1 ,T9 1 Copy 1 1 I jiF J ItNl ! SB. II? "lini ■ 1 P";ff\l : 1 ELJjr'IJ 1 I » ;;^ JaS^^^--^.*^! a W: li 7^*^.! 'Mi Class _r Book_ _____ Copyright l. . COPYRIGHT DEPOSIT: V "I* V THE PAINTERS' EDUCATOR. FOR STAINERS, VARNISHERS, GRAINERS, CARRIAGE PAINTERS, FRESCO ARTISTS, GILDERS AND AMATEURS; CONTAINING RULES A tf D METHODS IN EVERYTHING RELATING TO THE ARTS OF PAINTING, WOOD STAINING, NATURAL WOOD FINISH, PAINTING PLASTERED WALLS, GRAINING IN OIL, CARRIAGE PAINTING, HINTS ON COLORING, GOLD LEAF AND GILDING, BRONZING AND BURNISHING. BY T. C. TURNEY. FULL INSTRUCTIONS AND MANY VALUABLE RECIPES. ILLUSTRATED. 1 90 1. r THE LIBRARY OF CONGRESS, ©*r Copy Received JUN. 5 1901 Copyright ewtav CZsLtk. I O,t solve pure white lead. Considering that white lead is the pigment most frequently mixed with colors to pro- duce their tone, it is of the utmost importance that it should be of the best quality. Flake white ranks next in body or density to white lead, and is employed for highly finished work, in which a pure white is nee 'ed. It is generally used for the finishing coat; white lead being almost always used for the first painting; because, owing to the great body it possesses it covers the ground more effectually, while the flake white acts as the decorative coating. Zinc white is considered to be more durable than white lead or flake white. It is extremely pure, but has the disadvantage of possessing little body or covering power. Hence it is not held in such esteem by painters as it is by the artist, to whom this is no great detriment; because he can plaster on his color as thickly as he pleases; whereas the painter is necessari- ly limited to a few thin layers. However, it may be combined in mixture with white lead as previously spoken of in the chapter on "Exterior painting,."' the painters' educator. 99 Thus the white lead makes the body, or opaqueness, and the zinc adds the durability. For all ordinary painting, the best white lead will be found sufficient. It is only in very delicate or par- ticular work that either flake white or zinc white need be had recourse to. Ivory black, which is the purest and deepest of the blacks, is made in forms resembling "drops;" and for that reason is sometimes called 'drop black." It requires a good deal of careful grinding, being some- what hard; and, unless it is ground very fine, it will spoil the work. It should be ground in japan and thinned with turpentine for all ordinary coating; and should never be used only over grounds prepared from white lead mixtures; though simply thinning with tur- pentine to a watery mixture, with a few drops of japan to bind it, will make a good ebony stain. For striping and decorative purposes, it may be used ground in oil, in collapsible tubes. Some writers advise grinding Ivory Black in turpentine, then adding gold size as a binder; but ground in japan, as formerly stated, is much preferred. Turpentine is a volatile oil, has no binding properties, and any color diluted with it alone, will be easily removed as if it were mixed with water, with out the addition of size or glue to bind it. I^amp black is the most pleasant working and the cheapest black used by the painter. It is not quite so intense as ivory black; but possesses more friendly and agreeable qualities. The best way to procure it, is to buy it ground in oil. It is free from grit, dense in color, and works easily under sable pencils. A LofC. 106 ?h£ painters' EDtJCATGk\ small quantity of japan drier should be added, to in* sure its drying with a unifomity of surface. Vermilion. — There are many kinds of red manu- factured for the use of the painter. These vary great- ly, both in color and in body. The red most in use by the painter where a bright red is required, is "En- glish Vermilion," which is intense and bright, There are several varieties of vermilion, or wdiat is sold un- der that name. Being a heavy pigment, it is some- what expensive. For this reason the inferior qualities of vermilion, or rather its imitations ; commonly called mock colors, are frequently employed. These mock colors, are exceedingly transitory. When exposed to the action of the sun's rays, they turn, in a few months, to*a sort of purple brown, and subsequently to a dull black. On this account they should be avoided on all work of any importance. And besides this disadvan- tage, these inferior vermilions do not mix or work well, having a tendency to mealiness, which prevents them from flowing from the brush freely. When exposed to the sun the best will lose its brilliancy after a few months; and though this may be arrested for a short time by a coating of clear var- nish, it will be certain to become dark in the long run. This is to be regretted, too, as vermlilion is- the only really intense bright red that possesses any body in 1 itself. Notwithstanding this fugitive quality, how- ever, it is a color which is greatly prized by the painter, and one which he can not well dispense with. If English vermilion is secured in the dry state, and m.ixe.d stiff in a durable varnish and thinned for use' THE PAINTERS' EDUCATOR. IOI with turpentine, and subsequently varnished it will hold its color much longer than if mixed in oil. It can be procured ground in japan. Vermilion, in a state of powder, maybe tested by placing a dust of it on a piece of clean white paper, and crushing it with the thumb nail. If pure, it will not change its color by any amount of rubbing; but, if adulterated, it will become a deep chrome yellow, or assume the appearance o f red lead, with which articles it is mixed in order to render cheaper. This accounts for the unstable quality of the inferior kinds of vermilion. Lake. — The other reds that have any pretensions to brilliancy are Geranium, Crimson, Scarlet Lake and Rose Madder. These are very pure, transparent colors; and, therefore, they are exceedingly devoid of