T T 
 
 ^^ 
 
LIBRARY OF CONGRESS. 
 
 Shelf ^M-'L^'^ 
 
 UNITED STATES OF AMERICA. 
 
/ 
 
 THIEl 
 
 HOUSE AND SIGN PAINTERS'S 
 
 f^cipe I gook,i 
 
 CONTAINING 
 
 MANY VALUABLE RECIPES AND METHODS, 
 AND GENERAL INFORMATION [N 
 THE VARIOUS BRANCHES 
 t^^ OF THE TRADE, 
 
 ^?^. C. ^y^ARREN, 
 
 House and Sig^n Pair|ter, 
 
 NOBLESVILLE, IND. 
 
 COI="S-I2,I«3-I3:'X', i.s©o. 
 
 M. M. MANNER, PRINTER, LEBANON, IND. 
 
THE 
 
 HOUSE AND SIGN 
 
 PAINTERS^ 
 
 RECIPE BOOK, 
 
 COXTAINIXU 
 
 MANY VAl.tWBLE RErllMOS AND METII<M)S 
 • AND (iKXKRAL INFORMATION (N 
 
 rUi: \ ARlOlS BRANCHES 
 OF THF 'n{Al)F> 
 
 BY 
 
 \V. C . W A R 1^ E N , 
 
 M o 11 R e a II d Si ^ n P ^i i ij t (> r, 
 
 ND3LESVILLE, IND. 
 
 1890. 
 
<^^ 
 
 IHTRODUCTORY. 
 
 In presenting this little book it has been the 
 writer's object to place it into the hands of paint- 
 ers in rt hantly form for future reference. 
 
 Many of these recipes liave cost me several 
 times niore than the price of this work, and are a 
 collection running through over twenty years 
 service at the trade, with improvements on some; 
 and a great many are my own formulas, while 
 there are a great many that I have never experi- 
 mented with and therefore give theni for what 
 they are worth. 
 
 In presenting this work the writer lias strived to 
 curtail as mucli unnecessary matter as possible, 
 therefore giving more real information than some 
 books tlirce times as large. 
 
 He will also ask the pardon of Iiis fellow craft- 
 n\en, who have had a long and varied experience, 
 lor giving much, tJiat they may know as well, or 
 better, than himself. They should know, how- 
 ever, that there are a great many in our ranks wlio 
 are young and Avorthy men; lie hopes, therefore, 
 that this work may be an aid to tiiem, Ijowever 
 sliglit, in placing them in among the craft. 
 
 To all those who have not liad the o[)portunity 
 to serve an apprenticeship under a good master, 
 and who is ambitious to excel in the art, is this 
 Uttlk- work especially dedicated. 
 
 TIIK AUTHOR. 
 
 
HOUSE PAINTING. 
 
 PfRST-CLA>*S PKIMTNC^ 
 
 Tl»(* following is a good priming for v>l(l ;\nc\ 
 IK'W work, brick and plastered walls : Take o lbs 
 yellow ochre, ,■» lbs silver white wood filler, and 5 
 ibs white lead; thin with boiled linseed oik It 
 makes a good and a cheap primer, and tht? second 
 and third coats of ptiint, will stand out <>etterthan 
 any other primer that I over \ise<k 
 
 TO MAKE A (JOOD OREEN. 
 
 1st, Take .5 lbs yellow ochre, dry; i lb 
 chrome yellow, dry, and 4 oxs, Prussian blue 
 dry; grind in oil. 
 
 2x0. .> lbs yellox^"^ ochre, dry; 'i lbs lemoii 
 chrome yellow, dry, and oxs. Prussian blue, 
 <lry, and if desired there can be lbs tine marble 
 dust added to this and grind the whole in oil. 
 
 8rd. T) lbs yellow ochre, dry; 4 lbs lemon 
 chrome yellow, dry, and ^^ o«s. Antwerp blue; 
 grind in oil. 
 
 If yon li;i\-c no mill, get the colors already 
 
jL(Taancl in stanu' proportion as dry. This makes- a 
 very clear color, which yov\ can make cither light- 
 er or darker at pleasure. To n\ake lighter, add 
 more yellow; to make darker, add more blue. 
 Use No. 1 for first and second coats; or No. 2 for 
 lirst and second coats; finisli with No, 3. 
 
 STZIN« FOR SOFT WOODS TO UK VARNISH KD, 
 
 Take i gal, boiled oil, 1 oz. beeswax, cut fine 
 and put into the oil; heat the oil hot, or until the 
 wax is dissolved. Add to this while hot i pint 
 Japan dryer; then add 2 ozs, silver wl^ite-wood 
 filler and 2 ozs. turpentine. This is an excellent 
 <ize for pine doors. Dust work off well. liul> 
 the size on lead pencil and soiled marks, then 
 take a piece of sand paper and sand off and wipe 
 off with clean rags. Then apply the size all over. 
 It is better if you let it stand IT) or 20 minutes 
 and rub over lightly witli clean rag?;. Does not 
 iccpiire to be as particular to clean corners as 
 wood fillers. 
 
 eilKAl' ET.ASTIC (HL FOR l'.UXTIN(!. 
 
 Take 10 gals, petroleum, 5 gals, raw oil, 20 lbs 
 fosin, 1 lb caoutchouc, 5 lbs l>orax and 5 [gals. 
 soft water. Dissolve the rosin in llu' oil; cut the 
 caoutchouc into small pieces and j)Ut it into the 
 oil and allow it to »tand until it is thorougldy 
 
dissolved; dissolve the borax in the N%rtter, then 
 mix all together and it is ready for use. 
 
 HOW TO MIX WATER WITH OIL. 
 
 Take 8 ozs sal soda, 3 ozs caustic lime; dis- 
 solve in 1 gal. ()f soft water, then stir in gradually 
 1 qt. raw oil. Let this stand three or four days. 
 Take one part of this mixture to two parts of raw^ 
 oil. It is now ready to mix with paint. 
 
 WOOD FILLINGS, 
 
 1st. Take 1 lb corn starch, i pt. boiled oil, i 
 pt. Japan, i lb pumice stone, ^ pt. shellac varnish; 
 mix well together. 
 
 2nd, o lbs silver white wood filler, 1 pt. boiled 
 oil,'i pt. JapHn; thin with turpentine to consis- 
 tency of thin soft soap. For walnut wood add a 
 little burnt umber. 
 
 Ai)piy either first or second formulas with a stifl 
 l)rush and let them stand until they have set; rub 
 off well with rags (.r shavings, taking care to clean 
 the corners well with sliarpened sticks or putty- 
 knife. 
 
 CHEAP WOOD FILLER. 
 
 Take linseed oil, 1 qt. ; turpentine, 3 qts.; corn 
 starch, 5 lbs; Japan 1 qt. ; calcined magnesia 2 
 ozs. Mix thoroughly. 
 
 COMPOSITION OIL FOR MINERAL PAINTl^. 
 (Suitable for Roofs, Barns, Fences, Etc.) 
 Take i bbl. pine tar. 4.- bbl. coal tal*, i bbl. pe- 
 
trolemn refined fov illuminating j)iirposes, 25 ll)« 
 uii-'a-Iaeked lime, 5 gals, asphaltum ; mix cold. In 
 ©old weather it will veijuire more petroleum than 
 in warm weather. Add either mineral colors, Ve- 
 netian red, or whiting. Using the latter will give 
 it a giay color. 
 
 HOW TO DISSOLVE PAINT »KINS*. 
 
 1st. Take a good, tight barrel, put in 15 gals, 
 water; to this add 2 . lbs concentrated lye, 5 lbs 
 unslacked lime. Put in all the skins and dirty 
 buckets; stir them up occasionally. When they 
 are all dissolved, pour o^ the lye water on top and 
 the i)aint in the bottom will do lor priming, 
 rough siding or brick walls. 
 
 2nd. Dissolve i lb sal soda in 1 gal. rain 
 W'uter* soak the skins for two or three days, then 
 thin with boiled oil. 
 
 ADUl/l'ERATIONS THAT MAY BE Ui^EL) IN MIXING 
 PAINTS. 
 
 If you have a rough job, and want a good body 
 upon it at a small coist, use for tlie first coat lime- 
 water or the'contents of the dissolvent barrels add- 
 ing a little Spanish whiting or anything you may 
 liave in the way of a pigment to fill the pores. 
 Dust off of the road is very good after it has been 
 well cleaned. You can use it right through with 
 the first, second "and thjird coats. To clean the 
 road dust, first get a large tub, HU it with water. 
 
making it about as thick as second coating. Lut 
 this stand a day or so, until it settles, drain off the 
 water from the top and you will find that the tin* 
 est grit is at the top, while the courser is at the 
 bottom, which, after drying, will be ready for use. 
 This makes a good body and a durable pigment. 
 It can l)e used to adulterate any dark color. 
 
 PKMllAKD AND FAT OIL COLUK>^. 
 
 Various coarse paints, suitable for out door 
 work, which are durable, may be made with oil as 
 follows: Take a cask which will hold 20 gals., 
 put 16 gals, of common vinegar, add to this lbs 
 litharge, stop up this cask and shake it twi^ii a 
 day for a week; then mix it with a half barrel of 
 whale or seal oil, shake and mix well together, 
 and let stand until the next day. Then pour off 
 the clear (which will be al)out seven eighths of the 
 whole:) to clear this part add 6 gals, of raw oil; 
 shake them all well together and let them stand 
 for two or three days, then it will be re-.dy to 
 grind with white lead or any color in: when 
 ground th.is paint cannot be distinguif-lud frcni 
 those ground in linseed oil. 
 
 FORMULAS ¥%}!{ MIXING t^OLOllS. 
 
 In the following formulas use the greater 
 amount of colors as they come in rotation : 
 
 Amber Brown, Light — White lead, burnt sienna, 
 orange chronic, burnt umber and lamp black. 
 
8 
 
 Amber Kiowii, Dark — Burnt sienna', orange 
 chrome, burnt umber, lamp black and wiiite lead. 
 
 Anti«ine Bronze^Burnt umber, liimj) black, 
 green and burnt sienna, 
 
 Apple Green — White lead, grc en and oiangc 
 chrome, 
 
 Aslies of Rose»— Tuscan red, Ijunp black ;ind 
 white lead. 
 
 Buff, Liglit— WJiite lead, and ytiJo-^v ochre. 
 
 Buff, Dark— White lead, ycHciv ochre and a 
 little red, 
 
 BroAvn Stone— White lead, burnt »ienna, yellow 
 ochre and lampblack. 
 
 Bismark Brown— Burnt sienni-i, burnt umber, 
 orange chrome and white lead. Another — car- 
 mine, crimson lake and gold bionze- If a light 
 vihade h desired, \iae Vermillion insVeatl of the 
 c;irmine. 
 
 Bottle Green— Dutch pink ard prut^sian blue, 
 for ground; glaze with yellow lake. 
 
 Brown ^Three parts of reil, t^\ o of bhu k iind 
 one of yellow. 
 
 Bronze Green — Five parts chronic green, one of 
 black, and one of burnt umber. 
 
 Brick Color — Two parts of yellow ochre, one of 
 Venetian red, and one of white lead. 
 

 
 ButtercLi]) — White lead ami lemon chrome 
 yellow. 
 
 Cream — Five part.s white leatl, two yellow ajid 
 one of red. 
 
 Citron — Three part» of red, two yellow and one 
 of bine. 
 
 Citrine — White lead three j)arts, orange chrome 
 two parts, and one of green. 
 
 Coral Pink- — Vermillion, orange chrome and 
 white lead. 
 
 Crimson — Vermillion, carmine and a little 
 white. 
 
 Chocolate — Burnt umber, Venetian red, tuscan 
 red and white lead. Or take Indian red and black 
 to form -i brown and tone up with yellow. An- 
 other — take lake or carmine antl add to burnt um- 
 ber. 
 
 Clay Drab — Raw sienna, raw umber, and white 
 lead, equal parts and tinted with chrome green. 
 
 Canary Color— Five parts white lead and two 
 parts lemon yellow. 
 
 Copper Color — Two parts of yellow, one i)art 
 of red and one of black. 
 
 Chestnut Color — Two parts of red , two of 
 chrome vellow and one of black. 
 
10 
 
 Claret — Take red and black or carmine and 
 ultramarine bine. 
 
 Carnation Red — Take three parts lake and one 
 part white. 
 
 Dove Color — White lead, Venetian red, and 
 burnt umber. Another — White, iv<.\, blue, and 
 yellow. 
 
 Dull Green — White lead, green, ultranuu'ine 
 blue and lamp black. 
 
 Dove Drab — White, yellow ochre and burnt um- 
 ber. 
 
 Dregs of Wine Color — Tuscan red, lamp l)lack, 
 and white. 
 
 Drab color — Nine ])arts of white and one of 
 bunrt und)er. 
 
 Ecru — White, yellow ochre, burnt sienna, and 
 lamp black. Another — take white, red, ultrama- 
 rine blue and orange chrome yellow. 
 
 Emerald Color — Take emerald green (Paris) and 
 white. 
 
 Electric Blue — Ultramarine blue, white and raw 
 sienna. 
 
 French Gray — White, vermillion, ultramarine 
 blue and lamp black. 
 
 Fawn — White, yellow ochre, Ijuriit sienna, ;,ukI 
 lamp black. 
 
IJ 
 
 Forest Given — White, cliroine groon and' Iicrup 
 1)1 ack. 
 
 Flax Color — White, yellow ochre and chrome 
 green. 
 
 French Ketl — ^Inctian red and Eng. verniillion 
 jjflaxed with carmine. 
 
 Flesh Color — Eight ])artH of white, three of reel 
 und three of chrome yellow. 
 
 Green — Chrome yellow an<l Prus^.sian blue. 
 
 Grass Green — Three })arts chrome yellow and 
 one part Prussian blue. 
 
 Gold Color — White and yellow tinted with a 
 little red and blue. 
 
 Gazello — Tuscan red, Venetian red, white and 
 lamp black. 
 
 Green Rice — White, lemon yellow and chrome 
 green. 
 
 Gray Green^ — White, chrome green and lamj) 
 l)ack. 
 
 Hay Color — White, orange chrome, chrome 
 green and a small amount of tuscan red. 
 
 Joncjuil Yellow — Take iiake white and chrome 
 yellow% and add vermillion to carmine. 
 
 Lemon Color — Five ])avts lemon yellow and 
 two of white. 
 
12 
 
 Lavender — White lead, ultramarine l>lue, Ver- 
 million, and lamp black. 
 
 Lilac — Four parts red, three of white and one 
 of blue. 
 
 London Smoke — Yellow ochre, lamp black, 
 ultramarine blue and white. 
 
 Leaf Bud — White, orange chrome and green. 
 
 Leather Brown — Venetian red, lamp black, 
 yellow ochre and a little white. 
 
 Light Gray- -Nine parts white, one of blue and 
 one of black. 
 
 Light Old Gold — Golden ochre, white lead and 
 a little green. 
 
 Light Citrine — White lead, orange chrome and 
 chrome green. 
 
 Light Russet — White, orange chrome, Venetian 
 red, and a little lamp black. 
 
 Light Slate — White, a little Venetian red, ultra- 
 marine blue and green. 
 
 Light Tan — White, yellow ochre, burnt sienna 
 and burnt umber. 
 
 Light Brown Stone — WHiite, Venetian red, yel- 
 low ochre, and a little tuscan red and lampblack. 
 
 Light Myrtle Green — White, chrome green, a 
 little ultramarine blue and lam)) black. 
 
13 
 
 Mastic— White, yellow oclire, Venetian re<l and 
 lamp black. 
 
 Mauve — Venetian red, yellow ochre, wliite and 
 lamp black. 
 
 Maroon — Tuscan red and a little ultramarine 
 blue. Another — Three parts carmine and one of 
 yellow. 
 
 Maroon Brown — Tuscan red and lamp black. 
 
 Inagenta — Carmine, cobalt and a little Hake 
 wliite. 
 
 Medium Gray— Eight ]>arts wliite and two of 
 black. 
 
 ]\ryrtle Green — Chrome green, ultramarijie blue, 
 lamp l)lack and a little white. 
 
 Old Gold — Golden ochi'c, white, burnt sienna, 
 and a little green. 
 
 Olive — Orange chrome, lamp Ijlack an<l a little 
 white. 
 
 Olive Light — White, orange chrome, lamp 
 l)lack and chrome green. 
 
 Olive Dark — Yellow ochre and Prussian bine. 
 
 Olive Drai) — Raw undjcr, raw sienna, oiange 
 chrome, ultramarine blue and white. 
 
 Olive Brown — ^Three parts burnt umber and one 
 })!irt lemon yellow and one of green. 
 
u 
 
 Oak Color — Five parts white, two of yellow 
 and one of red. 
 
 Orange — Three of yellow and one of red. 
 
 Opera Pink — White, vennillion ami ultramarine 
 
 Mue, 
 
 Pearl Color — White, l)lack and red. 
 
 Pea Green — Five parts white and one of elironie 
 ,j^reen. 
 
 Purple — Three parts red, three of blue and two 
 of white. 
 
 Peacock Blue — Cobalt, emerald green (Paris) 
 and a little wliite. 
 
 Pure; Gray — White, Vermillion, ultramarine 
 blue, chrome yellow and lamp black. 
 
 Primrose — White an<1 lemon yellow. 
 
 Pink — White and Eng. vermillion. 
 
 Pomi)ian Red Dark — Venetian red, burnt sienna 
 and carmine. 
 
 Pompian lied Light — Venetian red, tuscan icd 
 and a little j'cllow and white. 
 
 Pearl (Tray--White, vei-million, ultramaiinc 
 blue and lamp black. 
 
 Purple Brown — Tuscan red, yellow ochre, lamp 
 black, burnt N'-ienna and ultramai-iiie blue and 
 white. 
 
