Class 
 Book. 
 
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 Copyiightlsi? 
 
 COPYRIGHT DEPOSE 
 
Exterior Painting 
 
 A Series of Practical Treatises on 
 
 MATERIAL, TOOLS AND APPLIANCES USED 
 THE PAINT SHOP AND ITS ARRANGEMENT 
 THE PREPARING AND MIXING OF PAINT 
 MAKING OF TINTS; THE APPLYING OF PAINT 
 PAINTING AND REPAIRING WOODEN BUILD- 
 INGS; PAINTING POOR SURFACES AND OLD 
 WOODEN BUILDINGS WHICH WERE NEVER 
 PAINTED; THE PAINTING OF IRON BUILDINGS 
 AND SURFACES; PAINTING GALVANIZED IRON 
 SURFACES; THE PAINTING AND REPAINTING 
 OF BRICK BUILDINGS AND FLATTING. 
 
 Each Treatise is followed with Test Questions 
 : : : for the Student : : : 
 
 By F. MAIRE 
 Author of Modern Painters' Cyclopedia 
 
 ILLUSTRATED 
 
 CHICAGO' 
 
 Frederick J. Drake & Company 
 
 PUBLISHERS 
 
 M 
 
 

 Copyright 1910 
 
 BY 
 
 Frederick J. Drake & Co. 
 
 ©WA275C IT 
 
 / 
 
 .'V: , , *fc 
 
Exterior Painting 
 
 INTRODUCTION TO THE RED SERIES MANUALS 
 
 It is a self-evident fact easily ascertained 
 by any one who will take the trouble to 
 do so, that if we are to produce our own 
 mechanics here on American soil, it must 
 be through another process than that which 
 has been regarded as good enough in the 
 past— apprenticeship. 
 
 Our young men will not stand to go 
 through the one or two years of menial 
 drudgery usually attached to the learning 
 of most trades, but more especially to that 
 of painting, decorating, and paper hang- 
 ing. Besides, they know full well that the 
 master painter himself has no time to spare 
 that he can devote to teaching them the 
 17 
 
18 EXTERIOR PAINTING 
 
 trade; that the foreman has possibly still 
 less, and that the journeyman will not, even 
 when qualified to do so, which is not very 
 often the case. 
 
 Therefore, the uncertain catch-it-as-you- 
 can mode of learning the painting and al- 
 lied trades in vogue at the present time, 
 presents no attraction to the up-to-date 
 young man. 
 
 He knows well and fully realizes that the 
 little that he may learn of it in a three- or 
 four-year term of apprenticeship could 
 very easily be obtained inside of as many 
 months of connected study, with the conse- 
 quence that he keeps away and is unwilling 
 to bind himself to years of useless drudgery 
 and does not learn our trade, even when 
 his natural inclinations and tastes strongly 
 incline him to do so if it could be made 
 more congenial to him. 
 
 The general public is beginning to be 
 aware of these conditions, and already a 
 cry is beginning to be heard over the whole 
 
EXTERIOR PAINTING 19 
 
 country demanding that special schools of 
 instruction be established by State and 
 municipal aid, and already— in many of our 
 larger cities at least— industrial and man- 
 ual training schools have and are being es- 
 tablished. 
 
 Besides these, numerous correspondence 
 schools have also been established for the 
 purpose of teaching trades. 
 
 While certain forms of knowledge can 
 be obtained by the above system is no doubt 
 true, it must be admitted that in the va- 
 rious trades connected with painting, deco- 
 rating, or paper hanging, they have not 
 proved of much value, as aside of the 
 technical knowledge imparted by the text- 
 books used in connection with these schools, 
 the rest must be developed at home by 
 actual work— the distance and the very 
 slow process of correction, and, as in paint- 
 ing, the impossibility of even presenting 
 these home studies for examination and 
 correction, renders correspondence schools 
 
20 EXTERIOR PAINTING 
 
 of but little practical value in the trades 
 mentioned, aside of the possibility of send- 
 ing out for correction of a few drawings or 
 samples of letter formation, etc., wbicli are 
 not really actual work, as that is too bulky 
 and the cost would be too great an under- 
 taking for the average student— the time 
 required to receive corrections and advice 
 even if it were possible to send out bulky, 
 actual work, would prove the process of 
 learning to be so slow as to disgust the av- 
 erage student, and the cost attached to such 
 methods must forever bar them from gen- 
 eral use for trades where the students must 
 be shown. 
 