body; and on that account are not easily manageable. Lake can only be used as a glaze— that is, as a transparent color, superimposed on some under color. Carmine is another exceedingly charming red, very much the same nature as lake. Owing to its great brilliancy it is much prized by flower painters. Indian Red is a serviceable color, working very agreeably, and possessing very great body; one coat being sufficient to hide any ground color over which it may be laid. It is of a deep purple cast, and is very useful as a shade tint to vermilion; being darker in tone, and less brilliant. As a ground color it is in great repute. It will stand for a longtime, re- taining its color to the last. When used as a ground; or, as a last coat, and not to be varnished, it should be mixed with boiled linseed oil, with a small quantity of io2 the painters' educator. drier; or it may be mixed with (supposing it to have been ground in japan) turpentine, with a few drops of raw linseed oil. When mixed in this way it dri^s very rapidly. It should be laid on without much teasing or working about; care being taken that no part of the space to be covered is missed, because any attempt to re-touch, after the color is dry. will show itself. The color mixed in this way will dry dead, or fiat, and should be varnished. Of course, if Indian Red be mixed with boiled linseed oil, it will be longef drying,, and when dry will appear glot-sy; so that it will not require varnishing. It may be observed that Varnish stands out better — that is, appears brighter on a dead or flat color than upon a bright or golssy one.. This applies not only to Indian Red, but to all colors. Purple Brown is another red color, deeper in tone and not quite so pure as Indian Red; but it is very useful as a ground color, and also in shading. It should be mixed in the same manner as the preced- ing. It may easily be imitated by a mixture of ver- milion and lamp black; but, of course, this is not at all a commendable operation} the Purple Brown being much cheaper than a mixture of vermilion and black. It can be bought at a cheap rate ground in oil. Red Lead is admittedly the most perfect iron primer. Its remarkable adhesion to smooth surfaces,. to which other paints cannot find attachment, affords permanent foundation for subsequent work. The fol- lowing coats can be anything; but, to insure best re- sults, ought to be Red lead, too. Red Lead's recog- nized excellence for priming should not preclude its THE PAINTERS' EDUCATOR. 103 use for latter applications. Second coat work is best when h Imogen :ous, that the different coats may be acted upon the same, expanding and contracting with each other. Eventually the Red Lead may fade by a gradual transformation of the oxide into carbonate. This does not impair its durability however. It is only a sur- face change and slight scraping will show the Red Lead underneath of the same color as when applied. The introduction of a quantity of dry lamp black, (not to exceed an ounce to a pound of lead, ) will give a more permanent, darker shade, while retaining the physi^ cal advantages of Red lead alone. It is an oil cement, with the convenience of a paint. Like other cements, it should be applied with- in a reasonable length of time after combination with the vehicle; that the hardening, or "initial set," shall take place on the surface of the iron to be protected and not in the pot. The above results are best obtained by the use of raw linseed oil alone, with red lead. However, min- ute quantities of japan, or varnish, may be added; or boiled oil used, instead of raw; depending on the re- quirements of the work — to make the vehicle more vis- cious, better sustaining the heavy particles of Red Lead. There can be no dogmatic formula for the mixture of Red Lead. Temperature, moisture, character of the surface, skill and the experience of the painter all being factors. However, by substantial agreement, ail the way from eighteen to twentyfive pounds of dry Red Lead to one gallon of vehicle, will make a good 104 THE PAINTERS* EDUCATGK. mixture. French ultramarine. — The most serviceable blue for the painter is French Ultramarine, which is a cheap and good substitute for the genuine article. It is permanent, kindly working, and affords a variety of clear tints when mixed with white. It is a brilliant- blue, and preserves its purity when reduced in tone by the addition of white. It may be deepened by adding Prussian Blue, or Indigo, for shading; or by a triffling addition of black. Prussian blue is another serviceable color, but not so brilliant as the preceding. It is useful for blue grounds; but, owing to its extreme depth, it requires the addition of white to bring out the color. Used in its pure state, it has the appearance of a fine, lustrous black; and a common black looks gray in contact with it. Prussian blue is a good working color, and a quick drier, it should be mixed sparingly with other colors, as its intensity renders it dangeious and over-- powering in its- effects. The other blues are: INTENSE BLUE, which is very similar to French ultramarine; Antwerp' blue; Indigo, something like Prussian bli/E, but not quite so light. Chrome yellow. -^Tbefe are several kinds of chrome, but those most generally used are known as pale, medium and deep; the former being almost a straw color, and the latter approaching a deep orange. They are seldom required in a pure form, most always- being used in connection with some other pigment. Yellow ochre is a servicable color for thickness. THE PAINTERS' EDUCATOR. 