Peach IJlossoni — Ten parts white, two of red, 
 one of blue and one of yellow. 
 
 Portland Stone — Three parts raw nniher, three 
 yellow ochre and two of white. 
 
 Plum Color — Two parts white, one blue and 
 one of red. 
 
 Quaker Drab — White, yellow oclire, chronie 
 j^reen, lanij) black and a little burnt sienna. 
 
 Quaker Green — Two ])arts chrome green and 
 one part coach black. 
 
 Russet — White, Aermillion, chrome yellow and 
 ultramarine blue. 
 
 Russian Gray — White, Acrmillion, ultramarine 
 blue and lamp bl'ack. 
 
 Red Slate — Venetian red, white and burnt 
 sienna. 
 
 Russet Green — White, green and orange 
 chrome. 
 
 Rose Color — Five parts white and two of car- 
 mine. 
 
 Shrimp Pink — White, Vermillion and burnt 
 sienna. 
 
 Spruce — Yellow ochi'e, white and Venetian red. 
 
 Salmon Color — White, Venetian and burnt 
 sienna. 
 
IC 
 
 Slate — Wliitc, Venetian red, ultranianne ))luo 
 and green. 
 
 Straw Color — White and ^^ellow oelire. 
 
 Sky Blue — White and col>alt blue. 
 
 Shell Pink — White, vennillion and burnt 
 sienna. 
 
 Scarlet — Vermillion and earniint'. 
 
 Smoke Drab — Yellow ochre, lamp black, ultra- 
 marine l)lue and burnt umber. 
 
 Sage Green — Twelve parts white, two parts green, 
 and one-half part each of chi'omc yellow and 
 burnt umber. 
 
 Sand Stone — Tuscan red, white, Venetian red 
 and lamj) black. 
 
 Snuff Color — Four parts of yellow and two of 
 Vandyke brown. 
 
 Stone Color-— Ten parts white, one part yellow 
 and one half part of black. 
 
 Tally Ho.-— White, yellow ochre, Venetian red' 
 lamp black and a little green. 
 
 Tan Color— Burnt sienna five parts, chrome 
 yellow two parts, raw umbei" one part and white 
 one part. 
 
 Terra Cotta---White, burnt sienna uni] lamj) 
 black. 
 
17 
 
 Tor«j[Uoise Blue— White, cobalt blue and emer- 
 ald Geeen (Paris). 
 
 Violet---Five ])arts red, four parts blue and one 
 of white. 
 
 Willow Green— Five parts of white and two of 
 verdigris green. 
 
 Wine Color-— Three parts carmine and two of 
 ultramarine blue. Another-— Take tuscan red, 
 lamp black and ultramarine blue. 
 
 Yellow Bronze— White, chrome yellow and 
 green. 
 
 A CHEAP FIRE-PKOOF ]{()()FING. 
 
 Take common building or felt paper and after 
 it is well tacked down, use paint made with com- 
 ])08ition oil, previously described; and while wet 
 throw coarse sand over it. 
 
 FIRE PROOF PAIIS'T. 
 
 Take 35 lbs dry zinc, 15 lbs air-slacked lime, 25 
 lbs white lead, 5 lbs sulphate of zinc. Mix the 
 dry zinc and air-slacked lime together and grind 
 in the cheap elastic oil, then add i gal. 35^ soluble 
 glass and the white lead; add then tlie sulphate of 
 zinc. Stir well and it is ready for use. 
 
 PAINT FOR SMOKE STACKS. 
 
 Take thin coal tar mixed with finely ground 
 ])lumbago. Make of the consistency of ordinary 
 paint. 
 
18 
 
 CHEAP OUT SIDE PAINT. 
 
 Take two parts in hulk of water lime, grind it 
 fine, and add one part in bulk of white lead 
 ground in oil; mix tliem thoroughly; add linseed 
 oil enough to thin to proper consistency to spread 
 under the brush. 
 
 TO MAKE WATER PROOF CLOTH. 
 
 Take 8 lbs rosin, i lb caoutchouc, 1 gal. boiled 
 oil, 3 gals, prepared oil. Dissolve the rosin in 
 the oil; cut the caoutchouc into small pieces and 
 put in the boiled oil and let it stand in the sun un- 
 til it is dissolved; then mix all together and 
 apply witli a brush. It should be kept warm 
 while using. Wet the clotli with alum water. 
 
 Another method whicli is very easy to make 
 canvass water-proof without altering its appear- 
 ance or pliability, by saturating it Avith a boiling 
 and strong solution of soap. 
 
 Pressing out the excess of soap, and then sub- 
 mitting it for a short time to the action of a hot 
 bath of alum, sulphate of aluminum, or acetate 
 of lead; which operation causes the formation of 
 an insoluble alumina of lead soap, which will per- 
 meate all the pores of the cloth and render it 
 water-proof. Another-— Dissolve together 8 ozs. 
 white resin pulverized, 6 ozes. bleached linseed oil, 
 H ozs. white beeswax. Thin with turpentine. 
 
19 
 
 jipply to both sides of the clotli while it is 
 stretched tight. 
 
 SUBSTITUTE FOR WHITE l.EAD. 
 
 Take 75 lbs dry white zinc, 30 lbs marble dust; 
 mix well together; run through a mill, or if you 
 have no mill run through a line strainer. If you 
 want a clear white or light tint job, use raw 
 oil with a little turpentine. For plastered walls 
 (inside) you will find that you will have a much 
 l)etter job than you would by using white lead: 
 the work stands out better. If you want a cheaj) 
 job use the composition oil for first and second 
 coats. 
 
 AUULTEKATIONS FOR WHITE LEAD. 
 
 Take 50 lbs white lead, 25 lbs white zinc, dry, 
 and 25 lbs Paris white. You will find that the 
 paint will still have a good bod\ and reach as far 
 as all pure lead. Mix the white zinc and Paris 
 white together first, and run through tlie strainer: 
 then put in tiie lead after i^ has been broken up 
 well. 
 
 TO TEST THE PURITY OF WHITE I-EAD. 
 
 Take a piece of firm close grained charcoal and 
 near one end hollow out a cavity say ^ inch in 
 diamater and i inch in depth. In the hollow 
 place the sample of lead to be tested say about the 
 size of a pea, then apply continuously to the hot- 
 test part of a jeweler's blow ])ipe. If the sanii)l(' 
 
20 
 
 be strictly pure it will, in about two minutes, be 
 reduced to metallic lead, leaving no residue; but 
 if it be adulterated to the amount of ten per cent, 
 only with oxide of zinc, sulphate of baryta, w-hit- 
 ing or any other carl)onate of lime which are the 
 only substances used in adulterations or if it be 
 composed entirely of these materials, as is sometimes 
 the case in some cheap lead, it cannot be reduced, 
 but wdll remain on the charcoal an infusible mass. 
 After blowing upon it, say one half minute, take a 
 knife blade and turn it over so the heat can pass 
 under as well as over it. Use a common star 
 candle, lard oil lamp or a jeweler's alcohol lamp, 
 a coal oil lamp should not be used. 
 
 TO TEST THE PURITY OF LINSEED OIL. 
 
 Take a test tube, or a long 2 oz. bottle; pour in 
 equal jjarts, of the oil to be tested and commercial 
 nitric acid (say one-half oz. each) shake the mix- 
 ture well, and let it stand for twenty minutes. If 
 the oil is pure, the upper strata will be a straw 
 color, and the lower strata colorless; even 5 per 
 cent, adulteration will change the upper strata to 
 a dark brown or black, and tiie lower strata to a 
 bright orange or dark yellow, according to the 
 material used as an adulterant. 
 
 METALLIC ENAMEL PAINT. 
 
 To make a paint for covering bodies such as stove 
 pipes, ranges, and other surfaces that are to be 
 
21 
 
 heated. To make a good job it will rec^iiire first 
 to coat the object with a covering of the common 
 graphite or black lead. Only use such colors as 
 are unaffected by the heat; such as burnt umber, 
 l)urnt sienna, burnt oclire, green earth, red or 
 violet, oxide of iron, best sort of artificial ultrama- 
 rine blue, pure chrome red, chrome green, 1)urnt 
 (-'gg shell, white zinc and the French bronze. 
 
 jfVll the above colors can be used : any tint made 
 by combining them with soda diluted one-half 
 with soft water. Bear in mind that it will be nec- 
 essary to keep stirring them Avhile applying them, 
 as they set very quick in the pot, being similar to 
 plaster Paris in that respect. The iron should be 
 a little warm so that evaporation will take place 
 at once. 
 
 SHELLAC VAKNISH. 
 
 Such as is used for killing knots and gum s[)ots 
 n pine boards, previous to painting. It is made 
 by taking best alcohol 1 gal,; nice gum shellac, 
 2i lbs; place the bottle or can in a position where 
 it will just keep a little warm and it will dissolve 
 quicker than if it is cold or too hot. 
 
 TO NEUTRALIZE PIXE KNOTS. 
 
 Before priming give them a thin coat of red lead^ 
 white lead and whiting. 
 
 COPAL VARNISH. 
 
 Take 5 lbs pulverized rosin, 1 qt. turpentine 
 
22 
 
 and let stand until the rosin is dissolved, add 1 qt. 
 boiled oil, 1 pt. Japan dryer; mix well, and if too 
 Iieavv thin with turpentine. This cannot be beat. 
 
 HOW TO MAKE .JAPAN DRYER. 
 
 Take linseed oil, 1 gal., gum shellac, Si lbs, 
 litharge, turkey, umber and red lead, each ^ lb; 
 sugar of lead, 6 ozs. ; boil in the oil 4 hours, re- 
 move from the tire and add 1 gal. turpentine. 
 
 HOW TO MAKE (4I>OSS VARNISH. 
 
 Take 1 gal. raw oil, boil it for one hour, then 
 add 2 lbs rosin, stir until disolved, add half-pint 
 turpentine, 1 oz. gum camphor, then strain. 
 
 TO MAKE HARD OIL FINISH. 
 
 Take 375 parts linseed oil boiled with 75 i)arts 
 litharge and 45 parts pulverized minium, boil 
 until it turns brown, then add 250 parts pulver- 
 ized amber melted in 80 parts linseed oil, boil and 
 stir for a few minutes, cool, settle and decant the 
 clear varnish. Another method is to take linseed 
 oil r. gal. rectified spirits 1 pit.; oil of tui'pentine 1 
 (]t. ; powdered rosin 6 ozs., mix. 
 
 CARRIAGE TOP DRESSING. 
 
 Take 150 parts asphaltum melted in 'S parts 
 boiled oil. add 88 parts turpentine, 20 parts ben- 
 zine, which will make lustrous enamel for carriage 
 tops. 
 
VIOLIN VAKNISH. 
 
 Take jimiper gum 80 gr., mastic 100 gr., elemi 
 80 gi\, concentrated essence of turpentine 00 c. c, 
 castor oil 25 c. c, alcohol 1 liter. Color with 
 Dragon's blood, Gamboge, or any shade of aniline 
 desired, dissolved in alcohol. 
 
 PAINT FOK BLACK BOARDS. 
 
 1st. 2 qts. alcohol, i lb shellac, 1 oz. lamp 
 I)lack, 21 ozs. ultramarine blue, 4 ozs. powdered 
 lloschelle salts, 6 ozs. powdered pumice stone. 
 
 2nd. 2 qts. alcohol, i lb shellac, 4 oz. Ivory 
 black, 2i oz. emery flour, 2 oz. ultramarine l)lue. 
 
 8rd. Take equal parts of pumice stone and red 
 lead and grind together with turpentine, a little 
 raw oil and best varnish; add enough lamp black 
 to make a dark color, then thin with turpentine 
 until it will dry perfectly flat; ajjply the slating 
 with a flat brush as fast as you can to kee[) from 
 showing laps; have the surface smooth and free 
 from grease; shake the bottle or can well before 
 pouring out and keep it well corked. 
 
 4th. Take 1 qt. shellac varnish, 8 oz. i)ulver- 
 ized pumice stone, 4 oz. pulverized rotten stone, 
 and 4 oz. lamp black. Add the varnish a little at 
 a time to the above, stir well to break the lumps. 
 This will cover about 75 square feet, two coats, 
 and can be used within an hour apart. Have your 
 brush free from varnish or oil colors, lay on the 
 color verv fast. 
 
24 
 
 5tii. Take common glue 4 oz. dissolve in f qt. 
 warm Avater, add 3 oz. flour of emery and enough 
 lam}) black to give it a black color, stir well and 
 apply with a woolen cloth smoothly rolled. Three 
 coats will be sufficient for the job. 
 
 SIZE FOIl KALSOMINE OR TAINT. 
 
 Take 1^ lb sal soda, ^ lb borax and 5 lbs rosin ; 
 put in 5 gals, boiling water, and keep stirring 
 until all is dissolved; take one pt. of this solution 
 to 80 pts. of water, which has had 1^- lb. glue dis- 
 solved into it. Then boil l)oth solutions 10 or 15 
 minutes, strain and it is ready for use. It is an 
 excellent size for plastered wall to l)e kalsomined 
 or painted. 
 
 SIZE FOR WALL PAPER OR WOOD TO RE VARNISHED. 
 
 Take one pound of white glue, let it soak 10 or 
 15 hours in enough soft water to cover it, then add 
 2 gals, boiling Avater, and i gal. wood naptha, 
 mix well together. This will keep w^ell without 
 souring. Common glue will do for rough work; 
 common starch makes a good size for wall paper_ 
 Another way is to use a chilled white glue size; tliis 
 l)eing a jelly will not run and cause one color to 
 flow into anotlier. It should be given two coats. 
 Be particular to get into all corners and leave no 
 "holidays." 
 
 SIZE FOR WALLS TO HE PAPERED. 
 
 Wli^re walls liave been white washed the fob 
 
25 
 
 lowing is a good size : Take i lb glue let soak in 
 enough water to cover it for 10 to 12 hours: add 
 li gal. boiling water, then add 1^ oz. alum. An" 
 other method, where walls have been white washed 
 is to coat them over with vinegar, this kills the 
 whitewash, where sometimes it will discolor the 
 paper, 
 
 GOOD PASTE FOR PAPEK HANaiNG. 
 
 To make a bucket of paste take flour enough to 
 make 3 pts. of batter, the consistency of thick 
 cream; the flour to be mixed witli luke warm 
 water; to this add 1 oz. ])Owdered or crushed alum» 
 about a thimble full of fine rosin and i oz. sugar of 
 lead. To tins add boiling water (stirring all the 
 while) until the paste is thoroughly cooked. This 
 paste will keep for several days. 
 
 PASTE FOR PAINTED OR VARISHEU WALLS, 
 
 To make paper stick on painted or varnished 
 walls add to a bucket of paste (previously de- 
 scribed) 3 sheets of isin-glass which have been 
 dissolved in 1 pint of warm water, also 2 ozs. 
 glycerine; pastry gelatin will answer as a substi- 
 tute if the isin-glass can not be had, 
 
 TO CLEAN SOILED WALL PAPER. 
 
 Take 2 or 3 quarts of wheat bran and tie it up 
 in a coarse flannel cloth and rub it over the paper. 
 It will clean tiie whole paper, of. almost uU de- 
 
26 
 
 scriptions of dirt antl smokc^ as well as almost an)- 
 other means used. 
 
 Another method is, to make a stiff dough of rye 
 tiour and water, to which has been added i oz. 
 powdered concentrated lye, to abosit 4 lbs of 
 dough. In nibbing over the paper, turn dough 
 over after each stroke and keep working it, 
 
 TO CI>EAN PAINTED WAIJ.S. 
 
 The best mode is for two men to work, one to 
 follow the other. Tliere is not as much danger of 
 streaking or spotting the wall. A stretch of 3 or 
 4 feet, is as much as should be done at a time. 
 This should be dampened with clean water, using; 
 a sponge for the purpose; following up with a 
 suds made of castile sonp, dissolved in warm 
 water, apply it with a kalsomine brash 8erul>bing 
 lightly. After the dirt has been s-oftened by this 
 means, scrub with a solution made as follow : 1 
 lb castile soap shaved fine, 2 lbs whiting, and 4j 
 gal. water, boil the soap and water together, then 
 stir in the whiting. When cold dip tlte brash into 
 the mixture and scrub, taking care not to scrub 
 harder than is required to remove the dirt. Then 
 sponge off thoroughly with clean water, and wipe 
 down with a wet chamois (wrung dry). Avoid 
 using too much water as to run down and 
 streak the walls. Begin at the bottom and work 
 up. On the final washing, care should be taken to 
 keep clean water, changing often. 
 
^7 
 
 KAIj^O MINING. 
 
 A good job of kalsomining depen-ds largely oiii 
 tlie condition of the walls. All old kalsomine 
 should l^e washed off clean. If white \\'ash tlie 
 iinie should be scraped, or the lime neutralized. 
 All cracks and holes should be plastered up witli 
 Plaster Paris, and if any bad stains, kill tJiem with 
 ?i solution of hot alum or shellac varnish, or by 
 i3asting a piece of white paper over tbeni. Take 
 best Gilders whiting or Paris white, place in a 
 bucket and put enough water to cover it. In an- 
 other bucket put some light colored glue ^ lb to 
 10 or 12 ll)s whiting, and also put enough water 
 to cover the glue and let it stand 10 or 12 hours (or 
 over night) then pour i gal. boiling water oxxr it 
 wlien it will be dissolved, then add this to the 
 whiting. Make the desired tint you wish, trying 
 a little on a piece of paste board and drying it, 
 which will give you the shade when dry on thi' 
 wall. For a pink, use aniline color which has 
 been previously dissolved in acoliol. Make one 
 coat of kalsomine do if possible. If two coats arc 
 necessar\', go over second time with the kalsomine 
 cold. 
 
