room 
 
 Ceiling Color — Sherwin-Williams Flat-Tone Caen Stone. 
 
 Wall Color— Flat-Tone Shell Pink reduced with Flat-Tone White. 
 
 Colonial Bedroom 
 
 There is a sincerity in the treatment of this bedroom that 
 is refreshing. The honest and sturdy furniture speaks for 
 comfort and service. The stippled wall has been made prom- 
 inent so as to show the texture one would not find except 
 at closer observation. The wall may be made darker or 
 lighter as desired. 
 
 [ Page 144 ] 
 
Specifications 
 
 Ceiling Color — Flat- Tone Ivory White. 
 
 Wall CoZor— Flat-Tone Multi-Color Stipple Effect No. 34, requiring Flat- 
 Tone Pearl Gray foundation color, stippled with Flat-Tone Caen 
 Stone 1 part and White 2 parts. Put on with a sponge. Thin 
 with turpentine. (Foundation color, Pearl Gray, may be tinted 
 shghtly with Flat-Tone Pale Azure). 
 
 Stencil Design— No. 7054, requiring the following colors: Leaves, White 
 tinted with Raw Sienna; Flowers, White tinted with Cobalt. 
 
 Woodwork— Old Dutch Enamel Ivory White (see page 60). 
 
 FlooFi Oak — Protected with Mar-not Varnish (see page GT"). 
 
 Furniture — Dark Colonial Mahogany (see page 53). 
 
 Drapes and Lighting Fixtures — Figured silk or cretonne. 
 
 Curtains — White net. 
 
 Rag rugs — In blue and black. 
 
 Adjoining Room 
 
 Ceiling Co/or— Flat-Tone Caen Stone. 
 
 Wall Co/or— Flat-Tone Multi-Color Stipple Effect No. 29, requiring Flat- 
 Tone Silver Gray and Shell Pink foundation color, stippled with 
 Flat-Tone Silver Gray 2 parts and Ivory 1 part. Put on with a 
 sponge. Thin with 1 part Mixing Size to 3 parts Flat-Tone. 
 
 A Colorful Dining-Room 
 
 Perhaps you experience the same pleasure we felt upon first 
 seeing the satisfying richness of color displayed in this dining- 
 room. One can see that the blue fruit bowl is a prized posses- 
 sion and deserves its place of honor. The intense color of the 
 candlestick shades, fruit dish and upholstery of the chairs 
 can retain their full value and effectiveness only when pro- 
 perly supported by the heavier values of the wall color and 
 rug. Birch woodwork was indicated in this room, stained in 
 Antique Brown Mahogany, which takes so well on birch. 
 
 Specifications 
 
 Ceiling Color — Sherwin-Williams Flat-Tone Ivory or Ivory White. 
 
 Wall Color—S-yV Flat- Tone Buff Stone or S-W Flat-Tone Svstem Effect 
 
 No. 3. Flat-Tone System Effect No. 3, requiring Flat- Tone Ivory 
 
 and Glaze Color Japanese Brown. 
 Woodwork, Birch~S-W Acid Stain Brown Mahogany, No. 700, protected 
 
 with S-W Scar-not Varnish. 
 Floor, Oak— S-W Golden Oak Paste Filler; S-W Mar-not Varnish. 
 
 [ Page 145 ] 
 
Specifications 
 The Little Gray Cottage 
 
 Roof Color — Sherwin-Williams Preservative Shingle Stain A-21. 
 Body Color — Preservative Shingle Stain C-82. 
 Trim Color— SWP 496 Ivory. 
 
 A Man's Room 
 
 Ceiling Color — S-W Flat-Tone Silver Gray and Cream. 
 
 Wall CoZor— S-W Flat-Tone Buff Stone and Pale Azure. 
 
 Woodwork and Beams — S-W Handcraft Stain Green Weathered Oak or 
 Sherwin-Williams Acid Stain Silver Gray with a toner of Flat- 
 Tone Buff Stone and Pale Azure, equal parts (see page 57). 
 
 Floor (Stained) — S-W Handcraft Stain Cathedral Oak, S-W Mar-not 
 Varnish. 
 
 Floor Lamp — Metal standard with shade of mottled parchment paper. 
 
 Furniture — Figured tapestry, velour. 
 
 A Homey Living- Room 
 
 Ceiling Color — Sherwin-Williams Flat- Tone Ivory White. 
 
 Wall Color — Sherwin-Williams Flat- Tone System Effect No. 36, requiring 
 a foundation color of Flat-Tone Caen Stone. Over this are applied 
 two mixtures of Flat-Tone Glazing Liquid tinted with Flat-Tone 
 Glaze and Stencil Colors Ivory Drop Black and Burnt Sienna 
 respectively. These colors are applied to the wall and stippled 
 with a crumpled cloth to produce texture (see page 118). 
 
 Stencil Border — Design No. 3009 outline applied with Glaze and Stencil 
 Color Raw Umber and filled in with Glaze Colors Olive Lake, Raw 
 Sienna and Orange Lake (see page 125 on stencils). 
 
 Woodwork Trim — Sherwin-Williams Old Dutch Enamel Ivory White. 
 
 Doors, Birch — Sherwin-Williams Acid Stain Permanent Mahogany No. 
 700, Antique Brown, protected with Sherwin-Williams Scar-not 
 Varnish. 
 
 Floor, Oak — Sherwin-Williams Oak Paste Filler, Mar-not Varnish. 
 
 Rug — Figured brown. 
 
 A Dining- Room in the Spirit of Old Colony Days 
 
 Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 
 
 Wall Color — Sherwin-Williams Flat-Tone System Effect No. 29, requiring 
 a foundation color of Flat-Tone Caen Stone. Over this are applied 
 two mixtures of Sherwin-Williams Flat-Tone Glazing Liquid, 
 tinted with Flat-Tone Glaze and Stencil Colors Japanese Brown 
 and Cobalt Blue respectively. These are stippled with a crumpled 
 cloth to produce texture (see page 118). 
 
 Stencil Border — Design No. 7055, applied with Sherwin-Williams Glaze 
 and Stencil Colors: Outlined with Raw Sienna and filled in with 
 Raw Sienna, Olive Lake and Orange Lake. 
 
 Woodwork — Sherwin-Williams Old Dutch Enamel Ivory White, with 
 carpet strip in Handcraft Stain Extra Dark Mahogany. 
 