105 but is not so brilliant as the foregoing. It is cheap and very useful as a coloring matter. Raw sienna is a brownish yellow, and is a clear, friendly working pigment. It is quite permanent. Burnt sienna. — -This is an invaluable color; be- ing a rich, transparent, reddish brown; eminently adapted for shading and glazing over gold leaf; and very strong in color. Vandyke brown. — A rich, deep, transparent brown; is useful for glazing, and especially for mark- ings on gold. Emerald green is the most vivid of the greens, and is a valuable color for painters. It is light in tone and can not be imitated by any mixture of yellow and blue. ' » Io6 THE PAINTERS' EDUCATOR- CHAPTER XIX. Summary of Some of the Pigments Most Com' monly in Use. I have a refined taste and a good eye for color. 112 THE PAINTERS EDUCATOR. CHAPTER XXI. Gold Leaf and Gilding. The painter may procure the Gold Leaf at a color store, or an artists' supply house, in books containing twenty-five leaves of gold; each leaf of gold being care- fully placed between the papers constituting the book, which is first rubbed over with red bole to prevent the gold from adhering. The size of the leaves is about 3-76 inches square. Cut out the first sheet of paper constituting the hook. A little raw linseed oil rubbed over this sheet will make it transparent. The paper should be placed on a smooth board, and, with a dry, soft rag, wipe off all excrescences of oil, on both sides of the paper. The paper, which has been thus prepared, will possess a certain "tackiness," or sticky quality, scarcely percep- tible to the touch; but sufficient to cause the gold leaf to adhere to it. After some of the sheets of gold have been used, you can cut out more of the leaves of the book and prepare them in the same way; thus giving more paper to work with. This having been done, the gold leaf book may be carefully opened, and the oiled sheet of paper gently pressed upon the gold with the hand. On removing the paper, the gold will be found attached to it. Each sheet of gold should be taken out ( mt PAltfTiJRS* EDUCATOR. 113 of the book in the same way. The gold leaf, being thus secured upon the oiled paper, is ready for use. The oil should be wiped thoroughly from the pa* per; if not, the gold will adhere to it too tightly when you are ready to do the leafing. It may be evident that the difficulty experienced through the extraordin- ary thinness of the gold, is> by this means, to a great extent, overcome. The paper, with the gold attached, can be handled by any person, however inexperienced, and may be used over and over again. Let it be supposed that the Work to be gilded has been coated in with the most suitable material, and that it is ready to receive the gold leaf, All that the gilder has to do is to take up the oiled paper with the left hand, and place it with the gilded side to the siz- ing; and, having rubbed the back lightly with the right hand, the gold will come off of the paper and adhere firmly to the mordant with Which the work has been coated. Besides the simplicity of this method of gild* ing, another great advantage it possesses is the small amount of waste that takes place. The oil paper be- ing semi-transparent, the gold leaf shows through it, and the operator can see where any portion of the gold adheres to the paper; and can accordingly place it on portions of the work as it will best fit, without any un- due number of joinings; though by this process, if the gold leaf be good, not the slightest trace of any join- ings is discernible. It will readily be understood that every particle of gold can be made use of. In addition to these advantages, this method of gilding possesses other recommendations which are de- 114 THE PAINTERS' EDUCATOR. serving of mention. In the first place, the labor of af- fixing the gold to the oiled paper, and subsequently to the lettering, decorations, and so forth, can he performed by an apprentice; or any one who would utterly fail if called upon to use it in other ways commonly in use by gilders, which have not, herein, been made mention of. Then, again, gilding from the tip, or cushion; or from the book, without cutting, can not be effected out-of- door. 1 - if there happens to be any force of wind. The ordinary 7 draught, or current of air, which frequently passes through the street, is a serious hindrance to the operation of gilding from the tip, or cushion. In the foregoing method, the gold leaf should be gently daubed over with a pad, or cotton woo 1 , which will smooth the surface of the gilt, and remove all su- perfluous pieces of gold. There is one thing preliminary to the process of laying on the gold which has not yet been noticed. A newly-painted surface is, of course, sticky; which is technically called "tackey;" and if the gold leaf were to be applied to such a surface, it would adhere, or "hang, "as it is called, to parts of the ground color where the mordant had not touched, and where the gold was not required. It is necessary, therefore, be- fore the work is even marked out, that the newly painted surface should be "pounced" — that is, daub- ed over lightly with dry whiting. Care should be ta- ken that the loose particles are dusted off by the gen- tle application of a silk handkerchief. If the ground color, upon which the gold leaf is to be laid, be a dark one, this pouncing (which is best done by placing the TttK PAINTERS* EDUCATOR. II5 Whiting in a bag and making a kind of pad, or ball, which should be daubed over the work,) will so far lighten it, that the gilder will be able to distinguish any line he may make with the sable pencil charged with the size, as the size will restore the ground to its original color. Bur, if the ground be a light one, the pencil will not have this effect; and hence it becomes necessary to mix some kind of color with the size, to enable the operator to make certain that he has thor- oughly covered the portion to be gilded. The whiting is removed from the ground after the gold leat is ap- plied, and has become somewhat hard, by washing over the work with a very soft sponge, and then dry- ing the surface by wiping very lightly over it with a damp chamois skin. The mordants used for