 In kalsomining, do not lay it off all one way, 
 as you would ])aint, but cover every spot, working- 
 it every way and get it even and smoothe without 
 brush marks. Keep the edges all along wet, foi 
 if a part of it is allowed to dry or sink in, it wilj 
 make a bad and trou^\» job. It is better to have 
 
two men to work it, carrying the work right along 
 as fast as possible, A good job cannot be done 
 unless the suction of the walls be stopped, which 
 can be done with a glue size and a little soap and 
 alum dissolved into it. Nothing thougli is better, 
 however, than a thin coat of hard oil finish, or 
 Damar varnish: but these must be thoroughly 
 dry first. 
 
 LIME FOR KAI.SOMFNING. 
 
 Take i bu. of fresh lime, 1 lb salt, i lb sul- 
 phate of zinc, 1 gal. sweet milk. 
 
 For brick work where exposed to dampness, 
 take i pk. fresh lime with enough water to make 
 thin paste, run through strainer, add 1 lb soda 
 which has been previously dissolved in boiling 
 water; then make a thin paste by cooking 1 lb 
 rice flour, i lb of glue; mix with the lime com- 
 pound while hot; add then i lb sal soda dissolved 
 in water; stir all together and let stand a few 
 days before using. Warm before using, 
 
 GOVERNMENT WHITE WASH. 
 
 Slack i bu. lime with boiling water and keep it 
 covered during the process, strain and add 1 peck 
 of salt dissolved in warm water, and add 3 pounds 
 of rice flour boiled in water to a thin jjaste, add i 
 lb whiting and 1 lb clear glue, which has been 
 previously dissolved in warm water. Allow this 
 to stand several days, and ap[)ly hot. 
 
20 
 
 UNCLE SAM S WHITE WASH, 
 
 The mixture that is used to shine up the lij^ht 
 houses on the coast. 
 
 "To 10 parts of freslily-slacked lime, add 1 part 
 of the hest hy<h'aulic cement. Mix well wirh salt 
 water and api)ly (]uite thin." 
 
 GOOD PAINT FOR SHINGLE ROOFS, 
 
 That can he applied cold and dries quickly. 
 Take one barrel of coal tar, ten pounds of asphal- 
 tum, and ten j)ounds of <rround slate. Mix by the 
 aid of heat and add two gallons of dead oil. 
 
 TO MAKE A CHEAP PAINT. 
 
 Mix up a pot full of pure lead paint in the or- 
 dinary way, and pour it into a tub or large keg, 
 then take about the same quantity of Gilder's 
 whiting into another pot and break it up pretty 
 stiff and line with water; pour the two together in 
 the tub or keg and stir the mass somewhat vigor- 
 ously for awhile. The lead in oil and tlie whiting 
 in water will mix and you will have just doul)le 
 the amount or paint, which will be thicker than it 
 was before. This paint works well in warm 
 weather and by no means so bad a paint as four- 
 fifths of the so called mixed paints. It has not 
 the covering capacity nor does it make quite as 
 good a job as pare lead. 
 
 CHINA GLOSS WHITE. 
 
 Put on your priming out of pure wliite lead 
 
30 
 
 and ail; second co{it, mix the lead half ?ind lialf 
 oil and turpentine; third coat, use best French 
 zinc mixed flat with turps only; fourth coat, a 
 little zinc aud clear daniar varnish; fifth coat/ a 
 little less zinc, with dumar varnish. Sand paper 
 well between each coat and be particular to give 
 plenty of time for each coat to get thoroughly dry 
 or the work will chip crack, 
 
 WASH FOR BRICK WAI.LS. 
 
 To make them look fresh and new. Dissolve 
 1 oz. of glue to every gallon of water, and add 
 while hot, a piece of alum the size of a hen's egg, 
 i pound of Venetian red, and 1 pound of Spanish 
 brown. Try a little on the bricks, if too dark 
 add more water, if too light, add more red antl 
 brown. 
 
 Anotlier method : Where a new laid brick 
 wall, containing a large amount of moisture and 
 if painted immediately in tliis condition and just 
 before winter ^eta in. The paint will retain the 
 moisture and the cold will freeze it and help to 
 crumble the brick, and also new laid mortar still 
 retains considerable of the costic pro])erties of the 
 lime, which will soon eat up and destroy the paint. 
 
 If there be j-eason to make a good appearance at 
 once, it is better to put on a coat of wash made as 
 follows : Take water, cement, Venetian red and a 
 little lime or lime-water and salt. This will give 
 
81 
 
 it a good appearaiK-t^ an<l l?ist for a'year or so, and 
 Avill not prevent the evaporation of the water from 
 the walls, and allow the caustic lime to act upon 
 the sand of the mortar and harden it. When the 
 wall is properly seasoned it can be painted with a 
 good body of oil paint. 
 
 ssylvkster's tkocess for excluding moisture 
 from external walls, 
 
 Which consists in using two washes or solutions 
 for covering the surfaces of brick walls, one com- 
 pound of soap and water, and the other of alum 
 and water. Tlie proportions are three quarters ot 
 a pound of soap to one gallon of water; half a 
 pound of alum to four gallons of water. Both 
 substances must be perfectly dissolved before using. 
 
 The walls should be perfectly clean and dry, 
 and the temperature of the air should not be below 
 50 degrees Fahrenheit when the compositions are 
 applied. 
 
 The first or soap wash, should be laid on when 
 at boiling heat, with a flat brush, taking care not 
 to form a froth on the brick work. This wash 
 should remian tweuty-four hours so as to become 
 dry and hard before the second or alum wash is 
 applied, which should be done in the same manner 
 as the first. This should also remain twenty-four 
 hours before a second coat of soap wash is ap- 
 plied. These coats are to be repeated alternately 
 
32 
 
 until the walls are impervious to water, which will 
 take four coatings. The alum and soap thus com- 
 bined form an insoluble compound, filling the 
 pores of the masonry and preventing the water 
 from penetrating the walls. — N. Y. Sun. 
 
 TO REMOVE OLD PAINT FTIOM WOOD. 
 
 Make a strong solution of s;d soda and water, 
 and apply ; when the paint is soft, scrape away, 
 and wash well wi'h clean water. 
 
 Another Method^Take 3 parts of fresh lime 
 and slack it, add 1 part of pearlash, and dilute 
 with water to a mushy consistency, apply with a 
 brush; let stand about twenty-four hours, when the 
 paint will be soft enough to be scraped away. 
 Wash well. 
 
 Another Method — Use a strong solution of con- 
 centrnted lye and w^ater: when paint is soft scrape 
 away with putty knife and thoroughly wash; let 
 dry and sand paper down before painting. 
 
 TO REMOVE OLD VARNISH. 
 
 This is obtained by mixing 5 parts of 36 per 
 cent, of silicate of potash, 1 of 40 per cent, soda 
 lye, and 1 of sal ammoniac (hydro-chlorate of am- 
 monia.) 
 
 Another Method — Use a strong application of 
 ordinary spirits camphor. It will remove almost 
 any kind of polish or varnish. 
 
33 
 
 Give tUa spirits time to evaporate before re- 
 varnisliing, or it will injure the new varnish. 
 
 Another plan to remove varnish from wood, is 
 to make a strong solution of soda, soap and water, 
 and keep the place constantly wet while scraping. 
 This softens the varnish. Wash well, and when 
 dry rub down with sand paper previous to re-varn- 
 ishing. 
 
 TO MAKE PLASTICO FOR WALL DECORATIONS. 
 
 Dissolve 1 lb glue in a gal. of water; add 2 lbs 
 whiting, 2 lbs Plaster of Paris and 1 lb of keg lead. 
 Thicken with whiting or thin with water to the 
 desired consistency. Apply it with an old whisk 
 broom and impi-ess the design with a sharp stick, 
 your fingers or a coarse comb. It will dry thor- 
 oughly in about twenty-four hours. After it is 
 dry ypu can varnish, gild, or otherwise ornament 
 to suit the fancy. 
 
 ROUGH STIPPLE FOR COMBING, ETC. 
 
 Mix equal parts of white lead, plaster Paris 
 
 (best) and zinc white. Mix with linseed oil and 
 turpentine, half and half, adding enough Japan to 
 make the mixture adhere to the w^alls without 
 sagging. It should be applied to the surface with 
 a brush, in as thick a consistency as possible, or as 
 thick as it can be worked with a brush— if thicker 
 is required lay it on with a trowel. 
 
 This material, after being applied, will take the 
 
34 
 
 impression of any form desired tlie same vis wax. 
 It can be "combed" into straight, wavy or curved 
 lines or scrolls, wiiich, w hen properly colored up, 
 gives a beautiful and decorative effect. This ma- 
 terial can be colored up before applying by using 
 dry color for the desired shade. 
 
 GOLD PAINT. 
 
 Take good bronze powder, (French gold leaf 
 [)owder is the best), and mix with one-fourth extra 
 light hard oil finish, and three-fourths turpentine. 
 Apply with camel's hair brush. Do not mix much 
 at a time, as it dries quickly. 
 
 LIQUID FOR BRONZE POWDER. 
 
 Take 2 ozs. gum animi, dissolve in ^ pint lin- 
 seed oil by adding gradually while the oil is being 
 heated. Then boil, strain and dilute with turpen- 
 tine. 
 
 TO PREVENT BRONZE FROM TARNISHING. 
 
 To keep bronze striping, lettering, &c., from 
 tarnishing, coat over with a thin coat of white 
 shellac varnish. It is a good thing to put over 
 striping, &c., before applying finishing varnish. 
 
 CARE OF BRUSHES. 
 
 Keep varnish brushes in oil, wash them out in 
 benzine before using, then wipe dry on a clean 
 board. 
 
 Keep paint brushes in water deep enough to 
 c6ver the bristles. The best arrangement is a 
 
3d 
 
 trough witfi Huriiig sides and iucfies deep, 12 
 inches wide and 3 or 3 feet long, for a sliop runn- 
 ing two or tliree men. This shonld be lined witfr 
 tin or galvanized iron. 
 
 In winter use a salt brine, as it will not freeze. 
 Brushes should be cleaned well before using. 
 
 Another Method — Add 1 oz. glycerine to each 
 gallon of water, will prevent brus-hes from freez- 
 ing up. 
 
 CHKAP PUTTY FOK OUT OR INSIDE. 
 
 Take Spanish whiting and a good heavy paste of 
 rye flour, a small quantity of Japan and linseed 
 oil. Color to suit the work. This dries quick 
 and hard. Use more oil for outside work. To 
 kee]) it for a length of time, add a few drops of 
 carbolic acid. 
 
 PUTTY JOK SINKS. ETC. 
 
 Take litherage 20 oz., dry powdered burnt lime 
 1 oz. Make into a putty by adding linseed oil. 
 
 SOLUBLE GLASS FOK PAINTING. 
 
 This substance has been but little used for 
 painting purposes, for the reason that when com- 
 bined with earth or mineral paints, silica is formed, 
 a substance which is almost insoluble. This can 
 be prevented by the following process, and it will 
 give you a paint or strong hardness, of great dura- 
 bility, possessing many good qualities in general. 
 This has been used successfully on mantles, &c. 
 
36 
 
 The dry paints should be gi'ound in a size made of 
 starch in sufficient quantity to keep the color from 
 rubbing up. Whiting or Paris white can be used 
 in place of dry white lead, and gives almost as 
 good, results. 
 
 First coat the work with 35 ])er cent, soluble 
 glass, thinned down with warn) watei-, let stand 
 one hour or so; tlien put a coat over the work with 
 the water color heretofore described until you 
 have a good body, then rub down well with fine 
 sand paper, then put on a coat of soluble glass. 
 You can put up a first-class job in one-half day. 
 Give this a fair trial and you will use it continual- 
 ly. The soluble glass will cost you about 50 cents 
 per gallon. Then it can be thinned down one-half 
 with water, making the cost only 25 cents per gal- 
 lon for your material. Heat will not blister work 
 coated with this preparation. 
 
 FLOAT MARBELIZING. 
 
 This is the process by which iron or slate man- 
 tles are done, and wood can be done the same way 
 with good results. 
 
 Give the wood a good body suitable for wood, 
 have it well rubbed down and finish with the 
 ground desired. 
 
 Have a tank large and deep enough for the work 
 you have to do; fill the tank with water, add 2 ozs. 
 
87 
 
 of ^um tragacant for every gallon of water in the 
 tank. 
 
 Mix your colors with turpentine and a very lit- 
 tle raw oil. Put colors in two bottles, add 1 tea- 
 spoonful of beef gall, shake up well; sprinkle tlie 
 colors evenly on the water, and when you have the 
 colors arranged satisfactory dip the work in even- 
 ly, and when dry varnish. 
 
 FURNITURE POLISH. 
 
 Take 2 ozs. rosin, 12 ozs. alcoliol 98 per cent., 
 4 ozs. sulphuric ether, 2 ozs. l)alsani fir, and 8 ozs. 
 l)oiled oil. 
 
 Another — Take 1 (jt. boiled oil, 1 pt. turjientine, 
 H <»''^- muriatic acid, 1 ^ ozs. alcohol. Mix, and 
 ])olisii with Canton flannel. 
 
 Another — Raw linseed oil dr. xx, spirits tui|)en- 
 tiiic dr. V. muriatic acid dr. iv. Mix, and apply 
 with flannel rag or si)onge. 
 
 TO PREVEXT PAINT FROM CHIPPING OFF. 
 
 On inside work, where the paint has been on a 
 long time, the paint transforms into a species of 
 glass, and paint only adheres as it would to glass. 
 It becomes so hard that even sand paper will not 
 take hold of it. In such cases, if rcpainte*), and 
 it receives a blow or scratch, it will chip off. The 
 only way to prevent it is either to burn the paint 
 off — wjiich is a very expensive mode — or, a cheap 
 er way is to go over the surface of the work before 
 
18 
 
 re-painting with a moderately strong solution of 
 ammonia and soda, thoroughly wasliing it, after- 
 wards follow with the painting. 
 
 WAXING FLOORS. 
 
 Clean the floor thoroughly by scrubbing, then, 
 when dry, clean again with turpentine. If the 
 floor is rough, give it a coat of wood-filler or slud- 
 lac. Melt bees wax and turpentine, and apply 
 witii a brush, then polish with a large scrub brush 
 or liorse l)rusli. 
 
 I'ROSTIXli. 
 
 To make a good imitation of frost on glass' 
 make a liquid of epsoni salts and lager beer. This 
 will last for a long time away from natural frost 
 and exposure. To bind it firmly apply a thin coat 
 of damar varnisii over it. whtch may be colore;l 
 with any transparent tul)e colors, which gives a 
 very beautiful effect. 
 
 Another — Grind your dry color in a licjuid made 
 by dissolving gum arable in soft water with com- 
 mon salt. Tins v.ill adhere so well that it will 
 eat into the glass and last for years. 
 
 Another method, which is used most generally 
 for frosting ofiice doors, &c., is at follows: Take 
 keg lead and mix to the consistency of second 
 coating with two-thirds boiled oil and one-third 
 turpentine. Apply to glass with a brush, rubbing 
 it out well; then take a fine-grained muslin cloth, 
 
39 
 
 (lampcii it slightly, and place inside of it a wad of 
 raw cotton and pounce the glass all over, taking 
 out. all brush marks, &c. Another way — Mix 
 flake white with boiled linseed oil, then add pow- 
 dered mica. 
 
 TO MAKE GLASS IMPERVIOUS TO THE SUN'S RAYS. 
 
 Pound gum adragant to powder, and dissolve 
 for twenty-four hours in the whites of well-beaten 
 eggs. Lay this on the glass with a soft brush. 
 
 WALNUT 8TAT?'. 
 
 1st. To make a stain without the use of oil, 
 take 2 drachms permanganate of potash, add 
 enough soft water to make proper consistency; 
 when dry finish witii varnish. 
 
 2nd. A very good stain is obtained l)y taking- 
 brown asplialtum varnish and thinning with tur- 
 pentine to proper consistency. 
 
 8rd. Take 2 parts ground burnt umber, 1 part 
 ground burnt sienna, 1 part Japan and thin with 
 turpentine and boiled oil in equal proportions. 
 
 4th. Mix Vandyke brown with a small amount 
 of pearlash in a little cold water, then heat it un- 
 til it l>ecomes a paste, then add a quart of boiling 
 water gradually and stir. Apply the mixture with 
 a ])iece of woolen cloth. 
 
 5th. Take turpentine 1 gal., pulverized as- 
 phaltum 2 lbs, dissolve in an iron kettle on a stove^ 
 stirring constantly. The addition of a little 
 varnish with the turpentine improves it. 
 
40 
 
 CHERRY STAIN. 
 
 1st. Take 1 part ground Indian red, 1 part 
 ground Venetian red, 1 part Japan, and thin with 
 turpentine and boiled oil in equal proportions. 
 
 2nd. Rain water 3 qts„ anotta 4 ozs., boil in a 
 copper kettle until tlie anotta is dissolved, then 
 put in a piece of potash the size of a walnut, keep 
 the solution on the fire fur a half liour longer and 
 it will be ready for use. Keej) it well corked 
 when not using it. It makes p<i})lar, pine or light 
 woods so near the natui'al color of clierry that it is 
 hard to tell. 
 
 MAHOGANY STAIN. 
 
 Boil \ lb madder and 2 ozs. logwood cliips in I 
 gal, of water and brush well over while hot. 
 When dry go over with ])earlash solution, 2 
 drachms to the quart of water. By using it strong 
 or weak the color can be varied. 
 
 Another stain for maliogany in oil i.nay be ob- 
 tained by simmering linseed oil for awhih', to 
 whicli has been added alkanet root. The oil 
 shouhl be watched closely. 
 