 Floor, Oak — Oak Paste Filler, Mar-not Varnish. 
 
 Rug — Solid color dull green. 
 
 [ Page 146 ] 
 
Specifications 
 A Charming Living- Room in Gray and Green 
 
 Ceiling Coloi — Sherwin-Williams Flat-Tone Ivory White. 
 
 Wall Co/or— Sherwin-Williams Flat-Tone Multi-Color Stipple Effect No. 
 25, requiring Flat- Tone Silver Gray foundation color stippled with 
 Flat-Tone Silver Gray and Ivory. Put on with a sponge. Thin 
 with 1 part Mixing Size to 3 parts Flat-Tone. 
 
 Stencil Border — Design No. 7051, applied with White tinted with Flat- 
 Tone Glaze and Stencil Color Deep Olive for the leaves; White 
 tinted with Rose Lake for the flowers. 
 
 Floor, Oak — Sherwin-Williams Oak Paste Filler, Mar-not Varnish. 
 
 Rug — Dark blue-green. 
 
 A Cheerful Dining-Room in Modern Treatment 
 
 Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 
 
 Upper Wall Co/or— Sherwin-Williams Flat- Tone Multi-Color Stipple Ef- 
 fect No. 40, requiring Flat-Tone Ivory Tan foundation color, 
 stippled with Flat-Tone Silver Gray 2 parts, Cream 1 part. Put on 
 with a sponge. Thin with 1 part Mixing Size to 3 parts Flat- Tone. 
 
 Stencil Border — Design No. 7072 applied with S-W Glaze and Stencil Colors; 
 Flower centers, Orange Lake 1 part, Raw Sienna 1-6 part and 
 White 1 part. Leaves, White tinted with Raw Sienna and Cobalt. 
 Stems, White 1 part. Cobalt 1-8 part, and Raw Sienna 1-16 part. 
 Flowers, Cobalt 1-2 part and White 1 part. 
 
 Lower Wall Color — Sherwin-Williams Flat-Tone System Effect No. 27, re- 
 quiring Flat-Tone Silver Gray and Pale Azure foundation color, 
 stippled with Flat-Tone Silver Gray 2 parts and Ivory 1 part. 
 Put on with a sponge. Thin with 1 part Mixing Size to 3 parts 
 Flat-Tone. 
 
 WoodworkS-W Old Dutch Enamel White. 
 
 Overdrapes — Figured cretonne. 
 
 Rug — Solid color, deep Chinese blue. 
 
 A Bathroom in Soft Sea Green 
 
 Ceiling and Walls — S-W Flat- Tone Lichen Gray. 
 
 Woodwork and Wainscoting — Old Dutch Enamel Ivory White. 
 
 Floor — Figured linoleum, protected with S-W Mar-not Varnish. 
 
 A Hospitable Hall 
 
 Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 
 
 Wall Co/or— Sherwin-Williams Flat-Tone Cream or Flat - Tone Multi- 
 Color Stipple Effect No. 32, requiring Flat- Tone Cream foundation 
 color stippled with Flat-Tone Ivory for 1st mixture; 2nd mixture: 
 Flat- Tone Silver Gray 1 part and Cream 2 parts. Put on with a 
 sponge. Thin with 1 part Mixing Size to 3 parts Flat- Tone. 
 
 Woodwork Trim and Step Risers — Sherwin-Williams Old Dutch Enamel 
 White. 
 
 Doors, Stairlreads, Handrail, Birch — Sherwin-Williams Acid Stain Perma- 
 nent Mahogany No. 700, protected with Sherwin-Williams Scar-not 
 Varnish, Mar-not Varnish for stairtreads. 
 
 Floor, Oak — Oak Paste Filler, Mar-not Varnish. 
 
 Furniture — Dark Colonial Mahogany. 
 
 Rugs — Oriental or Anglo-Persian. 
 
 [ Page 1 47 ] 
 
Specifications 
 A Happy Treatment for the Dutch Colonial House 
 
 Roof Color — S-W Preservative Shingle Stain B-41. 
 
 Body Color—SWF 496 Ivory. 
 
 Trim Color and Blinds — SWP 461 Willow Green. 
 
 A Living-Room in Old Ivory, Blue and Mulberry 
 Ceiling Color— S-W Flat-Tone Ivory White. 
 Wall Color — Flat- Tone Ivory Tan or Flat-Tone Cream and Ivory, equal 
 
 parts. 
 Woodwork, Birch — Finished in Permanent Mahogany Stain No. 700, 
 
 Antique Brown, protected with Scar-not Varnish (see page 49). 
 
 Floor — Finished in Oil Stain Walnut, protected with Mar-not Varnish 
 
 (see page 49). 
 Furniture (Jacobean) — Oak table protected with Scar-not Varnish, Cabinet 
 
 finished in Velvet Finish No. 1044. Chairs upholstered in velour. 
 Rug — Solid color deep blue. 
 Floor Lamp — Shade finished in a two-color glaze effect requiring Glaze 
 
 Color Italian Blue and Alizarine Green. 
 Mantel — Finished in Old Dutch Enamel Ivory White, wiped in Glaze 
 
 Color Raw Sienna and Japanese Brown, equal parts. 
 
 Dining- Room in Gray 
 
 Ceiling Color — Flat-Tone Caen Stone. 
 
 Wall Co/or— Flat-Tone Multi-Color Stipple Effect No. 25, requiring Flat- 
 Tone Silver Gray foundation color stippled with Flat- Tone Silver 
 Gray and Ivory. Put on with a sponge. Thin with 1 part Flat- 
 Tone Mixing Size to 3 parts Flat- Tone. 
 
 Woodwork — Old Dutch Enamel White (see page 60). 
 
 Floor, Oak — Protected with Mar-not Varnish. 
 
 Furniture (Jacobean) — American walnut finished in Handcraft System 
 Effect No. 40 (see page 57). 
 
 Rug — Solid color, deep maroon. 
 
 Breakfast Room in Blue and Tan 
 
 Ceiling Color— S-MV Flat-Tone Ivory White. 
 
 Wall Color— S-\\ Flat-Tone Ivory Tan— Alternative wall color, Flat- 
 Tone Cream. 
 
 Floor, Oak — Protected with Mar-not Varnish — Alternative floor treatment, 
 Battleship linoleum in shade of Tete de Negre, protected with 
 Mar-not Varnish. 
 
 Table and Windsor Chairs — Finished in Enameloid Sky Blue. 
 