gilding are of different kinds. Out-of-door gilding, and gilding requiring great durability, is sized with a size made of fat oil, in which yellow ochre has been ground. This is, under certain circumstances, a good material for the purpose ■of signwriters; but it is too thick for general adoption; especially in cold weather, when it is unmanageable with the sable pencil . In hot weather it is not so thick, and may be used with advantage. The gold leaf must not be applied to this mordant for at least twenty-four hours after application; and it will remain tackey for two or three days. It is, perhaps, the most durable of any of the sizes used for gilding. When the work is to be finished more rapidly, japaners' gold size, or even rubbing varnish, is generally employed. The gold leaf •may be laid on this sizing in about half an hour after Il6 THE PAINTERS' EDUCATOR. it has been applied, as it dries very rapidly. Linseed oil should not be mixed with gold size to retard its drying properties, because it is apt, not only to destroy the adhesiveness of the size, but to "sweat" through and ultimately discolor the metalic leaf. Do not var- nish over the gold, such as sign writing or gold leaf in general; as it spoils the metalic effect. If any parts have not been touched by the size, when the gold leaf is applied, these omissions will be very perceptible; and any attempt to patch them after- wards will be a failure; as it will not be possible to pre- vent them from showing. *th'e i>AiK v rims' Educator, n; CHAPTER XXII. Gilding* Bronzing and Burnishing. Instructions for Amateurs. The kind of size to be used for bronzing, gilding and burnishing, where brilliancy is wanted, is called bur- nishing gold srze. It can be used for all purposes, only it dries quickly. It can be purchased at paint stores, (in paste). To prepare this size for applica- tion, put a Very little into a cup and then gently stir in water till it is the consistency of cream. Then slow- ly add thin white glue. The glue at first will thicken the size, but by still adding the glue it will again be- come the consistency of cream; and then it is ready for use. Now, with a camels' hair brush, go over the work two or three coats^ letting each coat dry.; and do not put on too thick, but have the work thoroughly •covered before you apply the bronze powder. To ap- ply the bronze powder, first mix a very small portion of dissolved white glue in half a tea cup of water; then just dampen a camels' hair brush, or even the point of your finger; be sure not to have it wet or it will wash or rub off the sizing instead of bronzing it. Now dip this moistened brush, or finger, in to the bronze pow- der and rub it over the work, and the article is bronzed Il8 THE PAINTERS' EDUCATOR. to gold or silver, or to any other color according to the color of the bronze powder used. This is called a dead bronze. If gold bronze is used, and you wish to burnish it, rub the burnisher over it, and it burnishes at once. (Burnishers can be bought at paint stores). I do not give these as instructions to those who know, but to show that either man or women can, with little expense, and very little practice, bronze up old frames, statuary, or any plaster figure, and do it for the home, or for sale. Bronzing by means of mixed bronze, is to take coach japan, and put a small quantity of it in a cup. Add to the japan gold bronze until it is of the consis- tency of cream; then give the work a coat of it, using a small camels' hair brush to put it on with. Mix a small quantity at a time; because, if the mixture should stand for a while before using, it will not be quite so bright. This is the most useful method for all work not requiring great brightness. This method of bronzing may be used in bronzing radiators, wrought iron work, and many different ar- ticles. Best results will be obtained by applying the above mixture to the article while moderately heated , if circumstances will permit. Tttifi painters' educator. 119 CHAPTER XXHIv Linseed Oil. Linseed oil is the seed of the flax plant, from Which linen is mide. It grows in all pa^ts of Europe, in the Western States of America, India and New Zeland. The flax plant intended for linen is pulled before the seed ripens. The flax intended for oil is allowed to fully ripen before being cut. All the weeds that grow With it are cut with it. The seed of these weeds gets mixed up with the genuine flaxseed and is supposed to be one of the causes of impure and bad oil. Linseed oil,, when it is poor, thin and weak in quality, is but one halt its former self, and bad; but when it is adulterated with fish oil, cotton seed oil,, or petroleum, (known in the trade as neutral oil), it is a pickpocket that will rob both you and your customer. There has been a great deal of time given to experi- menting and testing on the frauds of pigments. Bary- tes and pulp lead have come in for a fair share of at- tention. The strength and value of the pigments have been carefully compared, and with profit to the trade. •Let us here pause and ask ourselves the question; "What part of the paint is the pigment, and what part is the oil? A writer has truly said that linseed oil 120 THE PAINTERS' EDUCATOR. has nine-tenths of the virtue of the varnish; and I am inclined to think it is nine-tenths, or even more. I have no hesitation in saying that I attribute the great- er part of the trouble with bad paint, to bid, adulter- ated linseed oil and turpentine. Much of the turpen- tine used, is adulterated with about twenty percent of kerosene oil. I would attribute the quick decay of paint to the deficient quality of the linseed oil; whereas the oil, years ago, was cold pressed, the present oil is steam pressed. By the old process they got from a gallon and a quarter to a gallon and a half, to a bushel of seed; now, with the use of hydraulic presses and steam, they get