 TO DARKEN MAHOGANY WOOD 
 
 With a deep tint and still n-tjun plenty of color, a 
 small amount of chromate of potash may be 
 melted in a quart of ^^ater and applied over tlie 
 wood with a piece of wotUen cloth. 
 
41 
 
 ROSEWOOD STAIN. 
 
 Take alcohol igal., camwood 1 oz., set them in 
 a warm place for 24 hours; then add 1^ ozs. ex- 
 tract of logwood, nitric acid ^ oz. When all is 
 dissolved it is ready for use. 
 
 Another may be obtained by using the first part 
 of first formula of ebony stain, leaving off the vin- 
 egar solution. 
 
 Another formula is to use the red stain; wlien 
 dry, follow with the 5th formula gf walnut stain. 
 
 BIRCH STAIN. 
 
 A good imitation is obtained by using a solu- 
 tion of chroraate of potasli dissolved in water. 
 
 KBONl STAIN. 
 
 Take extract of logwood and boil for three hours 
 in water and apply while hot, vvhicli will make a 
 red stain. Then coat this over with vinegar solu- 
 tion, to which has been added rusty nails three or 
 four hours before. 
 
 Another— -Boil 1 lb of logwood chips or dust in 
 4 quarts of water, add a double hand full of wal- 
 nut hulls, boil the second time, tlien add 1 pint of 
 vinegar, and it is ready for use. Apply hot and 
 follow, when the wood is dry, with a hot solution 
 of copperas, 1 oz. to each quart of water. 
 
 RED STAIN. 
 
 Boil 1 lb Brazil wood and 1 oz. of pearlash in 1 
 
42 
 
 o-rtl. water, and while hot brush over the work un- 
 til proper color. 
 
 Dissolve 9 oz. alum in 1 quart of water, and 
 brush this solution over the work until it dries. 
 
 WINE COLOR STAIX. 
 
 Boil 1 1') of Brazil wood with 3 (juarts water for 
 an hour, add ^ oz. cochineal, boil again for half 
 an hour gently; strain, and it is ready for use. 
 
 BLUE STAIN. 
 
 Boil 2 oz. Indigo, 2 lbs of wood and 1 oz. alum 
 in 1 gal. of water. Brush well over the work un- 
 til thoroughly stained. 
 
 GREEN STAIX. 
 
 Take i lb of best verdigris and I oz. Indigo : 
 boil in 6 pints of vinegar. Allow the veneers to 
 simmer until the color has penetrated. — School of 
 Design. 
 
 <;raining grounds and graining colors. 
 
 Oak — Ground should be a light straw color, 
 made with white lead, colored with French ochre, 
 orange chrome yellow or chrome yellow and a 
 small portion of Venetian red. 
 
 Graining Color. — 1 part burnt umber, 8 parts 
 raw sienna with a small portion of burnt sienna: 
 all the colors should be finely ground in oil; thin 
 down with equal parts of boiled oil and turpen- 
 
43 
 
 tine witli a little Japan and a small portion of 
 bees wax melted in the oil. 
 
 Ash. — Ground same as oak, only 2 shades light- 
 er, graining color same as oak only less of burnt 
 sienna. 
 
 Chestnut. — Ground as ash, tinted a little with 
 black; graining color same as oak l)ut also tinted 
 a little with black. In shading use a little extra 
 burnt sienna. 
 
 Walnut.— Ground should be a light yellow 
 chocolate, which is made of 1 part French ochre, 
 2 parts burnt uml)er, 1 ymvt of Indian red and 
 white led of equal proportions. 
 
 Graining Colors. — Use burnt umber in oil, 
 thinned as described in oak graining color. 
 Dampen the surface to be grained with water, 
 using a sponge or chamois, then take burnt umber 
 mixed in equal proportions of beer and water and 
 rub in a small })art at a time very liglitly, then 
 pounce or stip2)le with blender or dry brush and 
 when all is over and dry, brusli over the surface 
 with oil, Japan and turpentine i.i equal parts, let 
 dry, tlien 2>i"oceed with the oil graining color. 
 
 Butternut or White Walnut. — Ground 4 or 
 o shades lighter than walnut. Stipple and use 
 same graining color as walnut; it is of the same 
 
 grain as walnut, only ligliter. 
 
44 
 
 ('herry. — Ground same as oak, only reddened 
 up with burnt sienna. 
 
 Graining Color. — Burnt umber, raw sienna and 
 burnt sienna in oil in equal parts, shade with 
 burnt sienna. 
 
 Xew way to grain cherry over white or ligiit 
 ])aint: Stipple with burnt sienna in stale beer or 
 ale; move the stippler slowly, and make as fine 
 grain as possible. When dry give it a thin glaze 
 with burnt sienna in oil, and when dry varnish. 
 
 Another Way — For the ground work, take white 
 lead, colored with burnt sienna — not too dark — 
 using for graining color, burnt sienna with a very 
 little burnt umber, stipple your work very finely, 
 then wipe out your heart pieces, not too many, as 
 cherry has but little grain. When this is dry, use 
 the same colors for glazing as for graining coloi', 
 only a little more umber. When dry follow with 
 a good coat of varnish. 
 
 Mahogany. — Ground orange red, 2 parts orange 
 chrome, 1 part Indian red. 
 
 Graining Color.— Can be used in oil or distem- 
 per, 2 paj'ts Vandyke brown, 1 i)art burnt sienna, 
 1 part burnt umber. 
 
 Rosewood. — Ground deej) orange. 1 part 
 orange chrome, 8 parts Indian red. 
 
 Graining Color. — 2 parts drop black and 1 part 
 
45 
 
 l»urnt limber, am be used in either oil or distemper, 
 
 WEIGHTS OF PAINTS. 
 
 Turpentine, 1 gal. weighs 5 lbs. 
 Linseed oil, I gal. weighs 7^ lbs. 
 Varnish, I gal, weighs 8 lbs. 
 Japan, 1 gal. weighs 9 lbs. 
 Pure lead mixed, 1 gal. weighs 20 lbs. 
 
 LIST OF PRICES— HOUSE PAINTING. 
 
 1 coat, new work 10 ets. per yard, 
 
 1 -^ old '' 12 '' ^' 
 
 2 "■ new •' 20 •• 
 
 2 -^ old " 25 - - 
 
 :i " new •* 28 •' 
 
 J5 ^' old '• 82 -> '• 
 
 Where two colors are used add 5 cents per yard, 
 and each additional color 3 cents per yard. 
 
 SANDING. 
 2 coats paint, 1 coat sand 30c per yd. 
 
 8 '' '^ 2 '- " 50c 
 
 1 '• •' 1 •• " over sanded work 22«- '• 
 
 2 '' '• 2 '' " 40c " 
 
 Rough brick work', freestone, rough castings 
 same price as over sanded work. 
 
 For penciling brick work 15 cents per yard. 
 
 Where the painters puttys nail iiolcs, &c.. a<ld 
 
40 
 
 5 per cent., also if he has to clean ofE new work after 
 plasterers add 5 per cent, to the hill. 
 
 INSIDE WOKK. 
 
 1 coat or priming on wood lOe per y(\. 
 
 2 '' and sand papering, pnttyin<»:,tfec 22c " 
 
 a - " '• " 3.0C " 
 
 4 " '' " '^ 48c " 
 
 IMITATION OI' AVOOD OK STONE. 
 
 Common Graining 1 coat varnish 35c per yd. 
 
 Fair '' 1 ' '^ 40c 
 
 Fair " 2 '' rnbbed down . .55c " 
 
 Best '' 1 '• '' 65c " 
 
 Best •' 2 '' and rubbed 80c " 
 
 ESTIMATING WORK. 
 
 To make a proper estimate of work, a painter 
 must know what a square of one hundred feet, or 
 a yard of nine feet can be painted for, priming, 
 second and third coats, as work is generally 
 done. He must get the actual surface of the work 
 to be painted, (take for instance the outside of a 
 house,) get its length, breadth and heighth, and if 
 there should be several heighths, measure each by 
 itself; but be careful to get a correct measurement 
 of the whole house in superlicial feet. 
 
 Now you should notice the condition of the 
 house, whether better or Avorse than the average 
 run of houses; whether more difficult to set at. 
 
47 
 
 You cau then calculate the price per square or 
 \arcl, then by the whole number of squares or 
 yards. 
 
 On the inside of a house, take the same course. 
 Take the measurement of the doors, if there be 
 different sizes, measure each size seperately then 
 by tlie number of that ^ize, then the same course 
 by the widows, then figure the base, stairways 
 closets and other parts not enumerated. And now 
 after finding the wliole number of feet, divide this 
 by t) which will give you the number of yards 
 (^which is handier for inside work) in the whole 
 job. Now consider at what price per yard it can 
 be done for; you must have good judgment, if 
 there l)e anything peculiar about the work make 
 the proper allowance therefore pro or con. 
 
 If you make an error in your judgment, you 
 will either lose the job or lose money. 
 
 Some do their estimating a little different, they 
 n\ake allowance for extra work and trouble when 
 measuring; take for instance a cornice, they will 
 girth it from one and one half to three times its 
 actual measure, according to their judgement of 
 extra work or the amount of time consumed over 
 plain work. 
 
 Blinds, picket fence and lattice work may be 
 measured one and one half times, some measure 
 lattic work and blinds twice. 
 
48 
 
 Therefore to estimate correctly on a 30b yoti 
 must know just how many square feet there is in 
 it and if anv peculiarities make the proper allow- 
 ances. 
 
 When this has been determined, you are pre- 
 pared to give an honest and intelligent bid. 
 
 TO PAINT PlyASTERED WALLS. 
 
 Put on a coat of good oil paint, right on the 
 bare walls; when dry, over this apply a coat of glue 
 size just strong enough to stop the suction, if it i.s 
 too strong, the paint applied over it is liable to 
 peele off, if the size should want to crawl, a little 
 alum will prevent it. This sizing coat if properly 
 done, will save perhaps two coats of paint. Fin 
 ish the last coat of paint as you desire. Can be 
 made an egg; shell gloss, or a full gloss with varn- 
 ish and oil added to the color. Kitchens, dinning 
 rooms and halls look well in gloss, but other 
 rooms look better with aflat surface. 
 
 PAPER HANGING. 
 
 To do a good job of paper hanging the most 
 essential thing is to have good tools, for a good 
 mechanic cannot do a good job with a poor outfit 
 of tools. Good tools are the most satisfactory and 
 cheapest in the long run. The tools should be an 
 eight or ten inch bristle smoothing brush; a six- 
 teen and a ten or twelve inch shears; a paper 
 knife; a goqd rule; a seam roller; smoothing 
 
4!) 
 
 roller, for borders and decorations; a strai^nt 
 edge; plumb-bob; a three inch wall scraper; paper 
 hoard; and ste}) ladders. These are the tools for 
 general work. We next proceed with a pail of 
 paste (previously described. ) Should the paper to 
 be put on be a metallic, use a little carbolic acid 
 in the place of the alum to keep from souring, as 
 alum is liable to turn gilt paper dark. If the 
 room to l)e papered is a hard .inish and not too badl}' 
 smoked up, all that is neccessary to ])repare the 
 walls is to sweep over witli a broom. If tliey are 
 smoked and dirty, it is a good idea to go over 
 them with a Meak glue and alum size. If the 
 walls liave been papered before, go over and take 
 all that is loose off with the wall scraper, if it is a 
 fine paper you are going to hang, it is better to 
 <lampen the old paper good and scrape all off, 
 patch up all the l)ad places in the walls with plas- 
 ter of Paris mixed with paste. If walls have been 
 white washed, they should invariable be given 
 a size with glue and alum, (previously described.) 
 Having your walls ready, get the length that your 
 paper Avants to be, cut two or three double rolls, or 
 if for ceiling, enough to cover it, now turn your 
 paper over, if your paper is already trimmed, put 
 the trimmed edge toward you, push all the paper 
 about one and one lialf inch l)ack from the edge of 
 board closest to you, then draw first sheet over so 
 it will come to edge of board, tliis prevents the 
 
piistc tVoin forming- on tiie trininuHl edges and 
 making bad work, 
 
 Some paper hangers never trim the paper until 
 it is pasted, which is the best and neatest method, 
 (but probably to the unexperienced the most diffi- 
 cult.) They paste their paper fold top end two- 
 thirds over, bottom end over to top. Be careful to 
 get your paper folded smooth and the margin 
 edges even; if a cheap paper, take your sixteen 
 inch shears and trim; if ii is fine paper use straight 
 edge and ])aper knife. 
 
 Commence at an o];ening and hang the strips as 
 nearly perpendicular as possible, 
 
 Brusli the paper from the center down and to 
 each side. If you have wrinkles in the paper draw 
 it off to Avrinkic and brush down again, when at the 
 baseboard run the })oint of your ten or twelve- 
 inch sliears ahmg edge of base, draw paper off 
 a])iece and cut it off nice and even, leaving no 
 liaggled (M- uneven edges. When you come to an 
 opening measure top and bottom of space, and 
 after your slieet is pasted, folded and trimmed, 
 split it to tlie widest space, and the surplus paper 
 on casing you can cut it off, with paper knife, use 
 it as you would a saw, or you can pull the paper 
 off apiece and trim with shears. 
 
 Take balance of slieet and proceed on other 
 side of opening. Split your paper likewise for 
 
tlu' iiorncrs. Do not attfnipt to turn the paper 
 around the corners, unless it \m a ver}' small edge. 
 
 Cut the hordcr in such lengths as can l)e easily 
 handled, say six or seven feet, (always cutting in 
 the same figure), paste and fold up eaclt did, so 
 the linci? will meet exactly and cut. In ])a]xring 
 a ceiling have a scaffold formed of a couple of step 
 hvdders and a plank. If it is to be a i)lain ceiling- 
 strike a line across tiie en<l you wish to commence 
 at, 1<S inches from wall and lay your first sheet by 
 that. If you wish to ])ut on a stiling and mould 
 or extension line your ceiling all around, the 
 width you wish the stiling, and on the end you 
 commence to lay on your •'field." Strike another 
 line away from the stiling line a*< the width of 
 your mould or extention. By this commence to lay 
 your field by, this fre<juenth^ saves an extra sheet 
 of ''field " paper. In hanging your "field" paper 
 Imve your paper folded to renter, take a roll of 
 j)a])er with your left hand, and catch under it, and 
 with your right hand undo the right end of the ])a- 
 per, (take care not to let it touch the other paper and 
 blur it,) place the paper to its proper place with 
 your right hand, holding up the balance with your 
 left, then commence to smooth the pa))er nith 
 your brusii, working from right to left, when mid- 
 way undo the bottom end and proceed'as before. 
 Be careful to get all edges fastened with brush or 
 seam roller. 
 
r.s> 
 
 Do not use paste too heavy as it is liable to scpieleli 
 out at edges antl make bad work. 
 
 SIZING FOR PINF: WOOD. 
 
 Dissolve i 11) best clear glue by heating in on(^ 
 gallon of stale beer, apply with soft bristle brusli, 
 keeping the sizing hot while api)lying. If sizing 
 is too thiek add more beer. 
 
PAr<x II. 
 
 SKiN PAINTING. 
 
 The sign painter finds the letters most used are 
 the Roman, Italic, round and s(|uare block, the 
 half block or Egyptian and script. 
 
 The most ditiicult letter of all to make is the 
 Roman. The Egyptian is easiest and most simple 
 and most generally used by new begginers. 
 
 The Italics have all the form of the Roman 
 letters only slightly condensed, and at an angle of 
 about sixty degrees. The lower-case Italics are 
 seldom used by a sign painter, but is a good letter 
 in show card lettering or wherever a (juick, off- 
 hand letter is required. There is no rule govern 
 ing these letters, if gracefully formed, and they 
 may be crowded somewhat without spoiling their 
 general appearance. 
 
 The Block letter is the boldest of all letters, 
 and is governed by the same rules in regard to 
 spacing, heighth and breadth as the Roman capi- 
 tals, but, unlike that letter, it nuiy be elongated or 
 condensed to a great extent without injuring its 
 appearance. 
 
 The Egyptian ok Hai-k Block letter may be 
 counted the sign [)ainter's stand-by or a sul)stitute 
 
54 
 
 for all other letters, for when all otiiers fail for 
 want of space or other reasons, they will be found 
 to fill the requirement. When properly spaced 
 and proportioned they are inferior to none 
 for beauty, but as substitutes they may be con- 
 densed or spaced out to fill every conceivable 
 space, and crowded as they often are, they fill the 
 position given them with beauty and grace. 
 
 The Script letter makes a very beautiful sign, 
 but it is very difiicult to execute, and but few sign 
 painters make a specialty of it. But, as a general 
 thing, there is not enough of it done, even in our 
 larger cities, to afford a sign painter sufficient 
 j)ractice to come to any degree of perfection. 
 Good penmanship is not essentially necessary in 
 order to become a good script ])ainter. Some of 
 our best are ])oor penmen. Writing on a sign 
 board is altogether difEerent from writing on 
 paper. It is necessary, however, to have a pretty 
 correct idea of penmanship of a good round text 
 copy for your guide. As we have heretofore said 
 that the Roman letters being the most difficult 
 letter to make, as there are certain measurements 
 for each letter. For instance, take the letters B, 
 D, E, G, O, P, Q, R, T, and the character &, when 
 properly made, will occupy one-eighth more space 
 in width than in heighth; C, F, J, L, S, and Z, 
 will occupy the same space in width as in heighth; 
 A, K, N, U, V, X, and Y, one-sixteenth more 
 
space in width than in heiglith ; H, one-fourth more; 
 M, one-third more; W, one-half more space in 
 width than in heighth; I, two-thirds of its heighth 
 in wddth. All round or oval letters as C, G, O, Q 
 and S, should project a litte above and below the 
 lines to make them appear equal in size. The 
 upper parts of B, E, S and R should occupy a 
 trifle less space on the main line than the lower 
 part; the bar connecting the H should be a little 
 above the center, also the center bars in the E and 
 F; the curve for P should take up just half of the 
 letter; the linishing bar of the G should be a lit- 
 tle less than half its heighth; the upper portions 
 of the Y should join the main body at one-half its 
 heighth. The wddth of the main body of a Roman 
 letter should be regulated by its heighth ; the 
 main body should be one-iourth as wide as the 
 letter is high and the fine lines one-twenty- fourth 
 as wide. For instance, for a letter tw-elve inches 
 high, the main body should be three inches wide 
 and the fine lines one-half inch. The upper point 
 of the A and the lower points of V, W and right 
 low-er point of N should be the same width as the 
 fine lines. 
 