 With a view or helping out all such 
 young or even old who desire information 
 regarding trades, this series of manuals 
 has been gotten up. 
 
 Each one will treat upon same special 
 or separate branch in the several trades. 
 The student will find the subject-matter has 
 been arranged in graded lessons as far as 
 
EXTERIOR PAINTING 21 
 
 possible, taking up the matter concerned 
 at the base or root of it, gradually develop- 
 ing the same onward to its completion. 
 Each manual will have a number of ques- 
 tions at the end of each lesson which will 
 make them of great value to instructors 
 who teach these trades in industrial or 
 manual training schools and they no doubt 
 will gladly welcome their advent. 
 
 The author himself being an instructor 
 in such schools (The Chicago School of 
 Painting, Decorating and Paperhanging) , 
 has almost had the publication of these 
 manuals forced upon him, at least such as 
 are directly in line with the branches taught 
 in his school, as there is no literature in 
 existence today, published in such a form 
 as is needed and available for the purpose 
 of teaching these trades in graded lessons 
 with questions on same. . 
 
 For the student who cannot attend these 
 schools, it will take in a measure the place 
 of the "correspondence schools" and at so 
 
22 EXTEEIOR PAINTING 
 
 much less expense in dollars and cents, that 
 he will hardly feel it. 
 
 The low prices made for such manuals 
 of special information are made possible 
 only by the anticipation of large sales and 
 the whole series when- completed, will not 
 cost as much as many single books which 
 treat the same subject matter from the 
 standpoint of the trained mechanic and in- 
 tended for such but for which the student 
 would have little use. 
 
 The author has been careful to avoid all 
 ambiguity in his presentation of methods 
 and of the explanations given for doing 
 work in these manuals; but he does not 
 claim infallibility and no doubt some errors 
 will find their way and escape detection in 
 time to correct them before publication. 
 He will take it kindly from anyone who may 
 notice any, to have them write him of such 
 as they may notice and if found right, the 
 proper corrections will be made in an ' ' er- 
 rata' ' page, which will be inserted in sub- 
 
EXTERIOR PAINTING 23 
 
 sequent editions. His desire is that these 
 manuals in so far as he is personally con- 
 nected with them, shall contain only abso- 
 lutely correct information concerning the 
 subject-matter under consideration. 
 
24 EXTERIOR PAINTING 
 
 PREFACE 
 
 The subject-matter treated in this man- 
 ual under the heading of ' ' Exterior Paint- 
 ing/ ' will describe the reasons why paint- 
 ing is done upon surfaces exposed to the 
 inclemencies of the weather and by grad- 
 uated steps explain the various tools and 
 appliances needed in doing the work as 
 well as their proper manipulations and will 
 then proceed to their application on the 
 various surfaces and material which are 
 used in house construction, giving reasons 
 why the painting is done in the way de- 
 scribed in each instance. 
 
 The text will be divided up into para- 
 graphs, or series of several, bearing upon 
 one point only of the subject-matter and 
 each will be numbered in order that if 
 there should be a necessity to refer to the 
 same, it will be an easy matter to look them 
 up. The questions also will be numbered 
 with the same numbers as that of the para- 
 
EXTERIOR PAINTING 25 
 
 graphs which contain the answer, thus 
 enabling the student to verify if his own 
 answers are correct. 
 
 LESSON I 
 
 REASONS FOR PAINTING THE EXTERIOR OP 
 BUILDINGS 
 
 1. The reasons for the painting of the 
 exterior of the surface of the various ma- 
 terial used in the construction of buildings 
 are varied and many of them. The ele- 
 ments composing our atmosphere: oxygen, 
 hydrogen, etc., are very active in entering 
 and combining with other elements for 
 which they have an affinity. This new com- 
 bination usually is produced at the ex- 
 pense of that of the material with which 
 atmospheric air combines; thus hydrogen 
 in the shape of moisture lodges in the pores 
 of wood, causing its decay, by destroying 
 the tenacity of its fibres, with the assistance 
 of oxygen. 
 