 Curtains — White cretonne figured in dull orange and blue. 
 
 A Kitchen in Ivory and Blue 
 
 Ceiling and Walls — Enameloid Ivory White. 
 
 Wainscoting, Keene's Cement — Old Dutch Enamel Gloss White. 
 
 Floor — Checkered blue and white linoleum protected with S-W Mar-not 
 Varnish. 
 
 Note: Mar-not Varnish will make the linoleum easier 
 to wash up and will protect the figure and prevent its wear- 
 ing shabby (see page 75.) 
 
 Drain Boards — White porcelain. 
 
 Curtains — Figured cretonne. 
 
 [ Page 148 ] 
 
Chapter XII 
 
 Miscellaneous Interior Finishing 
 
 A WONDERFUL opportunity exists to give the home 
 a pleasing, harmonious and distinctive atmosphere 
 through the intelHgent use of paint and varnish 
 materials on the little things about the house. Many articles 
 which do not exactly correspond with the present scheme of 
 decoration, or which may be a little out of date, may be re- 
 finished in appropriate modern effect with very little trouble. 
 
 Hard wear and occasional accidents also cause certain 
 pieces of furniture to become worn and marred so that they are 
 not up to the general standard of the room. A coat of varnish, 
 stain, enamel or whatever may be necessary will brighten up 
 these pieces, and make them look practically like new again. 
 
 Then, too, almost every home has stowed away in the 
 attic or storeroom discarded articles which have seen better 
 days. These can be transformed into beautiful and useful 
 pieces of furniture, with a little paint or varnish, enamel, 
 stain, aluminum, gold, etc. 
 
 And the best part of it all is that this work is easy, quick 
 and interesting, and the cost of the small amount of paint 
 necessary, immaterial. 
 
 Following are some suggestions for the treatment of "little 
 things about the house" which will indicate the possibilities 
 in this direction in every home. 
 
 Andirons, Ornamental Iron, Etc. 
 For these surfaces use S-W Flat Black. It comes ready for 
 use and should be applied in one or two coats with a brush. 
 Also suitable for use on wooden surfaces to give the effect of 
 wrought iron. 
 
 Bath Tubs, Refrigerators, Sinks, Etc. 
 Metal lined bath tubs, refrigerators, sinks, etc., should 
 be kept protected with the heavy porcelain-like, water and 
 germ-proof surface which S-W Bath Enamel will give them. 
 
 [ Page 149 ] 
 
Before applying, clean thoroughly and wipe off with a 
 cloth saturated with benzine to remove all grease and soap 
 deposits. Rub surface with fine sandpaper or with pumice- 
 stone until it is smooth so that the enamel will more easily 
 adhere. Stir enamel thoroughly from bottom of can and 
 apply with a fitch or soft bristle brush, spreading evenly, 
 and in thin coats. Allow about twenty-four hours for each 
 coat to dry, and for best results, sandpaper lightly, with fine 
 finishing paper or moss, between coats. Three coats are 
 necessary if a porcelain-like surface is desired. Several 
 days should be allowed after the last coat has been applied 
 before permitting water to touch the surface. Then run cold 
 water in first to assist it in hardening. If the enamel is too 
 heavy to work freely, thin it slightly, using about a pint of 
 turpentine to a gallon of enamel. Keep the enamel well 
 covered when not in use. 
 
 For tubs not previously enameled or on bare spots, a coat 
 of Bath Enamel Ground should be given and allowed to stand 
 forty-eight hours before applying Bath Enamel. 
 
 Bedsteads 
 
 Bedsteads may be refinished to correspond with the 
 decorative scheme of any room, or if marred and worn, 
 may be made like new again with S-W Enamel or Enameloid. 
 White, black and many attractive colors. Full directions for 
 enameling will be found on page 60. 
 
 Chairs 
 
 Chairs permit of many pleasing methods of decoration, 
 depending upon the style of chair, the corresponding furnish- 
 ings, the preference of the owner, etc. For instance, chairs of 
 the light, daintily constructed type may be finished in gold 
 or aluminum or in dainty pink, blue or gray or ivory enamel to 
 harmonize with the decoration and furnishings. Large arm 
 chairs, morris chairs, etc., may be finished in Handcraft 
 Stain Effects, as desired. Wicker chairs may be finished with 
 S-W Enamel or Enameloid, Varnish Stain or Clear Varnish. 
 Dining room chairs may be varnished. Information regarding 
 enameling, varnishing, etc., will be found on pages 48 and 60. 
 
 [ Page 150 ] 
 
The allic may be made very allraclive with pre- 
 viously discarded furniture made to look like 
 new again with a Utile paint and varnish 
 
 Clothes Closets 
 
 Clothes closets are usually dark, unattractive places. They 
 can be made just the opposite. A window to flood the room 
 with sunshine and permit frequent airings, an electric light 
 to make it easy to see at night and on dark days, and a coat 
 of S- W White Enamel or S-W Flat-Tone Ivory or Ivory White 
 
 on the walls, will make the 
 clothes closet a most at- 
 tractive little room, light, 
 sanitary and convenient 
 to use. Full directions for 
 enameling on page 60. 
 
 Library and Dining- 
 Room Tables, Etc. 
 
 Dining-room and libra- 
 ry tables and other similar 
 pieces of furniture may be 
 refinished if directions are 
 followed carefully; al- 
 though with very fine articles it is better to employ an 
 expert finisher. Full directions for finishing will be found 
 on pages 47 to 66. 
 
 Fixtures 
 
 Fixtures of all kinds can be made to harmonize with deco- 
 ration and furnishings with suitable paint or varnish products. 
 
 Pretty and dainty effects can be obtained with S-W 
 Aluminum Paint, S-W Empress Liquid Gold, which is put 
 up ready for use, or S-W Imperial Gold Enamel, which comes 
 with powder and liquid separate and is mixed by the user. 
 Subdued or contrasting effects as desired may be obtained 
 with S-W Flat-Tone; and more modest effects may be ob- 
 tained with S-W Black Enamel or Flat Black. Full directions 
 for enameling will be found on page 60. 
 
 Furniture 
 
 Furniture of all kinds that is worn or marred may be easily 
 refinished by the housewife with S-W Floorlac, which 
 produces a beautiful stained and varnished effect in one 
 operation. On surfaces previously finished with varnish stain 
 
 [ Page 151 ] 
 
or varnish, simply sandpaper with 00 sandpaper and apply 
 the Floorlac. If surface is in very bad condition or has been 
 previously painted, apply a coat of S-W Floorlac Ground 
 before applying the Floorlac. 
 