 8PAOIN(4. 
 
 There is no rule for spacing" in sign painting to 
 designate the exact distance between the letters 
 forming a word or sentence. It is not in good 
 taste to crowd letters too closely or to separat.e 
 
56 
 
 them too much. In some cities where sign paint- 
 ers are paid by tlie foot for lettering, many jobs 
 are spoiled by being spread out too much in order 
 to make a few feet more. Letters having small 
 tops or bottoms should be placed nearer the pre- 
 ceding and the succeeding letters than if both let- 
 ters run parallel with each other. 
 
 SPACING ON LARGE SIGNS. 
 
 The painter has very often large signs on high 
 and long walls, where your staging will not reach 
 but a small portion' of the distance. In such cases 
 it is necessary to ado})t some mode of laying off 
 the work correctly without moving j^our staging 
 or scaffold twice. In doing work of this kind I 
 adopted the following rule : Get the length and 
 width of your space to be lettered and the number 
 of lines to be on it. Mark off a similar space on 
 a piece of paper with a scale of one-fourth, one- 
 lialf or 1 inch to foot as you like; then lay off 
 your lettering just as you wish it to appear on 
 the wall, taking great care to have your letters and 
 spaces accurate. With this sketch and table of 
 measurements you can commence at either end and 
 carry as many lines as you have by adhering 
 strictly to the above rules. 
 
 ARKANGEMENT OF SIGNS. 
 
 Tlie beauty of a sign depends upon the variety 
 of letters used and their arraffement into lines. A 
 
o < 
 
 very poor job of lettering if well arranged, will 
 look much better than a good job of lettering 
 poorly arranged. The repetition of the same kind 
 of letters on two succeeding lines should be 
 avoided. And two lines following each other 
 should not be the same length. Where a sign is 
 composed of several lines, curved or scroll lines 
 may be introduced to good advantage; but they 
 should be put in sparingly and gracefully, or in- 
 stead of beautifjnng they will mar the design. 
 For a sign of one line use the style letter most 
 suitable for the space and the amount of matter to 
 go on the sign. 
 
 COLORING AND SHADING LETTERS. 
 
 There is scarcely no limit in the variety of 
 colors that may be used in sign writing. How- 
 ever, much depends on the proper selections by 
 the painter, and too often colors are put on wdth 
 utter disregard to all the rules of harmony and 
 good taste. White and black are the most used 
 of all colors. A black letter on a white ground, 
 and a white letter on a black ground are perhaps 
 as often used as any other. For both, a white 
 ground work is essential; the difference is while 
 in the former the black letters are painted on the 
 surface of white, while the latter is marked out 
 and cut in around and tilled in wdth black; by this 
 niQde you can gee your letter much whiter and 
 your corners much sijuarer than by painting the 
 
58 
 
 letters on the black. Modern sign painters have 
 very generally adopted v\^hat is termed, the cut-in 
 process where the letter is lighter than the ground 
 work. Black, vermillion, Indian red, green and 
 blue are the most common colors used for cutting 
 in work. The color of the letters or ground pre- 
 vious to being cut in can be white or any desired 
 tint or two or more colors can be blended in on your 
 sign, so airanged that part of your letter will be 
 one tint and the other part another. An imitation 
 of gold color is a very popular color and can be 
 used with any of the above colors with good 
 effect. 
 
 SHADING FOR CUT-IN SIGNS. 
 
 Where the ground is darker than the letter, the 
 shading should be two or three shades darker than 
 the ground work, unless the ground is black, then 
 the shading should be some bright color, either in 
 one color, line shade, or a blended shade which 
 the new beginner will find the most diflicult of all 
 shades to execute. This consists of a combination 
 of colors and tints worked in and blended to- 
 gether with a beautiful effect. This shade should 
 join up to the letter, leaving no space between tlic 
 letter and shading. 
 
 SHADING FOR ORDINARY SIGNS. 
 
 For a white ground and a black letter, the shad- 
 ing should be some light tint of green, blue, red or 
 
59 
 
 buff, but the most prevailing color is a light warm 
 stoDB color. The depth of shade, whether on the 
 left or right side of the letter which is optional 
 wnth the sign painter, should be in proportion of 
 one-fifth of the heighth of the letter, still it can 
 be much heavier or lighter, and to look well 
 should be a trifle heavier on the bottom parts of 
 tlie letter than on the side. There sh'^uld be a 
 space between the letter and the shade in the pro- 
 portion of one-fourth inch to a six inch letter and 
 one-half into a twelve-inch letter. Also what 
 is termed a line shade ,may be introduced 
 with good effect, and is made by running a line of 
 color tw^o or three shades darker than the shading 
 color on the inner side of shade next to letter, leav- 
 ing the distance heretofore stated. 
 
 A very nice ground for signs can be made by 
 using some tint color as light blue, green, pink, 
 buff or stone color; and where such colors are used 
 for grounds and the letters black the shade color 
 should be tw^o or three shades deeper than the 
 ground. And if the line or blended shade is used, 
 make two or three shades still darker. 
 
 For a fancy letter either made of color, gilded 
 on wood or glass, is what is termed a skeleton let- 
 ter; the outside of the letter is composed of a line, 
 for a six-inch letter the line should be one-fourth- 
 inch thick and a twelve-inch letter about three- 
 eiglith inch. The inside of letter can be filled 
 
60 
 
 with any color or tint (that will harmonize with the 
 other colors) and be sliaded as the outside is, only 
 the shade should be on the opposite side from the 
 outside shade. This kind of lettering is more 
 difficult than the ordinary, as it takes greater care 
 in laying off w^ork. 
 
 HOW TO GILD ON WOOD. 
 
 Use old fat linseed oil, the older the better, mix 
 with chrome yellow, 'put in a little best Japan 
 dryer, thin with turpentine. Apply for sign work 
 with sable brush, as they are some stiffer tlian 
 camel hair pencils. Let sizing stand until almost 
 dry or as termed "tackey," then lay your leaf from 
 the book ; when you have gone all over the sign, 
 burnish over with cotton. If you have more than 
 one line of lettering to gild you can use on part 
 of the lines nickle leaf, or the lower half of a line 
 can be gilded with nickle leaf and the top lialf 
 with gold leaf or vice versa. Nickle leaf is very 
 cheap and will stand the weather as well as gold 
 leaf. The XX gold leaf or deep is the kind most- 
 ly used by sign painters. Have the ground of 
 yo ur sign flat or the gold will adhere to other 
 parts than the letters. 
 
 iinother formula for gold size is to take 4 ozs. 
 powdered gum animi, 1 lb linseed oil; dissolve 
 the gum animi in the linseed oil by heating it, 
 stirring it constantly until the gum is dissolved 
 Strain throutdi a coarse cloth. After it has boiled 
 
CA 
 
 down to tl»o CDiisistcncv ot" stniincd honey, grind 
 it ^vith clirome yellow enough to render it opaque^ 
 add turnpentine to make it work freely under the» 
 brush. 
 
 Or another way is, take 1 oz. finely ground 
 ochre, 2 ozs. copal varnish, 8 ozs. raw linseed oil, 
 4 ozs. turpentine and 5 ozs. boiled linseed oil. 
 If too thick to flow, add more turpentine. 
 
 now TO Ai'Pi.y SMAi/rs ok flock. 
 To smalt or flock a gold or color letter sign, 
 use your color very heavy and slow drying, and 
 be sure that your color is not fat or greasy or it 
 will spi-ead and make ragged edges. When you 
 have cut in all around your sign, lay it down 
 placing large pieces of paper to catch the extra 
 smalts; sprinkle on until the entire surface is Avell 
 covered. In cut-in signs Avhere you smalt« or 
 flock them care should be taken to have the ground 
 work an egg shell gloss and perfectly dry, or when 
 you apply your smalts or flock it will adhere to 
 the letters, 
 
 HOW TO MAKE SMAT/rS. 
 
 You can make your own smalts at a cost of one 
 cent per pound. Take any good fine sand, see 
 that it is clean, put one-half gal. into a kettle, 
 heat it hot; keep stirring it until it is perfectly 
 dry, then put in about 2 ozs. mixed color, the 
 color you desire; the color should be mixed in 
 
02 
 
 good boiled oil; keep stirring it until the sand is 
 colored evenly, then spread it out in the sun to 
 c\ry, stir it up occasionally and it will be ready for 
 use; you can add a small quantity of glass fronting 
 if desired. 
 
 Ti) ari.D ON (ILASS. 
 
 To make your sizing, take a ])iece of isinglass 
 about the size of a nickle and put in a pint of 
 fresh rain water scalding hot, stir until the isin- 
 glass is dissolved, then filter through filter paper; 
 add one tablespoonful of good whisky, let stand 
 one day before using. This size will keep a year 
 if well corked up. Good clear, white glue, I think, 
 is better than the isinglass; using a piece about 
 the size of a silver dime for a pint of fresh rain 
 Avater; mix and filter as the isinglass. Take a 
 smooth ])iece of paper the exact size of your glass, 
 proceed to lay off your design, puncture small 
 holes tlirough paper on the outlines of letter; place 
 the backside of design next to glass on opposite 
 side from which you intend to lay your gold; hav- 
 ing previously well cleaned your glass by taking- 
 equal parts of nitric and acetic acid in the pro- 
 ])ortion of 1 oz. of each to a half pint of water. 
 Rul) the surface of the glass with this, allowing it 
 to remain a few minutes, then clean the glass in 
 ordinary way, using soft water and whiting; when 
 the whiting is dry wipe it off clean and polish with 
 chamois skin; take good care to remove every 
 
(>:J 
 
 ])iirticlo of the wJiiting from the surface. Tlie 
 })unctures through the design serve for a guide to 
 lay the gold. AjDply the sizing with a tiat camel's 
 hair brush and lay the leaf with a gilder's tip; 
 take great care to lay the leaf as smooth as possi- 
 ble. When the letters are all covered, let the 
 glass get thoroughly dry by standing a few hours 
 then burnish over witli raw cotton. Proceed as 
 before to give the work the second coat of gold, 
 only do not use as much size, and use great care 
 not to rub over first coat of gold ])ut once as it 
 will rub off if too much rubbing; when over the 
 second time, let dry as l)efore then burnish again; 
 then proceed to patch up small places where there 
 is not but one coat of gold, by dampening with 
 corner of brush, and laying small pieces of gold 
 on; when dry burnish the patches over; lay the 
 design right side next to the gold, then pounce 
 over with pounce bag (which is made by tying 
 up about an ounce of either whiting, ultrama- 
 rine l)lue or Venetian red.) This gives an outline 
 ot the letters, &c. ; then the sign is ready for back- 
 ing up, which is done with asphaltum varnish or 
 quick drying rubbing varnish mixed with dry 
 lampblack and thinned with turpentine. When 
 all the varnish is dry take a small piece of cotton 
 and dampen it and rub off the surplus gold; when 
 the sign is ready to shade, wliich is all backward, 
 therefore laving on the darker shades next to 
 
VA 
 
 letters first tljeii afterwards the lighter colors; 
 finishiDg with the l)ack ground last. 
 
 To keep the frost from peeling up the gold, 
 after all is done and dry go over the whole with 
 elastic varnish, running a little over the letters on 
 the glass. 
 
 It is a good idea to take a scrap of glass well 
 cleaned and try your sizing before commencing 
 work. If too thick, the gold, when hurnishecl with 
 cotton, will look spotted. If too weak, the gold will 
 rul) off when it is rul)l)ed with cotton. 
 
 TO LAY PEARI, ON (II.A88. 
 
 This consists of covering the interior openings 
 of letters on glass where they are made on the 
 hack side of the glass, with a very thin shell of 
 pearl prepared especially for the purpose. Take 
 a clean i)encil lirusli and a little clear damar var- 
 nish and go over the openings of the letters two 
 or three at a time, running a little over on the 
 letter all around. Proceed to lay on the pearl 
 carefully, breaking it to the proper size and fitting- 
 it as closely together as possible until the opening 
 is covered. When the varnish is dry the pearl is 
 firmly attached. Now mix a little silver or pearl 
 gray and coat over the pearl, covering all the open- 
 ings. 
 
 IMITATION PEAETi. 
 
 To imitate ])earl for cheap sign work, such as 
 
65 
 
 patent medicine advertisements, «&c., is made as 
 follows: Coat the openings in the letters with 
 silver or pearl gray color mixed with damar varn- 
 ish, put on thin and transparent. When this is 
 dry take tin foil and crumple it up, cut it to the 
 size and lay it over the letters. A little varnish 
 may be used to make it adhere. A light or medi- 
 um color gold leaf is often introduced to fill the 
 interior openings of gold letters on glass; by siz- 
 ing over the openings of the letters with a little 
 damar varnish, when almost dry, lay on the leaf. 
 This gives the leaf a de:id finish and makes a beau- 
 tiful finish beside the burnished gold of a deeper 
 color. 
 
 ADVERTISING SIGNS. 
 
 To make a cheap sign on glass suitable for ad- 
 vertisements, and where a number of the same 
 kin. I is required, take a smooth piece of paper 
 and cut it the size of the glass ; lay off your de- 
 sign, making it backward, place the design on 
 the back of the glass; having previously well 
 cleaned the glass ; mix a little fine striping 
 bronze with a little varnish and thin with turpen- 
 tine. Proceed to outline the letters by the design, 
 which is on the opposite side of the glass; when 
 dry do the shading. A nice shade is made by 
 running a line shade first next to letter with black; 
 when dry go over with carmine shade, then extend 
 to size wanted with vermillion ; for a green shade 
 
66 
 
 proceed as the red, using the darker color next to 
 the letter. For a blended shade lay on your back 
 ground, leaving the space for the shade ; when dry 
 proceed to put on the colors, working in the lighter 
 shades first; for the back ground use black or 
 some dark color as it is a better contrast to bright 
 colors ; when all is dry make a transparent color 
 by using soraetransparent colors, such as tube, 
 carmine, ultramarine blue, verdigris green, (dis- 
 tilled), &c., mixing with varnish, going over the 
 interior openings of the letters ; when nearly dry, 
 take tin foil, such as come around tobacco and 
 cigars; crumple it up and lay over the letters, 
 when your work is complete. 
 
 GILDING AND PAINTING ON SILK. 
 
 Having made a pricked pattern of the design,^ 
 transfer the same on the silk, using a pounce bag; 
 then go over the lettering, giving it a coat of Japan 
 varnish, (this will not spread on the silk), a clean 
 smooth edge can be made with it. Another way is 
 to go over the silk with a coat of shellac varnish ; 
 when this is dry it is ready to letter. For gold 
 letters, size upon the Japaned surface with oil size, 
 taking care not to let the oil get over on the silk : 
 use the tip cushion and knife for laying the gold ; 
 smooth the work with fine cotton. If the letters 
 are to be shaded, first go over the silk with the 
 Japan varnish or shellac varnish, following with 
 the colors: high lights should be used on opposite 
 
67 
 
 side of the shading on the edges of the gold let- 
 tering to complete the job. 
 
 TO GILD JAPAN TIN SIGNS. 
 
 Some tins, owing to the imperfect baking, an; 
 softer than others; this is more commonly the 
 case with colored tins, which makes it difficult to 
 make a nice clean job of gilding. 
 
 The following method will be a good one : 
 Clean your tin well with soft cotton; if more than 
 one sign is to be made, make a pricked pattern 
 and pounce upon the tin; if only one is to be 
 made the sign can be laid off with chalk crayon, 
 dust off with a soft duster and it will be ready to 
 size ; which is made by taking 1 oz. of hard drying 
 varnish, add about i oz, of fat oil and enough 
 tube yellow to give it a body; use oil of turpen- 
 tine to thin to proper consistency to work. When 
 "tacky," which will be in ten or twelve hours, it 
 will be ready to gild; use the knife and tip to 
 lay the gold leaf; do not touch with the fingers, 
 but rub with cotton and the chalk marks will dis- 
 appear, leaving the tin clean. 
 
 Another way to letter on Japan tin is to lay off 
 your lettering or design on stiff smooth paper, 
 (size of tin,) take and scrape off a little red keel, 
 or rub over back of design with dry colors of 
 some kind with finger or pounce bag. Then lay 
 your pattern on tin, keel side down, and go over 
 
68 
 
 the lettering or design with a lead pencil or hard 
 pointed instrument, running the out-lines of let- 
 ters, &c., when you will find a perfect transfer. 
 Dust off the surplus keel or color with a soft 
 brush and your tin is ready to size, which you can 
 use one part elastic body varnish and two parts 
 English Japan gold size, color with Naples yel- 
 low. Use no turpentine as a thinner. 
 
 SIGNS THAT READ THREE WAYS. 
 
 Procure your sign board width and length 
 desirable, have a band to project about one and a 
 half inches, have slots cut in the sides of band to 
 receive tins, say one and one half inches wide, 
 cut the slots one and one half inches apart. 
 Paint one sign on the board, lay the tins flat down 
 and paint another on these, turn them over and 
 paint another on the other side. When dry slip the 
 tins in the slots. 
 