26 EXTERIOR PAINTING 
 
 Hydrogen likewise paves the way for 
 the quick action of oxygen in combining 
 with iron and causing it to rust. Rust it- 
 self being an oxide of iron. 
 
 As air is more or less loaded with gases, 
 especially sulphurous gases, which are gen- 
 erated in many localities, acts as a carrier 
 for it and by aid of its hydrogen, cause them 
 to enter the pores of marble and all sorts 
 of stone of lime formation, causing their 
 more or less speedy destruction by the sul- 
 phuric acid's agency with which they are 
 loaded. 
 
 Moisture alone will in time cause the 
 hardest stones to decay, simply by its being 
 turned to ice. The slow but sure forcing 
 of a small crack rilled with water, which 
 has been turned to ice by cold, will in time 
 split the strongest granite. 
 
 Therefore, oxygen, hydrogen, sulphurous 
 gases conveyed and carried by moisture 
 for which sulphuric acid has a great affin- 
 
EXTERIOR PAINTING 27 
 
 ity, may be said to be the main causes of 
 decay in unpainted material. 
 
 2. It was shown in the preceding para- 
 graph what were the leading causes which 
 produced decay in the various material 
 used in building construction. It stands 
 to reason that the remedy must be of such 
 a nature that it will interpose itself be- 
 tween the surface that is intended to be 
 protected and its enemy— the atmosphere 
 or rather the elements composing it and 
 other enemies which do not enter directly 
 in its composition, but which they dissemi- 
 nate and carry. 
 
 In other words, it must cover the sur 
 faces to be protected and prevent the ac- 
 cess of the elements to all parts exposed to 
 their action. 
 
 This is really what paint does and but 
 for this beneficial covering, the life of all 
 surfaces of wood and iron especially, would 
 be but short-lived. Its covering if proper- 
 ly applied, will form an impervious coat- 
 
28 EXTERIOB PAINTING 
 
 ing over the surfaces it has been applied 
 to and the elements will have to destroy it 
 first before they can have access to the 
 material thus protected. 
 
 The material composing the paint in it- 
 self would not accomplish the object of 
 preservation but for the thinner used for 
 its application— i. e.— linseed oil. It is 
 chiefly through its agency that the pigment 
 becomes hardened into a solid covering 
 over whatever it has been applied. Linseed 
 oil and several others also known as " fixed 
 oils, ' ' have the property of combining with 
 oxygen and of forming a hard waterproof 
 rubber-like gum, which has sufficient elas- 
 ticity to conform itself to the contraction 
 and expansion of the various material used 
 in house construction. 
 
 3. Another very important reason why 
 buildings should be painted exteriorly is 
 that of beautifying the buildings thus 
 treated. Without paint it was seen that 
 they would soon decay, but besides this de- 
 
EXTEKIOR PAINTING 29 
 
 cay and while it is going on the bright sur- 
 face of the new material is becoming more 
 and more an object of ugliness, plainly in- 
 dicative of the deterioration slowly taking 
 place on its surface, and instead of being 
 an object of pleasure to look at, it becomes 
 an eye-sore. "While painting for beauty 
 is only of secondary importance (preserva- 
 tion being the first object), to many persons 
 it is considered of even of greater impor- 
 tance than merely that of preservation. 
 To people of means, who can afford to 
 have everything they own looking at their 
 best, it may well be to them of more im- 
 portance than the other. As an embellish- 
 ment for surfaces, painting has been re- 
 sorted to for a countless number of years, 
 
 QUESTIONS 
 
 1. What causes the decay of unpainted 
 building material upon surfaces exposed to 
 the weather? 
 
 2. In what manner does paint protect 
 
SO EXTERIOR PAINTING 
 
 the surface of material over which it has 
 been applied? 
 