 Fine pieces of furniture, however, such as pianos, victrolas, 
 fine dining-room sets, library tables, etc., should not be at- 
 tempted by those without practical experience and an expert 
 finisher should be employed to do this work. 
 
 Radiators, Boilers, Water Pipes, Etc. 
 
 There are several kinds of finishes which can be used on 
 these surfaces. Where a metallic effect is desired, S-W Liquid 
 Gold or S-W Aluminum Paint may be employed. One coat 
 of this material should give a satisfactory surface. For 
 best results, apply when the surface is slightly warm, and 
 after use allow at least twenty-four hours before subjecting 
 to high temperature. 
 
 If a finish matching enameled woodwork is desired, use 
 S-W Enamel or S-W Enameloid in the desired tint as directed 
 for woodwork, page 60. When the radiators are new and 
 have not been given a priming coat at the factory, S-W Gal- 
 vanized Iron Primer is necessary as a first coat (before building 
 up the undercoating of flat paint) . 
 
 Where the radiators are to be finished to match the walls, 
 employ one of the following methods: (a) If the surface 
 was never painted, apply S-W Galvanized Iron Primer, and 
 in twenty-four hours, apply second and third coats of S-W 
 Flat-Tone and a coat of S-W Glaze Color thinned with S-W 
 Glazing Liquid as directed on page 118 for glazing walls; (b) 
 Apply S-W Aluminum Paint or S-W Empress Liquid Gold, 
 and after twenty-four hours, use S-W Glaze Color thinned 
 with S-W Glazing Liquid as directed for last coat in mottling 
 walls, page 118. 
 
 Stove- Pipes 
 
 Old stove-pipes, grates and similar iron surfaces subjected 
 to heat may be refinished with S-W Stove Pipe and Iron 
 Enamel. Should be applied when the surface is slightly 
 warm and allowed to dry at least twenty-four hours before 
 subjecting to a high temperature. This material produces 
 little, if any odor, which entirely passes away after the first 
 time of heating. 
 
 [ Page 152 ] 
 
Tfie housewife spends much lime in the kHrhen. 
 II should h'' co:y and allraclire 
 
 Shelves, Flower Boxes, Cupboards 
 These little things may be finished in a variety of ways to 
 
 suit the taste and the re- 
 quirements in each case. A 
 painted finish in almost any 
 desired color may be ob- 
 tained with S-W Family 
 Paint or S^YP. If an 
 enameled finish is desired, 
 S-W Enamel or S-W 
 Enameloid may be used, 
 in white, black or one of 
 the pretty shades of blue, 
 pink, green, gray, ivory, 
 etc. Or if a flat finish is 
 wanted, S-W Flat-Tone in 
 white or colors may be 
 used. Full directions for enameling will be found on page 60. 
 
 Toys 
 
 Some of the more elaborate toys — rocking-horses, wagons, 
 etc., may l)e brightened up now and then with a little S-W 
 Family Paint, SWP, Floorlac or Scar-not Varnish, as desired. 
 
 Window Sills, Wainscoting, Baseboards, Etc. 
 
 Window sills are subjected to unusual conditions because 
 of rain and extremes of temperature, and wainscotings, base- 
 boards, etc., Ijecause of scrubbing and mopping the floors. 
 S-W Rexpar Varnish is the best varnish to use for such work, 
 as the service required approximates the conditions found 
 out-of-doors. It will pay to touch up the window sills, also 
 window frames and casing, at least once a year. Full direc- 
 tions for varnishing will be found on pages 49 to 52. 
 
 Making the Basement Attractive 
 The basement can be transformed into a light, attractive 
 
 and sanitary room through the use of paint and varnish 
 
 products. 
 
 Walls and Ceilings — Painting the walls and ceiling white is 
 
 the biggest thing that can be done to improve a basement. 
 
 S-W Egg-Shell Mill White is the best material to use for this 
 
 [ Page 153 ] 
 
purpose. It is an oil paint which gives a very durable, ex- 
 tremely white finish and can be used on rough lumber, stone 
 or brick walls and metal surfaces alike. More moderate 
 priced materials, which give excellent results for the same 
 purpose, are S-W Kalso, a hot- water paint, and S-W Decotint, 
 a cold-water paint, both of which come in dry powdered 
 form and only require to be mixed with water for applica- 
 tion. May be applied to any clean interior surface — rough 
 lumber, stone or brickwork, metal, plastered walls, etc. 
 
 Cement or Concrete Floors — -An attractive painted finish may 
 be produced with S-W Concrete Floor Paint, a line 
 of eight colors developed especially for use on concrete and 
 cement. If trouble is experienced from dusting or lack of 
 waterproof qualities, another treatment entirely should 
 be used, that of hardening the floor by means of S-W Concrete 
 and Cement Hardener. This is a liquid preparation, clear in 
 color. Full directions for the treatment of cement surfaces 
 will be furnished on application to The Sherwin-Williams 
 Co., 601 Canal Road, Cleveland, O. 
 
 Piping — Pipes of all kinds may be made more attractive 
 in appearance with a coat of S-W Aluminum Paint. 
 
 Stationary Tubs — Stationary wash tubs also may be made 
 attractiv^e in appearance by painting the outside with S-W 
 Aluminum Paint. If a white finish is preferred S-W Egg- 
 Shell Mill White may be used, which will not rub off on 
 clothing. 
 
 [ Page 154 ] 
 
Chapter XIII 
 
 Miscellaneous Exterior Finishing 
 
 HOUSE Painting, as the term is commonly applied to 
 the exterior painting of wooden buildings with an 
 oil gloss paint, is taken up in detail in Chapters II, 
 III, IV and V, "The Four Purposes of Painting," "The Right 
 Use of Paint," "Estimating" and "Individual Treatment in 
 Exterior Painting." 
 
 In addition, however, there are many exterior surfaces on 
 and about the house which require finishing, either at the 
 time the house is painted or at another time. 
 
 The finishing of these miscellaneous exterior surfaces will 
 be taken up in the following pages. 
 