a yield of two and a half and even three gal- lons. This they brand with impunity "Pure linseed oil." While it is true the oil is pure, yet the quality is tar below that from the old, cold pressed production. We are told that in drying, linseed oil gives off some elements, and takes on others. Notably, it gives off water, and takes on oxygen. This is what pro- duces the leather like substance when it is dry. Water acts readily on linseed oil; it opens up the suiface, as it were, and fits it to amalgamate with the next coat. To TEST THE QUALITY OF UNSEED OIE. — Morell detects the adulteration in the followiug method: "Take ten parts by weight, of the suspected oil, mix it in a small cylindrical glass tube with three parts of crude nitric acid, agitate the mixture well, and allow it to rest. If adulteration is present the oily layer at top assumes a dark brown to blackish brown color, while the acid at bottom varies from bright orange to THE PAINTERS EDUCATOR. 121 orange or dark yellow. So little as three percent of adulteration may thus be detected. If the flax seed oil is pure it becomes during the agitation, first sea green, and afterwards dirty greenish yellow, the acid being bright yellow." Recipe for making white shellac: — Dissolve eight pounds of shellac in one gallon of alcohol. 122 THE PAINTERS' EDUCATOR. CHAPTER XXIV. The Sinking in of Painted, or Varnished Suiv faces. There is no difficulty confronting the painter, per- haps, that puts him more on the defensive than the title of this article. It is quite probable that the painter is now and then to blame for this trouble; and yet, when the facts of the matter are laid bare, there is no good reason found why he should be held responsi- ble in every instance, almost, for this evil. The cases wherein he may be held accountable, constitute but a small percent as compared with those in which he is not. The prime causes of sinking in of painted or Varnished surfaces; or, as it is some times termed, graining OUT; or, still another, the grain of the wood showing, and for which the painter may be held responsible, I will mention first, in order that he may later on be held above suspicion. One of the causes he w y ill most likely have to an- swer for is painting over imperfectly dried lead coats. Sometimes the priming is not allowed to dry thorough- ly. Soft, imperfectly dried priming, or lead coats, will cause very bad sinking in of the varnish. A THE PAINTEKS' EDUCATOR. 123 roughstuff surface, colored over before the moisture has had opportunity to dry out of the pores, will be sure to cause graining out, or sinking in. In fact, this will develop about the worst form of the trouble in question. In man}' cases, for lack of time, the color is laid on too soon after the roughstuff has been rubbed. At least fifteen hours should elapse between the rubbing and coloring. If a roughstuff containing considerable lead has been used, the coloring may be done sooner than when a quick, porous filler is employed. The lead is much firmer, more compact in body, therefore takes in and retains less moisture. To show that the painter is not the meanest of craftsmen, we will endeavor to point out some of the causes for which he is not to be held responsible. Hard, firm and perfectly dried coats are the only means the painter has at his disposal, granting, of course, that a sufficient amount of paint and varnish are used, by which to hold the finish and luster in position. The lack of a proper amount of paint and varnish will not always account for the sinking in or graining out of the surface. We will now pass on and try to throw some light on the other side of the sub- ject. Unseasoned timber, with a transitory surface swelling and shrinking, will cause the surface of the wood to show in different forms and conditions at dif- ferent times. Timber, during the drying process, is very shifting; a new surface being exposed repeatedly before reaching the final dry stage. If an unseasoned piece of lumber should find its way into the panel of a 124 TH E PAINTERS EDUCATOR. car, or carriage, it is obvious where the paint or var- nish will go, and how the grain of the wood will affect the surface. It matters not how many coats of paint are applied, one or a half dozen, the graining out will show itself in some form not altogether pleasing. There are cases where the grain of the wood be- comes unduly prominent when perfectly dry timber is used. A panel that is canvassed on the inside of a carriage, phseton, or the like, is quite likely to cause trouble, as the glue water from the canvass is sure to pass through the wood, causing it to swell and shrink. If the painting is done, as it often must be, before this opposite action is completed, the paint and varnish must take on a new form to suit the changing surface of the wood; thus causing a greater or less transforma- tion in the painted surface. If you will examiue a freshly canvassed panel and see the evolutions take place, you will readily see why such panels and other w 7 ork should not be primed, or painted, until thor- oughly dried. Adjust your microscope, or even the naked eye, and see the wood heave up to let the mois- ture pass out. You see this gives one condition of the surface; and in sinking back, during the process of drying, we see still another position of the surface. Simply stated this is just what takes place. In order to successfully prevent a transforma- tion in the surface of a finished piece of work, we must have a non-changing surface upon which to place the paint and varnish. Each coat of paint must be dry before applying a subsequent coat, thus retaining a fixed foundation for each coat. In THE PAINTEKS' EDUCATOR. 