 3. What other good reason exists for 
 the painting of exteriors of buildings? 
 
 LESSON II 
 
 MATERIAL 
 
 4. Under this heading "material," 
 every thing that is required or useful in 
 painting must be included— not only the 
 pigments and vehicles used in preparing 
 the paint itself, but the accessories which 
 are necessary for preparing the surfaces 
 for painting. 
 
 5. Under the name of "Colors, what 
 they are and what to expect of them," a 
 manual is published which covers the 
 ground of material used in painting much 
 more fully; their derivation, manufacture 
 and chief points of usefulness and pecu- 
 liarities ; therefore, it will not be necessary 
 to go into any details regarding any of 
 
EXTERIOR PAINTING 31 
 
 them here and the student is referred to it 
 for such information as he desires concern- 
 ing any useful pigment or color. A mere 
 enumeration is all that is necessary there- 
 fore for present use. 
 
 6. For the purpose of facilitating the 
 study of pigments and of helping the stu- 
 dent to hunt up quickly information con- 
 cerning any of them, they have been di- 
 vided up, according to their color into 
 seven general groups. 
 
 7. 1, The whites; 2, the blacks; 3, the 
 blues ; 4, the browns ; 5, the greens ; 6, the 
 reds; 7, the yellows. 
 
 8. The useful colors composing the 
 white group consist of: "White lead, zinc 
 white or zinc oxide; whiting, kaolin, gyp- 
 sum, white, silicate and Baryta white. 
 
 9. The most useful blacks are: Lamp 
 black, ivory black, gas black, charcoal black, 
 graphite. 
 
 10. The chiefly used blues are : Ultrama- 
 rine blue, Chinese and Prussian blue, Co- 
 
32 EXTERIOR PAINTING 
 
 bait blue, ceruleum, and many other of lit- 
 tle use for exterior painting. 
 
 11. The browns are very useful in ex- 
 terior painting and some of the most use- 
 ful tints are made from the following : Eaw 
 and burnt umber; raw and burnt Sienna; 
 Van Dyke brown; the so called metallic 
 browns. 
 
 12. The green pigments, useful in out- 
 door painting, are not numerous and con- 
 sist of Chrome green, Cobalt green and 
 green ultramarine, the many others being 
 only of interest to artists. 
 
 13. The red pigments are of great use 
 in the preparation of tints and also in their 
 self colors for many purposes in outside 
 painting, the following list comprises the 
 most useful ones: Vermillion, Venetian 
 reds ; Indian reds ; the red lakes, red lead 
 and red ochres. 
 
 14. The yellow group also furnishes 
 some good pigments for outside painting 
 and some of them would be hard to spare, 
 
EXTERIOR PAINTING 33 
 
 the useful ones consist of the many varie- 
 ties of Ocher, Chrome yellow, etc.; the 
 many others are of little use, if any, in ex- 
 terior painting. 
 
 15. The list has been purposely cut 
 down, as a large number of pigments of 
 doubtful utility even to artists and of none 
 whatever to an outside painter, are to be 
 found in all lists of colors and they would 
 only create confusion in the mind of the 
 student in the present connection at least. 
 As stated before, for fuller details concern- 
 ing any of the pigments named and of many 
 others not included in this list, the student 
 is referred to the manual of this red series 
 entitled, "Colors." 
 