 Staining Shingles 
 
 Shingled roofs and the sides of shingled buildings are 
 generally finished with some form of shingle stain which 
 penetrates into or dyes the wood, bringing out the natural 
 effect of the grain of the wood instead of coating and con- 
 cealing the surface. Shingle stains are usually made with 
 creosote, which tends to stop decay as well as prevent the for- 
 mation of fungus growth and the attack of insects, a factor 
 of particular advantage in certain localities subject to the 
 ravages of the white ant and other wood-boring insects. 
 
 In the use of Sherwin-Williams Preservative Shingle 
 Stain on new surfaces, the shingles may be either dipped or 
 brushed. We recommend one dip coat and one brush coat, 
 the dip coat covering both sides of the shingles and under- 
 neath the lap for a distance, and the brush coat insuring a 
 more uniform appearance. In dipping, the shingles should 
 not be soaked in the stain, but dipped in and out rapidly, 
 allowing the excess stain to drain back into the container, 
 and the shingles thrown into a loose pile so that they will dry 
 quickly. Only two-thirds of the length of the shingle need 
 be dipped. 
 
 [ Page 155 ] 
 
In the use of S-W Preservative Shingle Stain over previous- 
 ly stained surfaces which are satisfactory in color, the finish 
 may be very effectively renewed by using S-W Preservative 
 Shingle Stain of the color originally used, thinned gallon 
 for gallon with pure raw linseed oil. If another shade is 
 desired two coats of stain should be used. In restaining, a 
 lighter shade than is actually desired should always be used, 
 as stains invariably dry out darker on old surfaces than on 
 new. 
 
 However, there are many limitations in restaining, owing 
 to the transparent nature of shingle stains. For instance, if 
 surface has been previously stained red, it cannot be restained 
 green or vice versa, as the refinishing coat will not satisfacto- 
 rily hide the original coat. In many cases, very satisfactory 
 effects may be obtained in restaining. For instance, a bright 
 red over a light brown will give a handsome maroon color; 
 a bright green over a light brown will give a beautiful maple 
 green effect, etc. 
 
 Sherwin-Williams Preservative Shingle Stain covers ap- 
 proximately 100 square feet two coats, or 150 square feet one 
 coat to the gallon, if brushed. Two and one-half gallons will 
 dip about 1000 shingles one coat. Three gallons will cover 
 about 1000 shingles, one dipping coat and one brush coat. 
 These estimates for covering capacity, however, can be only 
 approximate, owing to the varying character of the shingles, 
 whether dressed or rough, hard or soft, etc. 
 
 In cases where the use of shingle stain is not desirable, 
 shingles may be very effectively painted with Sherwin-Wil- 
 liams SWP House Paint to which should be added about 
 25 per cent pure spirits turpentine, which has a tendency to 
 reduce the apparent gloss of the paint. 
 
 Doors, Porch Ceilings, Etc. 
 
 For an absolutely waterproof varnished finish on all 
 outside woodwork, a high grade spar varnish, such as S-W 
 Rexpar, especially adapted to this service, should always be 
 used. This type of varnish gets its name from the fact that it 
 was originally used on the masts or spars of ships. 
 
 On front doors, the highest class finish may be produced 
 through the use of S-W Rexpar Varnish applied as directed 
 under caption "Varnishing" on page 49-52. 
 
 [ Page 150 ] 
 
For front or side doors, porch ceilings, etc., two coats of 
 Rexpar may be applied direct to the surface, on new work 
 thinning the first coat with one pint pure spirits turpentine to 
 the gallon of paint. Each coat should be allowed to dry for 
 forty-eight hours. 
 
 Porch ceilings may be very effectively painted with SWP 
 House Paint, Light Blue 364 or Sea Green 354 or White being 
 most commonly used for this purpose. 
 
 Where undecided as to whether to varnish or paint the 
 porch ceiling, take into consideration whether the porch is 
 deeply shaded; if so, a painted ceiling will help to bring the 
 light in; otherwise a varnish finish is usually the best. 
 
 Side and back doors also may be painted with SWP Maroon 
 382, SWP Brown 388 or the trim color in certain cases. 
 
 Porch Floors and Steps 
 
 Porch floors require the use of a paint especially prepared 
 
 to withstand severe outside 
 exposure, scufiing of heels 
 and repeated cleaning and 
 scrubbing. Porch floors 
 and steps, on account of 
 the severe wear and tear 
 resulting from the moving 
 about of porch furniture, 
 may very profitably be 
 painted by the home owner 
 in between the times the 
 house is painted. This 
 will keep the porch and 
 steps from looking shab- 
 bier than the rest of the 
 house and also prevent the 
 penetration of moisture 
 from storms and cleaning; 
 the forerunner of rot and 
 decay, avoiding premature costly re pairings. 
 
 In the use of S-W Porch and Deck Paint, the surface to 
 be painted should be free from grease and soot and perfectly 
 dry. If the job has been previously painted and is peeling, 
 scaling off or cracking, burn or scrape off all old scaly paint. 
 
 [ Page 157 ] 
 
 .4 pnod looking front helpx a lot — saves repair 
 bills loo. I'o Ihe porch unci sleps ei'ery year 
 
Stir paint thoroughly from bottom of can. This is im- 
 portant. After stirring with a stick or paddle, take two cans 
 and pour paint back and forth from one to the other. Apply 
 in thin coats and brush out thoroughly. It is better to apply 
 three thin coats than two heavy ones. Thin as directed below. 
 
 New Floors 
 
 First coat — Shellac all knots and pitchy spots. Thin paint 
 gallon for gallon with pure raw linseed oil and brush out well, 
 using a good bristle brush. Do not use boiled oil. When dry, 
 putty all nail holes. Do not apply a succeeding coat until the 
 previous one has become thoroughly dry. 
 
 Second coat — Add one pint pure spirits turpentine to each 
 gallon of paint. Allow forty-eight hours between second and 
 third coats. 
 
 Third coat — Apply paint just as it comes from the can 
 and brush out well. Always apply three coats on new work. 
 
 Old Floors 
 
 First coat — Where surface is hard and smooth, add one 
 pint pure spirits turpentine to each gallon of paint and brush 
 out evenly and well. Allow forty-eight hours before applying 
 second coat. 
 
 Second coat — Apply paint as it comes from the can and 
 brush out thoroughly. 
 
 To treat canvas used on the floors of sleeping porches, thin 
 the first coat with one-half gallon of pure raw linseed oil to 
 every gallon of paint, and omit the turpentine. For second 
 and third coats, apply the paint as it comes from the can. 
 