125 the building up of a painted surface, the workman should bear in mind that the combined coatings should possess some elasticity, and not the dry, brittle finish too frequently resorted to. Each coat of paint should be mixed with the view of securing an even drying through the entire process, thereby avoiding the su- perimposing of a quick drying coat upon one which is not thoroughly dry. Lumber should not be stored in ill-ventilated and ill-lighted rooms, nor placed under the direct rays of the sun, which will give a dead visage to the grain of the wood. The person in charge of property many times paves the way f >r graining out or sinking in of painted or varnished surfaces, such as the washing of freshly painted carriages; and, as the writer has many times observed, in the washing of interior varnished or painted work, with a hydrant hose, turned on full force, using all the water at his command, with a tor- rent inside and out. The keeping of a carriage around a horse barn, where amonia is present in large quantities, is another cause of destroying the surface of the varnish, and should be avoided, if possible. You see there are any number of causes for the sinking in and graining out of painted surfaces, for which the painter can not be responsible, and should receive no condemnation. 126 THE PAINTERS' EDUCATOR. CHAPTER XXV. Miscellaneous Remarks. Old work. — To remove smoke, dirt and grease, wash over the parts with soda water before painting. Brushes — That have become dry and hard, may be softened by placing them in hot turpentine. Be careful not to let it get too hot, nor allow the flame to come in contact with the turpentine. Care of shellac brush. — To wash and keep a shellac brush for future use, just wash it clean when through using it with "Gold dust" washing power. Wipe dry and straighten the bristles out straight, and lay it away. Japan relative to oil colors. —Never try to mix oil with colors ground in japan, without first diluting them well with turpentine; because, if the oil is applied first it will curdle the color and make it utterly unfit for use. THE PAINTERS' EDUCATOR. 1 27 To make A dull varnish. — For cheap and quick varnished work, requiring a dull finish without the expense of rubbing the gloss off, melt a small piece of bees- wax in the varnish, which will produce a dull glcss, looking like a rubbed surface. To keep paint from creeping. — Rub turpen- tine on the work before painting; or, by rubbing soda over the parts; or, by adding a very small quantity of lye to the paint. Be careful, too much will ruin the paint. First dilute it in a little water. Diluting colors with turpentine. — Always dilute colors ground in japan with turpentine before attempting to mix them with pigments ground in oil. If you fail to do so, the pigment ground in japan will curdle at once when compounded with the oil color. Colors ground in japan, caution. — Do not pour linseed oil over colors ground in japan to keep them from getting hard; for the color will harden soon after the oil has been placed over the pigment. Al- ways cover the pigment ground in japan with turpen- tine. To bronze high lights on interior metal work. — Take black varnish and add sufficient pig- ment to make the desired bronze hue. Paint the ar- 128 THE PAINTERS' EDUCATOR. tides, and when nearly dry, bronze the high lights, using the best bronze, applied with a small piece of chamois skin; finish with a coat of coach varnish. Cleaning cups and buckets. —Put one or two boxes of concentrated lye into five gallons of water; and into this lye drop the cups or buckets: allowing them to re.nain therein from five to eight hours, or longer, according to condition. Take them from this when the paint is eaten off, and clean in clear water. Varnishing a glossy surface. — To varnish over a surface without first removing the gloss, just sprinkle a little water over the surface as you varnish it. The varnish will turn white, looking like soap; but it will return to its natural state. This method should only be employed when finishing cheap work. Oil putty should be made with ra«v linseed oil; or, if you add more oil to the putty, for the purpose of softening, it should be raw oil; for the reason that it will dry through and through alike. If boiled oil is used it will dr> r faster on the surface than inside; thereby causing the surface to wrinkle, which is so commonly seen . TO REMOVE PAINT FROM WOOD WITHOUT BURN- ING IT off. — Give the surface a heavy coat of strong THE PAINTERS EDUCATOR. 1 29 soft soap, allowing it to remain on the paint from twenty four to thirty hours; or until the paint becomes soft when it may be scraped off and the surface wash- ed free of the sjap. Let the work dry thoroughly, then sandpaper it, making the surface level and smooth. Setting of geass. — L,arge and medium sized glass should be laid in soft putty, (called bedding,) with the crown or convex side out. Sink the glass in the putty with a steady pressure, until it has an entire putty bearing; then, with a chisel, of good weighc, drive the glazing points in the sash. Do not place any points at the center of the glass, as it will be quite sure to crack the glass in time. To remove paint from woolen .garments that have been brushed against a newly painted surface, when gasoline is not accessible; just rub the soiled spot with some of the same garment which will remove the paint nicely if only a surface soil; but if the paint is well rubbed into the fiber of the goods, it will require the application of gasoline to remove it, which should be done before the paint becomes dry. The taking care of brushes. — Brushes which are but seldom used, and those used for shellacing, should be washed out thoroughly when done with them, Gold Dust soap being the thing I know of for this pur- pose. The brushes which are in every day use; and 1^0 The pain'terS' EDtrcA*r6i< ; those not used quile so often, may be kept in water'; They should have a hole bored through the handle in a place where it will not weaken it, and cause it to break, and placed