 NEW PROCESS FOR LETTERING WITHOUT A BRUSH. 
 ON WOOD, METAL AND GLASS. 
 
 Lettering on glass to the ordinary sign painter 
 is one of the most difficult branches of the trade, 
 and most particular so when perfectly straight 
 and clean lines are desired; but by following the 
 directions below, almost any one with a little me- 
 chanical skill and good taste can procure the most 
 artistie effects. Burnish stripes and borders, either 
 in gold or silver, can be produced without using 
 
69 
 
 the genuine leaf, and at a very small expense. 
 This new process can be used on wood and metal 
 as well as glass and to good advantages. 
 
 I will first begin by giving instructions for 
 making the corrogated gold letter sign, which no 
 doubt is the cheapest and best selling sign, made 
 for show windows, &c. 
 
 The tools that are required, is a sharp pointed 
 pen knife, a few straight sticks of different widths 
 and about 4^ or 5 inches long and made from a 
 thin piece of wood, or an old cigar box is good, 
 A straight yard stick, a piece of sole leather about 
 2 inches square, a camel hair pencil and a i inch 
 bristle brush, take a piece of glass the desired size, 
 say 6x24 inches wash the glass perfectly clean, 
 and then dampen with a soft sponge, using clean 
 water only, cut off a piece of tissue tin foil (which 
 can be procured of any large paint house,) the 
 length of the glass and place it down as smooth as 
 possible, and rub gently with a soft cloth or 
 cotton. Now take a piece of writing paper and lay 
 on it beginning at the left end, and rub all the 
 water from under the foil towards the right, 
 witli the piece of sole leather, then with a 
 straight edge and pen knife cut out the bor- 
 <ler for the sign, next cut out the silver to form 
 the letters, the hcighth desired, then space off into 
 blocks by using a soft lead pencil to be sure you 
 get the spacing right, then out of the blocks you 
 can form the letters, removing the surplus foil 
 
70 
 
 with the point of the pen knife, then, with a nar 
 row rule, cut out the centers of each letter and 
 remove it from the glass leaving only a narrow 
 edge or skeleton letter; then take a piece of dry 
 paper and with one end of a wooden stick, burn- 
 ish the letters down smooth, then the sign is ready 
 to paint, which is done by the use of the camel 
 pencil, and using coach black ground in Japan 
 and mixed with turpentine and a little varnish. 
 Have the paint thick enough to cover the glass. 
 well. After all is covered except the centers of the 
 letters, lay it down flat to dry, as the paint is liable 
 to run otherwise. 
 
 After the paint is perfectly dry varnish around 
 the edges of the letters within J inch of letter and 
 when almost dry or "tacky," you can fasten on the 
 puff gold, by first wrinkling it with the fingers, 
 and pressing down on the varnish. Gold surface 
 foil for cutting borders and for the puff work in 
 the corrugated letters, is made by coating the foil 
 with a quick drying varnish or gold size, using a 
 bristle brush, and when the size is "tacky" lay on 
 ''blue elephant florence leaf" and smooth down 
 Avith a soft brush or a piece of cotton. 
 
 Signs finished with pearl, flitters, etc., are done 
 the same way as the above, except leave the letters 
 solid instead of cutting out the centers. You 
 should paint over the entire surface, and after the 
 paint is dry, you can see the form of the letters 
 
71 
 
 above the surface, and by using the point of the 
 |3en knife, the letters can be removed; thus leav- 
 ing a clean, perfect outline, which can be finished 
 in any way desired, either colors, pearl or flitters, 
 which are applied by coating the letters with 
 •damar varnish and sprinkle them on while the 
 varnish is wet. 
 
 Beautiful effects can be produced by coating the 
 glass with transparent colors mixed in varnish 
 and backing up with gold or foil. 
 
 Shading can be done in the most perfect man- 
 ner by cutting the shade on. in different sections 
 and removing the foil one shade at a time and by 
 
 Wood or metal signs can be striped by simply 
 wetting the surface of the foil and burnish. Pro- 
 ceed the same as glass sign. 
 
 By sharpening a pair of dividers, perfect circles 
 can be made in any size, using a small piece of 
 rubber to keep the point from slipping on the 
 glass. The most perfect lettering, striping, &c., 
 can be done by forming the design on brass signs 
 arid painting over with asphaltum varnish and 
 when dry, remove the foil: then proceed as here- 
 after described. 
 
 BRASS SIGNS. 
 
 Paint over the sheet of brass with a good coat 
 of asphaltum varnish, leaving the part to be itched 
 
72 
 
 anpainted. If you make a border around your 
 sheet of brass, make it about one-half inch from edge 
 of sheet. You can use the tissue tin foil here to good 
 advantage for the border and lettering, and coat 
 over. When dry, run over the foil with the point 
 of a knife. 
 
 Raise a border around the outside edge of 
 beeswax or asphaltum, to keep the acid in. Use 
 nitric, diluted one part of water. Pour the acid 
 on the sign about one-fourth of an inch deep. 
 When the letters are all cut deep enough, which 
 must be found by trial, and will take two or three 
 renewals of the acid, then the acid can be poured 
 off, and the plate thoroughly washed; then clean 
 the asphaltum varnish off by lieating, and wash- 
 ing with turpentine. 
 
 The cement for filling the letters of brass and 
 xinc signs is made by mixing equal parts of as- 
 phaltum, shellac and lamp black, or black sealing- 
 wax may be used. Apply by heating the plate 
 and melting the cement in, and evening the sur- 
 face with a warm iron. Then carefully scrape off 
 the surplus, and again hold a warm iron over the 
 letters to glaze the surface. 
 
 Or, another formula, is to mix asphaltum, brown 
 Japan and lamp black into a putty-like mass, and 
 then fill the s])aces; then clean the edges with tur- 
 pentine. When dry the whole plate can be pol- 
 ished. 
 
73 
 
 LAQUER TO COLOR TIN. 
 
 Such as is used on signs, tin boxes, cans, &c. 
 Take shellac three-fourths of a pound, gum san- 
 darac three and one-fourth ounces, alcohol two 
 gallons. Color to suit, either with analine colors 
 Prussian blue, carmine red or gamboge yellow, or 
 any transparent colors, ground very fine. Obtain 
 the desired tint by trials, 
 
 GOLD LAQUER FOR TIN. 
 
 Use thin copal varnish, slightly colored with tur- 
 meric, and baked in an oven. 
 
 TO LETTER ON MUSLIN. 
 
 1st. Mix the color with quick drying varnish 
 and Japan and thin with turpentine. Dampen the 
 muslin before applying the color. 
 
 2nd. Stretch the muslin tight; go over it with 
 a coat of ordinary starch, about the consistency for 
 laundry purposes; when this is dry it is ready to 
 letter. Mix color as above. 
 
 3rd. By mixing the color with benzine and 
 benzine Japan; the wetting process may be dis- 
 pensed with. 
 
 "nobby" numbers. 
 
 Take common w^atch crystals, gild or paint the 
 number on the hollow side; when dry give it a 
 coat of ground; let dry and fill level with planter 
 of Paris. If the number is to have a w hite ground 
 it will not need a coating as the plaster of Paris 
 
74 
 
 answers for a white ground ; they can be attached 
 by a cement made of white lead and quick drying 
 varnish. 
 
 TO LETTER ON CARD BOARD. 
 
 This is quite an important business in sign paint- 
 ing line, and a skillful card writer will get up 
 work very fast; and the cheaper work is what is 
 termed "knocked off letters," which must be 
 made with neatness and uniformity in slant: while 
 card boards are mostly lettered with black, red or 
 blue and a light tint color used for a shace. If 
 the card board is colored use a shade color two or 
 three shades darker than the ground. Mix your 
 colors wnth a quick drying varnish and thin with 
 turpentine; or, use asphaltum varnish and thin with 
 turpentine. 
 
 TO SHADE GOLD FIGURES AND DESIGNS ON GLASS. 
 
 After the gold is laid and burnished down, 
 transfer the design to the gold by means of trac- 
 ing papers or a pricked pattern and pounce bag; 
 take a hard pointed instrument and trace the out- 
 lines of the figures; take two or three flat flitch 
 brushes of different sizes and cut down the bristles 
 to about one-third their usual length ; with these 
 shade the design, rubbing out the gold entirely 
 where the darkest shade wants to be made, blend- 
 ing it off to the lighter shades. It is also essential 
 to have several hard and soft wood sticks of vari- 
 
75 
 
 ous sized points and a few needles tied together 
 complete the outfit; and with a good knowledge of 
 drawing the work can be easily accomplished. 
 Back the work up same as gold lettering. 
 
 COATING SIGN BOARDS. 
 
 It is a very important thing in sign painting to 
 have well coated boards; for a painted sign the 
 ground should have a glossy surface. To prepare 
 a ground of this kind, if a pine board, kill the 
 knots with shellac varnish; or, if it is a rich piece 
 of pine, the wliole board should have a coat; when 
 this is dry give it a prime coat of white lead and 
 boiled oil; let stand for twenty-four hours, then 
 sand paper and putty all nail holes and rough 
 places. For second coat mix white lead with one- 
 fourth part boiled oil and three parts turpentine; 
 if other color than white is to be used the second 
 coat can be colored similar to finishing color; let 
 this stand at least twenty-four hours, sand j)aper 
 and it will be ready to give the third or last coat 
 which should be mixed with white lead, three- 
 fourths part of boiled oil and one part of turpen- 
 tine. This will have considerable of a gloss, and 
 with the turpentine it will make the lettering work 
 better and is much less liable to crawl. 
 
 For a gold sign the surface should have what is 
 termed an egg-shell gloss; and, to make this, take 
 white lead mixed with one-third boiled oil and 
 two-thirds turpentine, with a small portion of 
 
76 
 
 Japan dryer. This is for the third coat — the first 
 and second coats should be mixed as above stated. 
 It is a good idea to make the third coat a lead 
 color, as the cutting in colors covers better, and 
 the chalk marks for laying off the work show bet- 
 ter, 
 
 FOR GOLD SIGNS TO BE VARNISHED OVER. 
 
 Give first, second and third coats as for a gold 
 sign, (not to be varnished over.) For the fourth 
 coat add a little more turpentine, and the fifth 
 coat should be a good coat of color and varnish. 
 When this is dry rub down to dead gloss with 
 pumice stone and water and woolen cloth, after it 
 will be ready to size and gild. Before sizing 
 pounce over the surface with a little whiting to 
 prevent the gold from sticking to the ground. 
 Mix the sizing for this kind of work of four-fifths 
 coach varnish, one-fifth fat oil and a small portion 
 of chrome yellow, finely ground. Thin with tur- 
 pentine, and when " tackey " it is ready to gild. 
 The shading colors should liave but little oil in 
 them, and they should l^e joined up to the letters 
 wliich help to straighten them up. 
 
 TO CRYSTALIZE OR CLOUD TINS FOR SIGNS, &C. 
 
 Take 2 ozs. sulfuric acid, 1 oz. soft water, 1 ta- 
 blespoonful of common salt; place the tin on the 
 stove and warm it, (do not get too hot or will dis- 
 color tin), pour the acid in a glass or porcelain 
 
77 
 
 dish or cup, add the water, and just before using 
 add the salt. While the tin is warm apply the 
 mixture with a sponge tied on a small stick as 
 speedily as possible. When over wash off with 
 clean water, when the tin is ready for the colored 
 varnish, using fine transparent colors, carmine, ver- 
 digris green, (distilled), ultramarine blue, &c. 
 
 Another method is, to place the tin plate, slight- 
 ly heated, over a tub of water, and rub its surface 
 with a sponge dipped in a liquid composed of four 
 parts aqua fortis, two parts of distilled water and 
 one part of common salt, or sal ammoniac, in so- 
 lution. When the crystaline spangles seems to be 
 thoroughly brought out, immerse the plate in the 
 water, washing it with either a feather or a piece 
 of cotton, taking care not to rub off the film of tin 
 that forms the feathering. Then dry with a slow 
 heat and coat with a laquer or colored varnish, or 
 otherwise it loses its luster in the air. If the 
 whole surface is not plunged at once into the 
 water, but is partially cooled by sprinkling water 
 on it, the crystalization will be finely varigated 
 with large and small figures. 
 
 now TO ATTACH WHITE ENAMELED T.ETTEKS TO 
 WINDOWS, &V. 
 
 Take a quantity of dry white lead and sift it 
 through a seive, so it will be entirely free from 
 lumps, then moisten it up with copal varnish and 
 mix throughly until it becomes the consistency of 
 
78 
 
 soft putty, when it is ready for use. Make only 
 what you want to use that day as it dries out 
 quickly and is not so good if it is softened with 
 oil, turpentine or varnish ; though it may be soft- 
 ened with either of these. 
 
 The easiest and best plan for inexperienced 
 persons, is to take a sheet of common manilla 
 wrapping paper just the size of the window or 
 glass, lay the paper down on a table and arrange 
 the letters on the paper in the shape and space 
 that you want them to appear on the window ^r 
 glass; when all is properly arranged to suit, take 
 a lead pencil and mark around each letter as they 
 lay; then lift your letters up and paste or tack the 
 paper on the inside of the window, which will 
 show on the outside plainly. If the letters are to 
 be put on wood or other surface than glass, then 
 you will have to draw out on the board or sign 
 that is to contain the letters, the plan of arrange- 
 ment that you may prefer, straight or curved, 
 with white crayon. Apply the cement to the back 
 of the letters with a knife, laying on equally around 
 the edges only, the inner edges as well as the out, 
 and put tlie same on the outside of the window or 
 surface, as above directed, in the space marked for 
 it; then work the letters back and forth, up a,nd 
 down, ])ressing them closely so as to expel the air 
 and •^(•cuic a good adhension. Be careful to press 
 the letter equally on top and bottom else it will 
 
79 
 
 break. For large and heavy letters use small 
 pieces of common beeswax (or in summer sealing 
 wax) to keep the letters in proper position until 
 the cement seta. After a couple of hours or so 
 take a piece of wood, sharpen it on the end, keep 
 the same wet, and clean away the supeifluous 
 cement. Particular care should be taken to leave 
 no openings between the letters and the glass, and 
 especially around the top which would allow the 
 water to run in between. For removing the en- 
 ameled letters, the method most convenient is to 
 scratch away around the edges all the cement you 
 can from under the letters. Use for the purpose a 
 very thin knife or a piece of thin sheet steel. 
 You will soon reacli the soft part of the ce- 
 ment; then cut away with a sawing motion, and 
 twist them off. Do not attempt to pry them off 
 else you will break them. If the cement should 
 be very hard, use a little kerosene oil, which is ap- 
 plied on the top edge of letter, so as to work in 
 and soften the cement. 
 
 A GOOD, CHEAP WASH FOR GROUND WORK, FOR AD- 
 VERTISING SIGNS ON FENCES, BARNS, &C. 
 
 Take 6 lbs fresh, uuslacked lime, add enough 
 warm water to cover it, (and keep it covered with 
 water while slacking), 19 ozs. boiled linseed oil, 
 4 ozs. white burgundy pitch; dissolve the pitch in 
 the oil, add to the lime, while it is slacking and is 
 warm, add 6 lbs Spanish whiting and 1 gal. skim 
 
80 
 
 milk ; stir well and thin to proper consistency with 
 water. The above makes a good wash for out 
 buildings. 
 
 HOW TO MAKE YOUR OWN CUP HANDLES. 
 
 As nearly all house and sign painters buy their 
 coloring already ground, in one and two pound 
 cans, and as the cans are of but little use, unl^s 
 they contained handles, which make them very 
 handy to the sign painter to mix small batches of 
 color in, I have invented a handle which fills a 
 long felt want. 
 
 They are very simple to make, and in a few 
 minutes time you can make, or have a tinner make, 
 all that you would need for a year. Take a strip 
 of tin or sheet iron (that will not break in bending 
 it) from one- half to three-fourths of an inch in 
 width; make a square angle one-half inch from 
 end, which is to form the bottom A, then run up 
 the length that the cup is high, make a short turn 
 come down the upright piece one-half inch, make 
 another short turn running back to top B, thence 
 out, forming the oval or finger holt C, come back 
 
 1^^ V. to upright piece and on to bottom 
 
 " C) running around bottom A, press the 
 
 y^ metal together at A and the handle 
 will be completed. To adjust to cup 
 lie top edge of cup in the slot 
 then slip projection A under cup, 
 Tiie material you can find at any tin shop in the 
 
 yT will be 
 
 I place th 
 
 e=:^ at B, th( 
 
81 
 
 wav of scraps, and by the aid of a pair of pliers 
 and a pair of shears you can make them very fast. 
 You should make three or four different sizes to fit 
 the different sized cans. 
 
 STENCIL CUTTING. 
 
 Advertising signs are extensively used, and 
 where a sign painter has a number of the same de- 
 sign, and, owing to the cheapness which such work 
 must be done, the painter would find very slow 
 work to letter by hand ; so by cutting a stencil of 
 the design and stenciling the letters on, the work 
 may be done very rapid. Take a piece of oj^aque 
 window shading the size of tJie sign board, leaving 
 about one and a half inches all around for frame, 
 laying off your lettering, &c., with lead pencil ; pro- 
 ceed with the point of a sharp knife to cut out the 
 letters^ using care to leave small bars so parts in 
 the center of letters will not fall out and spoil the 
 letter. A little practice will enable the new^ begin- 
 ner to become etficient in that part. This stencil, 
 if properly used, will last to make several hundred 
 boards. Use a regular stencil brush which is 
 square on the end. In stenciling bring the brush 
 square down on the letters; do not rub the brush 
 along, else you run the color under the stencil and 
 blur the letters and spoil the stencil. The color 
 should be heavy and used sparingly. To handle 
 the stencil more handily, make a light frame to 
 extend at least around one side and both ends; 
 
82 
 
 tack the goods on frame so one corner of the sign 
 board will come in some one corner of the frame. 
 In that way you can work in two or more colors 
 in the lettering by having a separate stencil for the 
 part or parts of letters for each color; and so ar- 
 range the stencil on the frame so the letters will 
 come in the proper place when the corner of the 
 sign board is placed in the corner of the frame 
 which you have lieretofore used. Heavy paper, 
 well oiled, makes a very good stencil, but is not as 
 strong as the opaque shade goods. 
 