 Painting the Blinds 
 
 Window blinds from time immemorial have very custo- 
 marily been painted green, although sometimes painted the 
 same color as the trim. 
 
 One of the greens in the SWF House Paint line may be used 
 for this purpose, or else S-W Verdelite, an unusually permanent 
 green, made especially for outdoor surfaces, such as window 
 blinds, store fronts, structural and ornamental iron work, 
 fences, etc. 
 
 [ Page 158 ] 
 
Gutters, Downspouts, Etc. 
 
 Gutters, downspouts and similar surfaces should be painted 
 with a metal protective paint, such as S-W Metalastic. 
 
 In the use of this material, particular care should be taken 
 to remove all rust, scale, etc., with a wire brush or scraper. 
 Care should also be taken to see that the surface is free from 
 moisture and frost as well as perfectly clean and free from 
 grease. The paint should be stirred thoroughly from the 
 bottom of can and applied with a bristle brush in smooth even 
 coats, brushing out well. Succeeding coats should not be 
 applied until the previous one is dry. 
 
 If desired, a finishing coat of the house paint or trim color 
 or a bright red, such as SWP 367, may be applied over the 
 Metalastic coating. 
 
 Screens 
 
 Screens should be painted either when put up in the Spring 
 or when put away in the Fall. S-W Screen Enamel (made in 
 black and green) may be used. Before applying, brush the 
 surface well to remove dust, and scrub both wire and wood- 
 work with a brush; then rinse with a hose. Let dry several 
 hours; then apply the screen enamel, brushing it out well 
 instead of applying in a heavy coat. Paint the frame with 
 the same material or with SWP Black. One coat is enough 
 for the wire, but two coats may be used on the woodwork if 
 a fine job is desired. 
 
 Brick Walls 
 Brickwork should not be painted before it is at least a 
 year old, so that the lime used in 
 the mortar will have time to "cool" 
 and not spot through and spoil the 
 job. 
 
 In painting brickwork, lay off 
 a space and follow the joints, so 
 that glossy spots will not show at 
 the lap when you do the next space. 
 To imitate the color of pressed 
 brickwork or terra cotta work, use 
 S-W Flat Brick Red. This is a 
 Follow the joinis to a..id P^^te material and requires thin- 
 
 showmgiaps niug with turpcutinc to a brushing 
 
 consistency. SWP, S-W Roof and Bridge Paint Red, Cora- 
 
 f Page 159 ] 
 
monwealth Red, or Concrete Wall Finish are all suited for 
 brickwork. 
 
 When using an oil gloss paint on new or unpainted brick- 
 work of a very soft nature, the priming coat should carry 
 an exceedingly liberal quantity of linseed oil and some tur- 
 pentine. Ordinarily a gallon of Hnseed oil and a pint of 
 turpentine to the gallon of paint is correct. Allow priming 
 coat to dry for three or four days, then take putty, color it 
 with the paint and fill up all holes and crevices. Allow this 
 to set for a day or two, then apply the second coat, thinned 
 about half as much as priming coat. Allow to dry for three 
 or four days, then apply the third coat of paint as it comes 
 from the can. On a good hard surface two coats are usually 
 sufficient. The first coat should be reduced one quart of 
 turpentine to each gallon of paint; second coat applied as it 
 comes from the can. 
 
 A flat wall brush is most satisfactory for painting brick- 
 work. 
 
 Damp- Proofing for Brickwork 
 Below Grade 
 
 To prevent the penetration of moisture through foundation 
 walls, a foundation damp- proofing such as S-W Antydamp 
 should be applied to the exterior of masonry or concrete foun- 
 dation below grade. This is best done at the time of building, 
 and sufficient space should be provided for, in digging the 
 excavation, for men to have room to apply Antydamp to all 
 parts of the foundation surface. If the ground is extremely 
 wet, effective waterproofing cannot be expected without the 
 use of drain tile in addition to any other methods that may be 
 employed. 
 
 S-W Antydamp is an alkali-proof, acid-proof, glossy black 
 paint of the asphalt type. It should be applied with a three 
 or four-knot roofing brush, as it comes from the package, 
 except in very cold weather when it is necessary to heat 
 slightly before applying. Two coats should be applied, in 
 full coats without endeavoring to brush the material out too 
 much, because the heavier the coating the more protection 
 it affords. Twenty-four hours should be allowed for drying 
 between the first and second coats, and at least twenty-four 
 hours after the second coat has been applied, before back- 
 filling. 
 
 [ Page 160 ] 
 
In cases where there is a presence of hidden springs or 
 marshy land, or hydrostatic pressure in any form around the 
 foundation, the use of two coats of Antydamp is not sufficient, 
 and under these conditions it will be necessary to alternate at 
 least two layers of cheap burlap or felt paper with Antydamp, 
 and special instructions regarding this work will be furnished 
 on request. 
 
 Concrete and Stucco 
 
 Concrete and stucco buildings may be protected and water- 
 proofed as well as beautified by painting witli a finish like S-W 
 Concrete Wall Finish. This material is made in a line of 
 suitable colors, permitting very attractive color combina- 
 tions to be worked out, relieving the cold monotony of un- 
 treated concrete or cement, and preventing the streaking of 
 walls from rain and dirt. 
 
 In the use of S-W Concrete Wall Finish, the surface to be 
 painted should be thoroughly dry and free from grease and 
 dirt. Most concrete or plastered walls require two coats to 
 produce a thoroughly satisfactory job. The first coat should 
 ordinarily be thinned about i20 per cent with pure spirits 
 turpentine, and the second coat applied as it comes from the 
 can. For very smooth, hard surfaces, the first coat may be 
 thinned with pure spirits turpentine, using from a pint to a 
 quart for each gallon of paint. Forty-eight hours should be 
 allowed between coats for drying. May be applied with a 
 spraying machine, if desired. 
 
 Never add linseed oil to a concrete or cement paint for 
 the first coat. 
 
 Roof Upkeep 
 
 Roofs may be treated in various ways according to the 
 kind of roofing. 
 
 Slate roofs, of course, require no treatment. 
 
 Shingled roofs may be stained, if desired, as explained on 
 page 1.55, or may be painted with S-W Roof and Bridge Paint 
 or SWP House Paint. 
 