en a peg, or wire, just high encugh to keep the ends of the bristles off of the bottom of the brush box. To KEEP MATtTRAt WOOD FINIS*! IN GOOD CON J DiTion,— and to remove scratches and mars. With a soft rag, saturated with raw linseed oil, rub over the surface of the Varnish, leaving just enough oil on the surface to remove all scratches and mars, Then with a clean, soft rag, wipe the surface dry, being very par- ticular to remove all the oil; because, if any ail should remain after through, dust would settle on it, and after the oil Was dry, the dust could not be removed,- thus making the surface of the varnish look rough and sandy. This will festore and make old, scratched varnish look much like new. Beads and corners should be wiped out well, using a rag over the end of a sharpened stick for the purpose. New brushes, — -When first put into service, should not be kept in water for a few days, for the reason that they become soft, flabby and non-elastic. When through with the brush for the day, it should be pasted out on a board,, with the bristles straight and close together. This should be practiced each evening when through work; until the brush is well broken in; after which it may be placed in the brush THE PAINTERS' EDUCATOR. 131 box along with other brushes. A brush may remain pasted out in this way a day or two with out injury to it; however, judgment must be exercised as to the length of time the brush should be so pasted out. If the brush should become too dry, it would render it unfit for use, and consume some time to get it in shape again. These instructions apply to bristle brushes for exterior house painting only. The use of varnish. — Sometimes we have heard it said that "caution tends to meanness." Such a phrase can hardly be applied to the exercise of caution in the treatment of varnish. We very frequently meet with a painter who finds it convenient to thin the var- nish for the purpose of making it work easier, and, in many instances to make it cover more surface. This practice is as harmful as the mixing of varnish. There is, perhaps, occasionally an emergency where it calls for the thinning of the varnish. However, such cases are rare, and if the stock of varnish has proper- ly been stored, and not allowed to become thick in the can after being opened, by carelessly neglect- ing to re-place the stopper, thinning will be altogeth- er unnecessary. On work painted with light and delicate colors, the varnish is often thinned with a view of preventing its staining the surface. Such work and natural woods of very light color, should be varnished with some light colored varnish instead of thinning a heavy bodied and clouded varnish for this pur- pose. One of the cardinal virtues of a varnish is a I32 THE PAINTERS' EDUCATOR. rich and high luster. The maker of good varnishes furnishes it ready for use, combining free and easy working qualities, durability and brilliancy; therefore, when turpentine is added by the workman, the luster and durability of the varnish is impaired. To MAKE ENAMEL PAINT FOR HOUSEHOLD USE, ETC. — For interior work, use rubbing, or interior var- nish. For exterior purposes use No. 1, coach varnish. The pigment or coloring for the enamel should first be thinned to a semi-state of consistency with turpen- tine. Now add to it varnish in quantity enough to make it the proper consistency for use. It should be suf- ficiently thin to flow freely from the brush. If, after the enamel is prepared in this way, it should be too thick, and of little covering power, add a little turpentine. The turpentine will have a tendency to kill the gloss of the varnish, if too much is used. If the enamel is dense in color, that is, covers the surface well, you may add more varnish instead of turpentine. For white enamel use white lead for the pigment, but if durability and whiteness are required, use zinc white. The latter will make a splendid enamel for inside of bath tubs and similar articles, if made a little thin and from four to five coats are applied. You may use white lead for all ordinary work, as it is more dense; and one or two coats will be sufficient. For dull red, use Indian red; for bright red, use English vermilion; for brown, use Indian red and black in proportions to the shade desired; for black, use lamp black or drop black, the THE PAINTERS' EDUCATOR. 133 latter bein-r much the blackest. This will make a very good err.iiiel paint, if combined with No. i coach varnish, for painting old buggies where one coat is all that you wish to give them. Any tint of enamel may be made by adding white to the color; or any shade by adding black. The above enamel makes good paint for painting chairs, etc. Always remember to use the interior varnish for inside work, and the coach varnish for outside work. Use a chiseled bristle brush, of the proper size to suit the work to be coated. The colors used in making the enamel should be procured ground in japan. 134 the painters' educator. CHAPTER XXVI. Conclusion. In terminating this work, I wish to impress upon the mind of the reader that the degree of success at- tained in any of the branches of painting herein treat- ed, depends upon the constant application of the stu- dent, both in study and practice. In the belief that painting should be studied as a science, as A r ell as practiced as an art, the preceding pages have been presented to the public. That painting is a science, that there are certain established principles observed by all good painters, and violated by all bad ones, none will deny who have carefully taken up the subject. To understand and practically apply these principles should be the prom- inent object of the student. The design of this work has been to unfold the principles of painting in its many branches; to show their application to the different forms and kinds of woik; to classify them under their