 Or, take a heavy piece of manilla paper, a day 
 or so before using it, tack it up some where, and 
 give, on both sides, a good coat or two of boiled 
 linseed oil. Tliis toughens the paper and makes it 
 pliable. Stencils should be cut out on a piece of 
 glass to have smoothe edges, otherwise the^ will 
 be rough. 
 
 STENCIL COLORS, 
 
 To be used on a painted surface and varnished 
 over, should be mixed with turpentine and 
 enough varnish to prevent the color from spread- 
 
 PRICE LIST OF SIGN PAINTING. 
 WOOD OR ZINC SIGNS, COLORED LETTERS. 
 
 Plain grounded or smalted per lineal feet, 20 
 cents, each shade 5c extra. 
 
8;^ 
 
 WOOD OR ZINC f^UiNIS IN GOLD AND f^MALTED. 
 
 4 to H inch letter, per lineal foot $ oO 
 
 5 " 10 ' $ HO 
 
 12 'M8 '• '• $ !^0 
 
 18 "24 '• .$1 20 
 
 LETTERING ON GLASS IN COLORS. 
 
 .'> to 12 inches plain, per lineal toot I 2;') 
 
 Shaded $ :^<> 
 
 Fancy shadinu; " '' *• $ 40 
 
 LETTERING ON GLASS IN GOLD. 
 
 .') to S inch letter, per lineal ft. Plain .$ 90 
 
 S "12 " •• " ' •$ 1 00 
 
 One shade 'Extra .$ 10 
 
 Two " '• '^ '' •' $ 25 
 
 Fancy" $ ^0 
 
 DRUM OR SIDE SIGNS. 
 
 Per square foot, $2. 
 
 BRASS SIGNS. 
 
 Window plates, 9 inches wide, $2.50 per run- 
 ning foot; ten to 14 inches, $3.50 per running 
 foot; brass drum or side signs in brass, $3.50 per 
 square foot. 
 
PART III. 
 
 Ivdll SCEXjIj.^3lTBO-CrS 
 
 ETCHING ON GLASS WITH ACID. 
 
 This, strictly speaking, cannot be called a branch 
 of sign painting, but a thorough knowledge of it 
 Avill be an advantage to every sign painter. It 
 consists of engraving or cutting letters, numbers 
 and ornaments on glass, either colored, plain or 
 ground, for doors, offices, vestibules and churches, 
 by which process it can be done cheaper than the 
 usual mode of grinding. There are two kinds of 
 colored glass. One is colored entirely through 
 the glass, while the other only on one side; the 
 latter is only suitable for etching purposes. To 
 proceed, first make a pricked pattern of your let- 
 ters or design and pounce it on the colored side of 
 the glass, (if it be a colored glass), tlien cut in the 
 letters carefully with a protective varnish, which 
 is made with equal parts of asphaltum and para- 
 fine or virgin wax, mixed hot, and thin with tur- 
 pentine. When this is dry take beeswax and make 
 a raised border all around the out edge of the 
 glass; then pour on hydrofluoric acid until the let- 
 
85 
 
 ters or parts which it is on is all covered. Let it 
 remain until the colored portion of the glass is 
 eaten through, then pour ofE tlie acid and wash 
 well with water; remove the beeswax edge, then 
 the protective varnish, and the letters will be clear 
 while the balance will be of the original color. 
 Work can be done on ground glass in the same 
 manner as on stained, colored or plain glass, the 
 letters being cut in and the balance of surface 
 filled in with the protective varnish. The acid 
 will dissolve the ground surface, leaving it clear, 
 and when the varnish is removed the letters will 
 be clear, while the rest of surface is ground; or, 
 you can take a plain, clear glass, lay off your de- 
 sign and cut in with protective varnish, &c., as 
 alx)ve directed; and when the acid has eaten into 
 the surface pour off and clean the glass well with 
 water and remove the varnish; then take flat pieces 
 of brass large enough so it will pass over the let- 
 ters and not dip into them ; take flour of emory 
 and keeping it wet you can grind the whole sur- 
 face A^ery quick, the letters liaving been eaten be- 
 low the surface. As hydrofluoric acid is destruc- 
 tive to glass, it must be kept in lead or gutta 
 percha bottles. 
 
 POIICEI.AIN (III.DING. 
 
 Dissolve in boiled linseed oil an equal weight, 
 either of copal or amber ; add as much oil of tur- 
 pentine as will enable you to apply it as thin as 
 
86 
 
 possible to the parts intended to be gilded. The 
 ware is to be placed in a stove until it will almost 
 burn the fingers when handled ; at this temperature 
 the size becomes adhensive and the gold leaf ap- 
 plied the usual way will stick. Dust off the surp- 
 lus portions of tlie leaf and when cold it can be 
 burnished, placing a piece of India paper between 
 the burnisher and the gold. 
 
 HOW TO MAKE PHOTO-OIL MINIATURES, 
 
 This work is all the rage in some cities, and 
 while it does not come under the head of sign 
 painting, any person with degree of skill and a 
 knowledge how to mix colors, with a little 
 practice, can soon produce good work. First 
 take your photograph, and if mounted on card, 
 soak in warm water until the print will readily 
 come off of the card, then dry the print and paste 
 on the hollow side of a concave glass, which are 
 made purposely for this kind of work and can be 
 procured at an artist's or photographer's supply 
 store ; use paste made of common starch ; apply to 
 front side of print and also to the glass, taking 
 great care to get all of the small blubbers and 
 small particles of paste which will require con- 
 siderable of rubbing ; let it dry and take two parts 
 of sweet oil and one part of oil of lavender and 
 pour on the })rint and let it stand until the print 
 becomes thoroughly transparent; then pour off the 
 oil and wipe with a clean rag or piece of chamois 
 
to take off the surplus oil. Take another glass 
 like one already used, place it on back of print 
 and when properly fitted commence your painting; 
 use tube colors and small brush. Commence with 
 the face, make it a flesh color; and the hair, mak- 
 ing it as well as the eyes, dress and drapery as 
 near the color of the original as possible ; then 
 give the back ground a dark drab color; when 
 this is dry cut a piece of card board the size of the 
 glass and lay it on the back; then take gummed 
 or pasted strips of paper about f of an inch wide 
 and run around the edge of card board and let it 
 lap over or around on tlie front glass about one- 
 eight of an inch, thus keeping the card board and 
 glass in proper place. This completes the picture 
 ready for framing. 
 
 NEW METHOD FOK PATNTlN<i ON VELVET. 
 
 Although simple, is far superior to Kensington 
 painting, and can be handled in any manner that 
 the velvet will stand without injury to the paint- 
 ing. First trim your brush with a pair of scissors 
 until the hair in the brush is only one-eighth of an 
 inch in length, make it round at the point. Place 
 your tube paint on a piece of ordinary lilotting 
 paper, to allow the oil to be soaked up; then liav- 
 ing previously stamped your design on tlie velvet, 
 dip your brush in the paint and proceed to comb 
 the nap of the velvet with the stiff l)rush you have 
 trimmed for the purpose. Tlie depth of the shad- 
 
88 
 
 ing you will find to be proportional to the number 
 of times you have applied the brush in the manner 
 described, as the combing of the nap with the stiff 
 brush simply stains the nap and leaves it flexible, 
 and of course more durable than any other pro- 
 cess. 
 
 HOW TO DO WET STAMPING. 
 
 Take French zinc ground in oil, thinned with 
 boiled linseed oil to the thickness of heavy cream. 
 Lay pattern on goods and apply the paint with a 
 case knife to the smoothe side of the pattern, clean 
 the pattern with a brush and gasoline. 
 
 TO SILVER ON GLASS. ^ 
 
 I. Dissolve 12 grains Roschelle salts in boiling 
 water, then add while boiling 16 grains of nitrate 
 of silver, having been previously dissolved in one 
 ounce of water; continue to boil for ten minutes, 
 then add water enough to make in all 12 ozs. 
 
 II. Dissolve 1 oz. nitrate of silver in 10 ozs. of 
 water , then add liquid ammonia until the nitrate 
 of silver is nearly, but not quite, dissolved, then 
 add 1 oz. of alcohol and sufficient water f© make 
 in all 12 ozs. 
 
 To Silver:— Take equal parts of Nos. 1 and 2, 
 mix thoroughly, then pour upon the glass in the 
 same manner that a photographer applies his solu- 
 tions. It should be applied while the glass is 
 wet; the glass sliould be previously well cleaned. 
 
89 
 
 Distilled water should be used in making the solu- 
 tions. The solution should stand two or three 
 days before using. 
 
 TO SILVER BY HEAT. 
 
 Dissolve 1 oz. silver in aqua fortis and precipi- 
 tate it with common salt, to which add ^ lb. sal am- 
 moniac and white vitriol and ^ oz. of corrosive 
 sublimate. 
 
 TO SILVER GLASS WITH QUICKSILVER. 
 
 Lay a piece of tin foil (not lead foil) on a 
 smooth flat surface and pour mercury over it to a 
 depth of one-sixteenth or one-eighth of an inch. 
 Slide the perfectly clean glass plate over it with 
 the advancing edge just below the surface of the 
 mercury, so as to bring a new surface of amalgam 
 against the glass. Then leave the glass for a 
 while under pressure, and finally place it on edge 
 to drain. 
 
 (K)OD LAQUER FOR BRASS. 
 
 Take ^ oz, best shellac to 1 pt. 95 degrees alco- 
 hol. Let it stand a few days in a well corked 
 bottle, then decant the pure tincture; when settled 
 it should look clear like wine; thin if required by 
 adding more alcohol. Thin laquer makes the best 
 finish. 
 
 TO TAKE OIL AND RUST STAINS OUT OF MARBLE. 
 
 Apply common clay saturated with benzine. If 
 
90 
 
 tlie grease has remained long enough it will have 
 Ijecome acidulated and may injure the polish, but 
 the stain will be removed. 
 
 Another formula is to take 1 oz. of ox gall, 1 
 gill of lye, li tablespoonfuU of turpentine, mix 
 and make into a paste with pipe clay, put on the 
 paste over the stain and let it remain for several 
 days. 
 
 Iron rust or ink spots may be taken out by tak- 
 ing half an ounce of l)utter of antimony and one 
 ounce of oxolic acid, and dissolve them in one 
 pint of rain water; add enough flour to bring the 
 mixture to a proper consistency to lay it evenly on 
 the stained part with a brush. Let it remain a few- 
 days, wash off, and if not Avholly removed, repeat 
 the process again. 
 
 TO REMOVE INK STAINS FROM WOOD. 
 
 Apply spirits of salt with a rag until the spot 
 disappears, then wasli immediately with clean 
 water. 
 
 TO KEMOVE INK STAINS FROM CARPETS. 
 
 Take solution of oxalic acid or citric acid and 
 follow up witlwi copious wasiiing with cold water. 
 
 HOW TO MAKE OLD PICTURE FRAMES LOOK AS 
 NICE AS NEW. 
 
 Varnish the frame, and while the varnish is 
 fresh, sprinkle clean, coarse sand upon it; let it 
 stand until dry, then give another coat of varnish 
 
91 
 
 over the sand, and, when almost dry, bronze over 
 with good gold bronze. A more beautiful effect 
 is obtained l)y only sanding part of the frame. 
 This can be done by only varnishing such parts as 
 you wish to liave rough. Other parts can be fin- 
 ished in plain bronze, imitation ebony, walnut or 
 cherry. 
 
 PICTURE FRAME MAKER'8 PUTTY. 
 
 Take whiting, glue and water, worked very stiff. 
 The mould should be oiled. If you wish it to dry 
 slow% add a few drops of glycerine to the putty. 
 
 TO VARNISH DRAWINGS, &C. 
 
 Dissolve one ounce best isinglass in a pint of 
 water by simmering it over the fire; strain it 
 through a fine muslin and keep it for use. Try 
 the size on a piece of paper, moderately warm. If 
 it glistens it is too thick and requires more water. 
 If it soaks into the paper it is too thin and needs 
 more isinglass — it should merely dull the surface. 
 Then give the drawings two or three coats, letting 
 it dry between each coat, being careful — particu- 
 larly the first coat — to bear very lightly on the 
 brush, which should be a camel hair, from which 
 tlie size should flow freely. When dry, take best 
 mastic varnish and give three coats. This is the 
 method used by tlie most eminent artists. 
 
 LIQUID GLUE. 
 
 Take a wide mouthed bottle and dissolve in it 
 
92 
 
 8 ozs. best glue in half pint of water, by setting 
 in a vessel of water and heating until dissolved. 
 Then add, slowly, 2i ozs. strong nitric acid of 
 36 ° Baume, stirring all the while effervesence 
 takes place with generation of fumes. When all 
 the acid has been added, allow it to cool. Keep it 
 well eorked and it will be readv for use at any 
 moment. 
 
 GOOD MUCILAGE. 
 
 Take gum dextrine two parts, water five parts, 
 acetic acid one part; dissolve by aid of heat, then 
 add one pait alcohol. 
 
 RUBBER CEMENT. 
 
 Fill a bottle one-tenth full of real India rubber 
 cut into small pieces, pour in benzole until the 
 bottle is three-fourths full. Shake every day until 
 tlie mixture is as thick as honey. It is useful in 
 mending rubber goods, leather straps, &c. 
 
 CEMENT TO FASTEN RUBBER TO IRON. 
 
 Take piich and gutta percha, equal parts, and 
 melt together. 
 
 CEMENT TO FASTllN WOOD TO METAL. 
 
 Add a small per cent, of glycerine to glue will 
 make wood adhere to metal. Or, a small amount 
 of molasses added to glue will act in the same 
 way. Tannin added to glue makes it strong and 
 adherent. Bichromate of potash renders glue 
 water proof. 
 
93 
 
 A GOOD CEMENT FOR VARIOUS PURPOSES. 
 
 Procure a lot of old paint if possible, the skins 
 forming on top of paints, settlings from the bot- 
 tom of paint pots or any refuse that contains oil, 
 zinc or other mineral body, may be used. Reduce 
 this mass, if hardened from standing exposed to 
 air, by soaking in some cheap oil. Heating may 
 be resorted to if the hard paint cannot be softened. 
 When the whole mass has become soft enough to 
 be stirred, more oil may be added, and the whole 
 worked through a seive and then run through an 
 ordinary paint mill. 
 
 A quantity of whiting is next worked into the 
 paint until almost thick enough for glazing pur- 
 poses. Then add a quantity of good Portland ce- 
 ment, sufficient to bring the putty to consistency, 
 which will enable it to be handled readily, when 
 it may be worked into cracks of brick or stone, 
 and, when allowed to dry and harden, it will be- 
 come nearly as hard as iron, impervious to mois- 
 ture and any reasonable degree of lieat. 
 
 CEMENT FOR STOVES, &C. 
 
 A good cement to close cracks in cast iron 
 Steves and stove pipe may be made l)y sifting wood 
 ashes, and take equal quantity of pulverized clay 
 and a little salt, moisten with water to make a 
 paste, and fill the cracks while the iron is cold. 
 The cement will neither peel nor break, and be- 
 comes verv hard after heating. 
 
94 
 
 TO TRANSFER ENGRAVINGS TO GLASS. 
 
 Clean your glass perfectly clean, and varnish 
 with copal varnish. Lay the engraving on the 
 glass and rub down well, taking care to rub all the 
 air bubbles out. Let this stand for twelve hours 
 or more. Then wet the paper thoroughly with a 
 solt sponge or cloth and it will be easily removed, 
 leaving the impression perfect upon the glass. 
 You can back up with white or any color to suit. 
 If your picture is colored, add about one gill of 
 vinegar and one teaspoonful of salt to the water. 
 
 TO ETCH ON STEEL. 
 
 Mix one ounce blue vitriol, one-fourth ounce of 
 powdered alum and one-half teaspoonful of salt 
 reduced to powder, with one gill of vinegar and 
 twenty drops nitric acid. This liquid may be used 
 either for eating deeply into the metal or for im- 
 parting a beautiful frosted appearance to the sur- 
 face, according to the time it is allowed to act, 
 by coating the steel with parafine or beeswax and 
 parts to be etched. Scrape away with a pointed in- 
 strument. Or, smear over with soap, and write 
 with a quill pen not split. 
 
 TO GLAZE OIL PAINTINGS. 
 
 Take of mastic six ounces, pure turpentine one 
 Jialf ounce, camphor two drachms, spirits of tur- 
 pentine nineteen ounces; add first the camphor to 
 the pure turpentine. The mixture is made in a 
 water bath. AVhen the solution is effected, add 
 
95 
 
 tlie mastic and the spirits of turpentine near the 
 end of the operation. Filter through a cotton 
 cloth. 
 
 TO CLEAN CARPET8 ON THE FLOOR. 
 
 Take a pail full of water and add three pints of 
 oxgall, wash the carpet with this until a lather is 
 produced, then wash off with clean water, then let 
 dry. 
 
 TO PERFORATE GLASS. 
 