 Composition, felt and prepared or "rubber" roofing, as 
 well as all metal, wood or concrete roofs may be coated with 
 S-W' Ebonol roofing paint, a heavy bodied black paint with 
 splendid protective and waterproof qualities for general exte- 
 
 [ Page 181 ] 
 
rior upkeep work. This material is not of an artistic nature 
 for use on high class dwellings, but for use on buildings where 
 utility and economy are the principal factors. 
 
 Repair work of all kinds on and about the roof can be most 
 effectively taken care of with such material as S-W Ebolastic 
 Roofing Cement. This is a soft, plastic material which may 
 be used for repairing leaky roofs, gutters, chimneys, flues, 
 chimney flashings, downspouts, etc. It should be applied with 
 a trowel, large roofing brush or "squeegee." Is absolutely 
 waterproof as well as fireproof and will not run under hot 
 Summer sun nor crack in cold weather. May be applied in 
 any kind of weather. 
 
 Garages and Outbuildings 
 
 As a rule, these buildings are painted with house paint — 
 (SWP — Sherwin-Williams Paint, Prepared) — in the same 
 colors as the house. In many cases, however, other colors 
 are desirable, and wherever a durable and serviceable 
 paint is desired for this purpose at a moderate price a line like 
 S-W Commonwealth Paint can be used. These paints are 
 made in bright and very attractive shades of red, gray, green 
 and orange yellow. When trimmed with white a very pleasing 
 effect is presented. 
 
 Porch and Lawn Furniture 
 
 So much is added to the appearance of a place during the 
 Summer months in having porch chairs, lawn swings, benches, 
 seats, etc., painted, and the cost and the labor of doing the 
 work are so trifling that no one should neglect repainting these 
 things every year at the start of the outdoor season. 
 
 Sherwin-Williams Porch and Lawn Furniture Enamel is 
 made especially for this purpose, in bright colors that are very 
 clear in tone, and specially adapted to withstand outside 
 exposure and not soften imder heat or stick to clothing. 
 
 In using Porch and Lawn Furniture Pvuamel care should 
 be taken to see that the surface is clean and perfectly dry. 
 Stir the material thoroughly before attempting to apply. It 
 should be applied evenly and not too heavily, using a soft 
 
 [ Page 162 ] 
 
bristle brush. If considered too heavy for certain work, a 
 little pure spirits turpentine may be added. 
 
 Fences, Clothes Posts, Arbors, Trellises, Etc. 
 
 The various little things about the grounds should be kept 
 attractively painted. A few minutes' time will do all the 
 work, and a few cents will buy all the paint. 
 
 Any of these little things may be painted the same color 
 as the house, and especially if done at the time house is being 
 painted, will look very well. Or such articles as may be 
 detached from the house may be finished in a suitable shade 
 of green in keeping with grass and foliage, either an oil gloss 
 paint like SWP or a stain like S-W Preservative Shingle 
 Stain, or they may be stained in an inconspicuous brown 
 approximating the great outdoor color Mother Nature has 
 painted the earth and the bark of trees. Or, if desired, 
 these outdoor surfaces may be very prettily finished with 
 bright oranges, yellows, red or greens, possibly trimmed with 
 white. Sherwin-Williams Commonwealth Paint will be found 
 very satisfactory for this purpose. 
 
 Fence posts, no matter how finished above ground, may 
 very profitably be given a coat of S-W Creosote or Carbolic-ol 
 Shingle Stain at the bottom before setting in the ground as a 
 preservative against decay. 
 
 Metal Surfaces 
 
 All metal surfaces should be painted with a metal preserva- 
 tive paint like S-W Metalastic. This is a graphite paint made 
 ordinarily in black and brown, although also furnished in 
 gray and green where required. 
 
 In using this material the surface should not only be clean 
 and free from grease, but all rust, scale, etc., should be re- 
 moved with a wire brush or by scraping with a putty knife. 
 Care should also be taken to see that the surface is free from 
 frost. The paint should be stirred thoroughly from the bottom 
 of can and applied with a brush in smooth even coats, brushing 
 out well. Succeeding coats should never be applied until the 
 previous one is perfectly dry. If necessary to thin, pure boiled 
 linseed oil should be used. 
 
 [ Page 163 ] 
 
Galvanized Iron 
 
 For priming or first coat on galvanized iron, a product 
 like Sherwin-Williams Galvanized Iron Primer should always 
 be used, which obviates the liability of peeling and scaling 
 so common where ordinary paints are applied directly to 
 galvanized surfaces. 
 
 This material is made in grey only and is sup])lied ready 
 for application. It should be thoroughly brushed out. 
 
 Galvanized Iron Primer is made for priming purposes only, 
 and should be re-coated in from twenty-four to forty-eight 
 hours with an oil gloss paint or S-W Metalastic Metal Pro- 
 tective Paint. Never allow to stand more than forty-eight 
 hours before re-coating. 
 
 [ Page 164 J 
 
Chapter XIV 
 
 Cleansers and Polishes 
 
 CLEANSERS and polishes have two missions. The 
 obvious one is to make surfaces on which they are used 
 clean and lustrous. The other, even more important, 
 is to keej) finishes in hrst-class condition. 
 It is perhaps trite to say that the 
 length of time a finish will stay looking 
 well is largely dependent on the care 
 given it. However, although the above 
 fact is commonly known, comparatively 
 few people know how to take care of 
 painted and varnished finishes properly. 
 It is our purpose here to tell how 
 to do this and to show 
 that with proper materials 
 and proper methods this 
 work takes but little time, 
 and the results are such as 
 to make it an interesting 
 occupation rather than an 
 irksome task. 
 
 A little systematic care keeps fun til itre 
 looking like new 
 
 Just as it is important that only the highest grade paints, 
 varnishes and enamels be used, it is equally important that 
 cleansers and polishes be of known efficiency and reliability. 
 Those of doubtful quality may quickly injure the finest finish, 
 while the dependable ones of known quality will double or 
 treble its life and keep it looking well at the same time. 
 
 It is logical that a concern which manufactures finishes of 
 every description should be in the best position to make 
 products for keeping these finishes in first-class shape. That 
 is why The Sherwin-Williams Company makes a full line of 
 cleansers and polishes. As the care of painted and varnished 
 surfaces depends as much on the use of the right cleansers and 
 polishes as on their correct application, the following will 
 
 [ Page 165 ] 
 
necessarily deal largely with Sherwin-Williams products and 
 their peculiar adaptability to various home requirements. 
 