appropriate styles; and, in connection therewith, to furnish sufficient in- formation for cultivation, which may be the means of uplifting the now depraved condition of the art of paint- ing. Without this ai m all cultivation will be of little 'THE PAINT JSRS'' EDUCATOR. lj§ a'vail. There are instances of students of painting who have carefully and diligently applied themselves, in study and practice^ who have risen high in their pro- fession, and derived therefrom all the advantages they proposed . A radical defect exists somewnere along the line of painting, either with the workman, or with the material he is too often forced to use'; or, in many cases, a combination of the two. Ivet us unite our energies and forces to the ultimate uplifting of our profession •and the complete routing of cheap and adulterated material. As intellect and honesty in the art of paint' ing advance, so will the use of low grade material ret- rograde and vanish. An experience of nearly twenty- six years as a practical painter, in its different branches, has convinced the author that the study of painting usually ceases where it really should begin, namely: with the adoption of just as few principles as can possi- bly be acquired, then affixing to their names the too often disgraced words, painter, artist, decorator and 'contractor. When the art of painting shall be studied in all its phases, and as a science, its principles known and put in practice, then, and not till then, will good pain- ting be the rule, anil not, as now, the rare exception. L,et your aim mount the wings of fame and soar to towering heights in the channel of your occupation, qualifying yourself that you may be worthy of the name you wish to bear. Though you may fall short 'of the mark you have aimed for, the world, in the aft iug to the beholder. "Diligence is the mother of good luck, and Cod gives all things to industry. Then plow deep while the sluggard sleeps, and you shall have corn to sell and to keep. Work while it is today, for one today is worth two tomorrows." THE END. 140 THE PAINTERS' EDUCATOR. Index* Page. Introduction 9 Preface 10 Painting wood work, etc., on interior of buildings 11 Painting the exterior of buildings 15 The second and third coats 16 Natural wood finish for interior of buildings and furniture 20 How to make oil shellac 24 Staining natural wood to imitate walnut, cherry and rose wood 25 For staining walnut 25 Cherry stain 25 Rose wood stain 26 Painting plastered walls in oil and distemper colors 27 Preparing the walls 27 Damp walls 27 To dry damp walls 28 Cooling plastered walls 28 Mixing and applying second coat of paint to walls, puttying cracks, etc., — Mixing wall putty 29 The finishing of walls in oil finish 31 THE PAINTERS' EDUCATOR. 141 Finishing the walls in distemper color 34 The striping 35 Mixing the distemper color 35 Stippling the walls 37 How to do the striping '. 38 Stenciling or decorating , • . 42 The washing of the stencil 45 Washing walls painted with distemper col- ors, or finished with paint mixed in oil 46 To wash the walls and ceiling 47 To make the saturated solution 47 Washing varnished work 48 How to grain in oil color 49 Grounding color 50 Mixing the graining color for oak 50 Checking 55 Grounds and graining color 58 Combination of colors for ceilings and side walls in distemper colors 61 Rules for making sixty one different colors... 63 How to paint a carriage , 67 Finishing the running gear 67 First coat 67 Puttying 69 Second coat 70 Coloring 74 Color varnishing 74 Finishing coat : 77 The varnishing 78 The taking care of the brushes 81 Hintson glazing color 84 142 THE PAINTERS' EDUCATOR. For a dull red 84 Wine color 84 Painting the carriage body 87 Coloring the body 91 Varnishing the body ' 92 Color:- and some of their chief characters k . 96 White lead 97 Flake white 98 Zinc white 98 Ivory black 99 Lamp black 99 Vermilion.. 100 Lake ior Carmine io t Indian red 10 1 Purple brown 102 Red lead 102 French ultramarine 104 Prussian blue 104 Chrome yellow 104 Yellow ochre 104 Raw sienna 105 Burnt sienna 105 Vandyke brown 105 Emerald green 105 Summary of some of the pigments 106 Hints on coloring 108 Gold leal and gilding 112 Gilding, bronzing and burnishing. Instruc- tions for amateurs 117 Linseed oil 119 THE PAliNTERS' EDUCATOR. I43 The sinking in of painted, or varnished sur- faces 122 Miscellaneous remarks..... 126 Old work 126 Brushes 126 Care of shellac brushes 126 Japan relative to oil colors 126 To make a dull varnish 127 To keep paint from creeping 127 Diluting colors with turpentine 127 Colors ground in japan 127 To bronze high lights on interior metal work 127 Cleaning cups and buckets 128 Varnishing a glossy surface 128 Oil putty , 128 To remove paint from wood without burning it off 128 Settiug of glass 129 To remove paint from woolen garments 129 The taking care of brushes 129 To keep natural wood finish in good condition. 130 New brushes 130 The use of varnish 131 To make enamel paint for household use, etc. 132 Conclusion 134 ERRATA. "Three" and one half gallons should read "two" and one half gallons 17 144 THE PAINTERS' EDUCATOR. Six "inches" should read six "inch" Letter "s" should be "e" in word "the''.. Word "out" in last line should be omitted. The character No. ' iI / 2 " should be No. "o" The letter "r" is omitted from word "red. Page. 32 32 69 73 108 IF YOU ARE THINKING of painting iron roofs, metal work or bridges, it will certainly pay you to write for informa= tion concerning DIXON'S SILICA- GRAPHITE PAINT. No paint can equal it in covering capacity and durability. Joseph Dixon Crucible Co,, JERSEY CITY, N. J. ..SAVE MONEY BY USING.. • DULL-EINE* A FLAT VARNISH EQUAL TO THE BEST RUBBED WORK AT - . HALF THE COST For All Kinds of Woods whore a finish is required — therefore if saves labor. SAMUEL F. WOODHOUSE. FILLER AND COLOR WORKS, Frankford. Phila.. Pa. -*~ JK-AT rHE-JK—