 To make a small hole in a piece of glass is a 
 comparatively simple matter. All that is required 
 to do it is a very hard, sharp drill and some means 
 for turning it, and a lubricant, such as turpentine 
 to cause the drill to cut rapidly. A drill made in 
 the usual form from steel wire or an old file and 
 hardened by heating it until it is a dark red, and 
 then plunged into mercury, will be very hard but 
 not tough. But, before the drill is heated, it 
 should be driven into a block of lead so that its 
 point will just be enclosed by the lead; and after 
 the drill has been hardened in the mercury, its 
 point should be inserted in the indentation in the 
 lead, and the temper of the shank of the drill 
 should be drawn over a lamp or gas flame to a 
 blue color, to within a short distance of the lead. 
 The drill, together witii the lead, should be 
 plunged into cool water. The lead prevents the 
 drill point from becoming heated sufficient to 
 draw the temper, by conducting it away as fast as 
 
96 
 
 it arrives at the point. The drill prepared in this 
 way should be wet with turpentine while in use to 
 cause it to take holt. It is advisable to drill from 
 opposite sides of the glass when possible. A good 
 drill stock can be made to operate the drill by 
 taking a round piece of wood say one inch in di- 
 ameter and twelve inches long; at top end should 
 have an oval knob made to turn, which is held in 
 the hand. At four and one-half inches from top 
 should have a hole in stock, which should tightly 
 fit an arm about six inches long, with a weight to 
 outer part of arm. Place the drill shank in bot- 
 tom of stock, place your hand on top of stock, 
 and keep the drill revolving by means of the 
 weighted arm. By a little practice it will be an 
 easy matter to cut a hole through a piece of glass, 
 which very frequently becomes handy to sign 
 painters to make hanging glass signs. 
 
 TO REMOVE PAINT OR GREASE SPOTS FROM CLOTH. 
 
 Use benzine or chloroform. First apply it in a 
 circle all around the spot without touching it, 
 then sponge ofE the spot. Never put it direct on 
 the spot or you will produce a ring-shaped stain. 
 
 STICKY FLY PAPER. 
 
 A sticky fly paper can be made, which will be 
 very desirable in the varnish room, as follows: 
 Take three and one-half ounces raw linseed oil, 
 one pound resin and three and one-half ounces 
 
97 
 
 m classes and dissolve all together by heating, and 
 spread on papar with a stiff brush. 
 
 Or, another formula is to take resin 14 parts. 
 Burgundy pitch 4 parts, molasses 4 parts and lin- 
 seed oil 4 parts. Dissolve the resin and* pitch in 
 the oil by heating, then add the molasses. Use 
 heavy calendered paper, or in a few days the paper 
 will be sticky on both sides. 
 
 RUBBER STAMP INK. 
 
 Take 2 to 4 drachms of aniline, (desired ehade)^ 
 15 ozs. alcohol and 15 ozs. glycerine. Pour the 
 solution on the pad and rub in with a brush. An- 
 other way is to take 1 part gelatine. 1 part M^ater, 
 6 parts glycerine and sufficient coloring of ani 
 line. 
 
 MARKING INK. 
 
 For the use of a brush, is made witli 2 oz. shel- 
 lac, 2 ozs. borax, 25 ozs. water, 2 ozs. gum Arabic, 
 color with lamp black, adding until the proper 
 consistency. Can be used for stencil ink by being- 
 made somewhat thicker. 
 
 BLUE-BLACK COPYING INK. 
 
 Take of aleppo galls, bruised, 9 ozs., bruised 
 cloves 2 drachms, cold water 5 parts, sulphate of 
 iron 3 ozs., sulphuric acid 70 minims, sulphate of 
 Indigo (thin paste) 4 drachms. Put the galls and 
 cloves into a gallon bottle and pour in the water, 
 shake often and let stand for a fortnight. Press 
 
98 
 
 out and filter out through filtering paper into an- 
 other gallon bottle. Next add the sulphate of 
 iron; when dissolved add the acid and shake brisk- 
 ly, then add the Indigo. Mix well and again filter. 
 Keep into a well corked bottle. 
 
 WHITK WRITING INK FOR DARK PAPER. 
 
 Use Chinese white, rubbed up with gum Arabic 
 water. Or, for blue paper, use a solution of oxalic 
 acied (poison). Use a gold or quill pen. This 
 last is an excellent method for writing white on 
 blue paper, and it gives a permanent ineffaceable 
 record. 
 
 TO PREPARE CANVAS FOR PAINTING. 
 
 Size with thin glue size, with about one ounce 
 alum to the gallon of size. Then apply moder- 
 ately thick two or three coats of white lead, col- 
 ored to suit. 
 
 TO REMOVE TOBACCO STAINS FROM PINE FLOORS. 
 
 Take one part calcined soda and allow it to 
 stand f of an hour in 1 part slacked lime, then 
 add 15 parts water and boil. Spread the solution 
 thus obtained upon the stains, with a rag, and 
 after drying, rub with a hard brush and fine sand 
 and water. 
 
 A solution of 1 part concentrated sulphuric acid 
 in 8 parts of water will enliven the wood after the 
 above application and when dry wash the floor 
 with clean water. 
 
99 
 
 TO OXIDIZE SILVER, A GLOSSY BLACK. 
 
 Use a solution of sulphide of potassium; polish 
 the metal before, and rub with a soft rag or 
 chamois after the immersion. To oxidize copper 
 or orvide to imitate bronze, use the same ba'h 
 only have it quite dilute. If for out side work, 
 simply oil with olive oil and let the weather do the 
 rest. 
 
 SOLUTION FOR COLORING BRONZE HINGES, &C. 
 
 Take 1 pt. water, 5 drachms perchloride of iron. 
 The article must be perfectly clean and dipped in 
 the hot solution until the required color is ob- 
 tained. Then dipped into clean hot water. Dry 
 and laquer. If only a varnish is required, use 
 clear shellac varnish, color with dragoon's blood 
 gum and burnt umber. 
 
 PAINT AND GREASE ERADICATOR. 
 
 Take of aqua ammonia 2 oz. ; soft water 1 qt. ; 
 saltpeter 1 teaspoonful, shaving soap in fine shav- 
 ings 1 oz. Mix and when dissolved well, w^ll be 
 found an excellent grease and paint remover. 
 
 TO REMOVE STAINS FROM "BROWN STONE.'' 
 
 Dissolve rock potash in boiling water, making 
 a strong solution, and apply to the stained or dis- 
 colored parts. 
 
 LIQUID STONE POLISH. 
 
 Mix 2 parts copperas, 1 part of bone black, 1 of 
 
100 
 
 pulverized graphite, with sufficient water to form 
 a creamy paste. 
 
 IRO.V PUTTY FOR STEAM JOINTS. 
 
 Is made by mixing dry, 2 parts good metallic 
 paint, 1 part litharge, 3 parts of fine iron filings. 
 To this add boiled linseed oil and mix to the con- 
 sistency of stiff putty. 
 
 CLEANING AND POLISHING PASTE, FOR BRASS. 
 NICKLE, SILVER AND ALL KINDS OF METAL. 
 
 Take oxalic acid 1 oz., iron preoxide 15 oz., 
 powdered rotten stone 20 ozs., palm oil 60 ozs. and 
 vaseline 4 ozs. Pulverize the oxalic acid and iron 
 preoxide and rotten stone, and mix thoroughly 
 and sift to remove all grit; then add gradually the 
 palm oil and vaseline, mixing thoroughly. 
 
 LIQUID BLACKING 
 
 That will make a good and quick shine. Take 
 gum shellac 1 oz., dissolved in one and one-half 
 pints of alcohol; then add three-quarters of an oz, 
 gum camphor and one oz. lamp black. 
 
 TO GLUE LEATHER OR WOOD TO IRON 
 
 Take good, tough glue, add 12 drops of glyce- 
 rine to the half pint of glue. The iron should be 
 made perfectly free from oil or dirt, and the part 
 to be glued should be thoroughly scratched over 
 with a file. Then apply a solution of one part of 
 nitric acid and one part of water, to deaden the 
 surface, let stand for a minute or so then wash off 
 
101 
 
 with hot water to free it from the ucid. Then 
 proceed as ordinary gluing. 
 
 TO (WM LABELS. 
 
 Take dextrine 2 pares, acetic acid 1 part, water 
 5 parts, and alcohol 1 part. 
 
 Another formula is to lake gelatine 2 parti, 
 rock candy 1 part and water 3 parts. Dissolve 
 and it is ready for use. 
 
 LIQUID BLUEING FOR LAUNDRY WORK. 
 
 Take 1 oz. soft Prussian blue, powder it and put 
 into a bottle with 1 qt. of clear rain water, and 
 add ^ oz, oxalic acid. A teaspoonful of this is 
 sufficient for a large washing, 
 
 GLOSSING CUFFS AND COLLARS. 
 
 Pour 1 pt. of boiling water upon 2 ozs. gum 
 arable, cover it over and let set over night. Use a 
 tablespoonful of this in the starch. 
 
 A GOOD HARNESS GRASS, 
 
 Take 1 qt. Neat's foot oil, 4 oz. beef's tallow, 
 and 3 tablespoonful of lamp black; add 4 pz. of 
 beeswax for summer use, 
 
 BOOKBINDERS GLUE FOR TABLETS. 
 
 Take 5^ lbs. best dry glue and 1 lb. glycerine, 
 soak the glue for an hour or so and heat to solu- 
 tion and add the glycerine. If too thick add 
 more water. Color with aniline dissolved with 
 alcohol. 
 
102 
 
 TO MAKE COUGH CANDY, 
 
 Take tincture of squills 2 ozs., camphorated 
 tincture of opium and tincture of tolu each i oz., 
 wine of spicac i oz., oil of wintergreen 4 drops, 
 sassafras oil 3 drops, anise seed oil 2 drops. 
 
 Put the above mixture into 5 lbs. of candy 
 which is just ready to take from the fire, and then 
 boil a little longer. 
 
INDEX. 
 
 PAGE. 
 
 A Good, Cheap Wash for Ground Work, for 
 
 Advertising Signs on Fences, Barns, <fec. . . 79 
 
 Advertising Signs 65 
 
 Arrangement of Signs oG 
 
 Adulterations for White Lead 19 
 
 A Cheap Fire-Proof Roofing IT 
 
 Adulterations that may be used in Mixing 
 
 Paints e 
 
 A Good Harness Grease 101 
 
 A Good Cement for Various Purposes 98 
 
 Brass Signs 71, 72 
 
 Blue Stain 42 
 
 Birch Stain 41 
 
 Book Binders Glue for Tablets 101 
 
 Blue-Black Copying Ink 97 
 
 Coating Sign Boards 75 
 
 Coloring and Shading Letters 57 
 
 Cherry Stain 40 
 
 Care of Brushes 34 
 
 Cheap Putty for out or Inside 35 
 
 China Gloss White 29 
 
 Carriage Top Dressing 22 
 
 Copal Varnish 21 
 
 Cheap out side Paint 18 
 
 Cheap Wood Filler 5 
 
 Composition Oil for Mineral Paints 5 
 
 Cheap Elastic Oil for Painting 4 
 
n 
 
 PAGE, 
 
 Cleaning and Polishing Paste 100 
 
 Cement for Stoves, &c 93 
 
 Cement to Fasten Rubber to Iron 92 
 
 Cement to Fasten Wood to Metal 92 
 
 Etching on Glass with Acid 84 
 
 Estimating Work 4ii 
 
 Ebony Stain 41 
 
 Frosting 38 
 
 For Gold Signs to be A^arnished over 76 
 
 Float jVIarbelizing 36 
 
 Furniture Polish 37 
 
 Fire-Proof Paint 17 
 
 Formulas for Mixing Colors, 
 
 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 
 
 First-Class Priming 3 
 
 Gold Laquer for Tin 73 
 
 Gilding and Painting on Silk 66 
 
 Green Stain 42 
 
 Graining Grounds and Graining Colors — 42, 43, 44 
 
 Gold Paint 34 
 
 Good Paint for Shingle Roofs 29 
 
 Government White Wash 28 
 
 Good Paste for Paper Hanging 25 
 
 Glossing Cuffs and Collars 101 
 
 Good Mucilage 92 
 
 Good Laquer for Brass 89 
 
 How to do Wet Stamping 88 
 
 How to make Photo-Oil Miniatures — 86 
 
 How to make your ow^n Cup Handles 80 
 
 How to Attach White Enameled Letters to 
 
 Windows, &c 77, 78, 79 
 
Ill 
 
 PAGE. 
 
 How to Gild on Wood 60 
 
 How to Apply Smalts or Flock 61 
 
 How to make Smalts 61 
 
 How to make Japan Dr5'er 22 
 
 How to make Gloss Varnish 22 
 
 How to Dissolve Paint Skins 6 
 
 How to mix AVater with Oil * 5 
 
 How to make Old Picture Frames Look as Nice 
 
 as New 90 
 
 Iron Putty for Steam Joints 100 
 
 Imitation Pearl 64 
 
 Inside Work 46 
 
 Imitations of Wood or Stone 46 
 
 Kalsomining 27 
 
 L iquid for Broilze Powder 34 
 
 Laquer to Color Tin 73 
 
 List of Prices — House Paintinir 45 
 
 Lime for Kalsomining 28 
 
 Liquid Blueing for Laundry Work 101 
 
 Liquid Blacking 100 
 
 Liquid Stove Polish 9Jt 
 
 Liquid Glue 91 
 
 Mahogany Stain 40 
 
 Metallic Enamel Paint 20 
 
 Marking Ink 97 
 
 "Nobby" Numbers 73 
 
 New Method for Painting on Velvet 87, 88 
 
 New Process for Lettering Without a Brush 
 
 on Wood, Metal and Glass 68, 69, 70, 71 
 
 Porcelain Gilding 85, 86 
 
 Price List of Sign Painting 82, 83 
 
IV 
 
 PAGE. 
 
 Paper flanging 48, 49, 50, 51, 52 
 
 Putty for Sinks, etc 36 
 
 Paste for Painted or varnished Walls 25 
 
 Paint for Black Boards 23 
 
 Paint for Smoke Stacks 17 
 
 Penchard and Fat Oil Colors . 7 
 
 Paint and Grease Eradicator 99 
 
 Picture Frame Maker's Putty 91 
 
 Rosewood Stain 41 
 
 Red Stain 41 
 
 Rough Stipple for Combing, etc 33 
 
 Rubber Stamp Ink 97 
 
 Rubber Cement 92 
 
 Sizing for Soft Woods to be Varnished 4 
 
 Size for Kalsomine or Paint 24 
 
 Size for Wall Paper or Wood to be Varnished . 24 
 
 Size for Walls to be Papered 24 
 
 Stencil Colors 82 
 
 Stencil Cutting 81,82 
 
 Signs that Read Three Ways 68 
 
 Shading for Cut-in Signs 58 
 
 Shading for Ordinary Signs 58 
 
 Sizing for Pjne Wood 52 
 
 Sign Painting 53, 54, 55 
 
 Spacin g 55 
 
 Spacing on Large Signs 56 
 
 Sanding 46 
 
 Soluble Glass for Painting 35 
 
 Sylvester's Process for Excluding Moistuie 
 
 from External Walls 31 
 
PAGE. 
 
 Shellac Varnish 21 
 
 Suhstitute for White Lead 19 
 
 Solution for Colorin^tc Bronze Hinj::e8, &c 99 
 
 Sticky Fly Paper 9(> 
 
 To Silver by Heat 89 
 
 To Silver Glass with Quicksilver 89 
 
 To take Oil and Rust Stains out of Marble 89 
 
 To Remove Ink Stains from Wood 90 
 
 To Remove Ink Stains from Carpets 90 
 
 To Varnish Drawings, &c ... 91 
 
 To Transfer Engraving to Glass 94 
 
 To Etch on Steel 94 
 
 To Glaze Oil Paintings 94 
 
 To Clean Carpets on the Floor 95 
 
 To Perforate Glass 95 
 
 To Remove Paint or Grease Spots from Cloth 96 
 
 To Prepare Canvas for Painting 98 
 
 To Remove Tobacco Stains from Pine Floors . . 98 
 
 To Oxidize Silver, a Glossy Black 99 
 
 To Remove Stains from "Brown Stone'* 99 
 
 To Glue Leather or Wood to Iron 100 
 
 To Gum Labels 101 
 
 To Make Cough Candy ... 102 
 
 To make a good Green 3 
 
 To test the Purity of White Lead 19 
 
 To test the Purity of Linseed Oil 20 
 
 To Neutralized Pine Knots 21 
 
 To make Hard Oil Finish 22 
 
 To Clean Soiled Wall Paper 25 
 
 To Clean Painted Walls 26 
 
Tl 
 
 PAGE. 
 
 To Make a Cheap Paint 29 
 
 To Remove old Paint from Wood 32 
 
 To Remove old Varni&h 32 
 
 To make Plastico for Wall Decorations ,33 
 
 To Silver on Glass 88 
 
 To Crystalize or Cloud Tins for Signs, &c ... 7t> 
 
 'I'o Letter on Card Board 74 
 
 To Shade Gold Figures and Designs on Glass. . 74 
 
 To Letter on Muslin 73 
 
 To Gild Japah Tin Signs 67 
 
 To Gild on Glass 62, 63 
 
 To lay Pearl on Glass 64 
 
 To Paint Plastered Walls 48 
 
 To Darken Mahogany Wood 40 
 
 To make Glass Impervious to the Sun's Rays. . 39 
 
 To Prevent Paint from Chipping ofi". .... .... 37 
 
 To Prevent Bronze from Tarnishing -34 
 
 To make Water-Proof Cloth 18 
 
 Uncle Sam's White ^V^ash 29 
 
 Violin Varnish 23 
 
 White Writing Ink for Dark Paper 98 
 
 \7ood Fillings 5 
 
 Wash for Brick Walls 30 
 
 Waxing Floors 38 
 
 Walnut Stain 39 
 
 Wine Color Stain ... 42 
 
 Weights of Paints 45 
 
 At^^A 
 
LIBRARY OF CONGRESS 
 
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