 The Washing of Varnished, Enameled and Painted 
 Surfaces 
 
 Many people experience difficulty in the washing of 
 painted, varnished and enameled surfaces. They get all sorts 
 of unsatisfactory results. In some cases the finish is dulled 
 or killed from using too strong a cleanser — other times a 
 smeary appearance results — particularly on a mahogany finish. 
 
 All of these difficulties are removed by the use of S-W 
 Flaxoap, an absolutely pure linseed oil soap. Owing to the 
 fact that linseed oil is the life of all paints and varnishes, 
 Flaxoap is the best cleaner for all painted and varnished 
 surfaces. It lathers freely in hot or cold, soft or hard water. 
 It contains no animal fat whatever and no free caustic alkali, 
 yet it cuts dirt and grease. It is agreeable to use as it leaves 
 the hands soft. In fact it is used by many as a hand soap. 
 Flaxoap is also excellent for cut glass, windows, fabrics, rugs, 
 chinaware and the like. It is an ideal all-around household 
 cleaner. 
 
 For cleaning woodwork and furniture, Flaxoap should be 
 dissolved in lukewarm water and used in the same way as 
 ordinary soap water. The surface should then be wiped off 
 with a clean cloth or sponge and polished briskly with a dry 
 cloth or chamois. The finish will not only be thoroughly 
 cleaned but will look like new, seeming to gain life through the 
 use of Flaxoap. 
 
 The use of Flaxoap does away with a lot of hard work, as 
 it eliminates the scrubbing brush entirely. Sponging the sur- 
 face is all that is necessary to do the work. 
 
 If reasonable care is exercised, high grade furniture, such 
 as pianos, victrolas, etc., may be washed with perfect safety. 
 Only soaps of absolute purity should be used. Castile, Ivory 
 and S-W Flaxoap (which is the highest grade vegetable soap) , 
 are all suitable for this kind of work. A very mild solution 
 of the soap and water should be made, and care should be 
 taken to see that the soap is thoroughly dissolved. All soapy 
 deposits should be removed by going over the surface with a 
 clean cloth which has been saturated with clean water and 
 
 [ Page 186 ] 
 
wrung out well. The surface should then be polished with a 
 very soft cloth or chamois. All operations should follow each 
 other quickly, and the water should not be flushed on too freely 
 as it is liable to do damage to some of the interior parts of 
 instruments, upholstery or furniture. 
 
 For a thorough cleaning, such as is desired at Spring and 
 Fall housecleaning, there is no substitute for soap and water. 
 This should always be followed by the application of a polish 
 as directed in the following paragraphs, if a fine lustrous polish 
 is desired. 
 
 Cleaning and Polishing Furniture and Woodwork 
 
 For the daily dusting or brightening up of furniture and 
 woodwork, a dust cloth and a little good polish are unexcelled. 
 Care should be taken, however, to use only safe polishes of 
 the non-acid type, as acid polishes are injurious to the 
 finish. S-W Polish-ol and S-W Floor- Wipe are highly recom- 
 mended for the purpose. 
 
 To obtain best results from these polishes, always shake 
 well before and while using. Simply pour a little on a piece 
 of cheesecloth and rub rapidly and uniformly over the surface. 
 Should the surface be exceptionally dirty or spotted, use the 
 polish freely and rub thoroughly until in good condition. 
 Follow this application by rubbing the surface with a piece 
 of dry cheesecloth until the desired polish is obtained. 
 
 Before passing from the subject of furniture polishes, it 
 is perhaps well to call attention to some of the common errors 
 in the use of them. Some people fail to get the desired polished 
 effect because they apply the polishing preparation to too 
 much surface, often to every piece of furniture in the room, 
 before rubbing to a polish with a clean cloth. This gives an 
 opportunity for a gummy, tacky film to form in the mean- 
 while. The proper way is to apply the preparation to a com- 
 paratively small surface and polish immediately. 
 
 A second precaution is to be sure to rub the surface dry. 
 Many persons like to leave the polish on damp, for it seems 
 to shine much brighter when it is wet. However, if this is 
 done it soon dulls down with a bluish cast and also leaves an 
 undesirable oily finish. 
 
 It is well to beware of polishes that work too easily. 
 By that we mean those which produce an unusually high 
 
 [ Page 167 ] 
 
gloss with a minimum of rubbing. Polishes of this sort often 
 contain injurious acids, and continued use of them causes 
 a finish to crack or check. 
 
 The Care of Brass and Other Metal Surfaces 
 
 Metal surfaces such as water faucets, door knobs and 
 builders hardware of all kinds, fixtures, etc., can be kept bright 
 and shiny by the use of S-W Bras-Brite. This metal polish 
 comes in liquid form and is not gritty, so the danger of 
 scratching the surface is eliminated. Only a small amount is 
 necessary to clean the surface, one cloth being used for 
 cleaning and another for polishing. 
 
 Cleaning and Polishing Floors 
 
 Painted Floors — As in the case of painted furniture, 
 painted floors may be kept in the best condition by the use 
 of Flaxoap, dissolving a little in lukewarm water and using 
 as ordinary soap water. The surface should then be wiped off 
 with a clean damp cloth or sponge and polished briskly with 
 a dry cloth. Only a small quantity of this soap is required 
 to wash a large surface. Flaxoap not only cleans but brings 
 back the color and gloss. 
 
 Varnished and Waxed Floors — Varnished floors should be 
 washed at regular intervals with Flaxoap, the frequency of 
 washing being determined by the wear and cleanliness of the 
 locality in which your house is located and the like. 
 
 Between washings the floor may be kept clean and polished 
 by the use of Floor-Wipe, a special preparation for cleaning 
 and renewing the finish of waxed and varnished floors, wood- 
 work, etc. It removes the film of dirt which is found on the 
 surface of varnished floors even though they appear clean. 
 
 The application of Floor- Wipe once a week will keep your 
 floors in first-class condition. It is easy to apply — simply 
 dampen a cloth with the material and wipe up' as in ordinary 
 cleaning. Works splendidly with any floor mop. 
 
 Although we recommend Floor- Wipe particularly for floors, 
 and Polish-ol for furniture, Polish-ol may be used for floors 
 with good results, and many peojjle prefer it. Vice versa. 
 Floor- Wipe may also be used on furniture and woodwork. 
 
 This book conceived, wrillen and designed by the Decoroilive and Advertising 
 Deparlmenls and printed by the Printing Department of 
 
 The Sherwin-Williams Co. 
 
 [ Page 168 ] 
 
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