 QUESTIONS ON LESSON II 
 
 4. Define what is meant by material. 
 
 5. Give the summary of "how the sub- 
 ject-matter will be arranged in this les- 
 son. 
 
34 EXTERIOR PAINTING 
 
 6. In how many groups or classes are 
 pigments divided? 
 
 7. What are these groups? 
 
 8. Name the principal pigments com- 
 posing the white group. 
 
 9. Name the principal pigments com- 
 posing the black group. 
 
 10. Name the principal pigments com- 
 posing the black group. 
 
 11. Name the principal pigments com- 
 posing the brown group. 
 
 12. Name the principal pigments com- 
 posing the green group. 
 
 13. Name the principal pigments com- 
 posing the red group. 
 
 14. Name the principal pigments com- 
 posing the yellow group. 
 
 15. Some general remarks concerning 
 the above lists. 
 
EXTERIOR PAINTING 35 
 
 LESSON III 
 
 VEHICLES OR THINNERS 
 
 16. In the previous lesson the pigments 
 or the solid portion of paint has been re- 
 viewed. They are usually ground dry and 
 powdered as finely as needed; but sueh 
 powders would not adhere to the surface 
 of a building. They have to be mixed up 
 with some liquids in order that they can 
 be brushed and applied properly. They 
 could be mixed with water and sometimes 
 they are for interior work, but it stands to 
 reason that this would not do for outside 
 painting, as after the water had evapo- 
 rated, the pigment would be in the same 
 condition that it was before and rains or 
 winds would wash or blow off the dry pow- 
 der from the building. 
 
 17. The thinner or vehicle for paint 
 must possess the property of a binder in 
 order to fix the pigment firmly and hold it 
 onto the surfaces over which the paint has 
 
36 EXTERIOR PAINTING 
 
 been applied. The " fixed oils' ' are won- 
 derfully well adapted to the purpose of 
 paint mixing. These oils have the prop- 
 erty of absorbing oxygen from the atmos- 
 phere and at the same time and by virtue 
 of this absorption of solidifying and of 
 being turned into a waterproof elastic rub- 
 ber-like gum which is really "the protec- 
 tion 9 ' which painting gives to the surfaces 
 over which it is applied. It seals them by 
 entering their pores or minute openings, fill- 
 ing them solidly and spreading water and 
 air proofing coats over them, which pre- 
 vents the injurious action of the elements 
 as noted in lesson I. The student is again 
 referred to the manual entitled, "Colors" 
 (what they are and what to expect of 
 them), in order to find more minute de- 
 tails as to their peculiarities, dryings, etc. 
 18. The only fixed oil which will be 
 noted here is that king of them all— Lin- 
 seed oil. As it is by far the best, the most 
 useful and the cheapest of all of them, it 
 
EXTERIOR PAINTING 37 
 
 is the only one which will be examined, as 
 all the others while of use for certain speci- 
 fic purposes in interior painting— none no 
 matter how costly— possess such good bind- 
 ing qualities as linseed oil and therefore 
 can well be omitted and dispensed with. 
 
 19. Raw linseed oil is the only condi- 
 tion of that oil which is proper for the 
 painting of exteriors. In that state it is 
 elastic and when dry, it will give sufficient- 
 ly and adapt itself to the expansions and 
 contractions of the surfaces painted with 
 it, that there will be no cracking of the 
 paint, as would follow if it did not possess 
 the proper amount of elasticity. 
 
 20. Boiled linseed oil at one time was 
 used much more extensively than it is 
 now. Boiling linseed oil renders it more 
 drying, but its elasticity is destroyed by 
 the process and painting done with it is 
 much more liable to crack; therefore, its 
 use for outside painting should be discour- 
 aged. The boiling of linseed oil has an- 
 
38 EXTERIOR PAINTING 
 
 other bad effect as it makes it less pene- 
 trating, so that if it should be used in the 
 priming coat for instance, it would not go 
 into the pores near as deeply as the raw oil 
 does with consequently less tenacity and 
 more likelihood of scaling off. 
 
 21. Volatile oils are also used as thin- 
 ners or vehicles in paint mixing. They are 
 entirely unlike the fixed oils in their prop- 
 erties. It was seen that the fixed oils be- 
 came dried or turned into an elastic water- 
 proof rubber like gum which constituted 
 the real protection of exterior painted sur- 
 faces. The fixed oils do not evaporate, 
 but are changed into this gum-like con- 
 dition by oxidation. On the contrary, the 
 volatile oils do evaporate nearly or so 
 much so, that it can be said that they evapo- 
 rate entirely away, so that in so far as act- 
 ing as a binder for the pigments, there is 
 but little more if any than there would be 
 in using spring water in their place. 
 
 Their use in paint mixing is a mechani- 
 
EXTERI0E PAINTING 39 
 
 cal one— they dilute the linseed oil and by 
 their quick evaporation cause it to set 
 quicker and to lay more evenly. In cold 
 weather, by rendering it less viscid and 
 more penetrating reasonable quantities 
 mixed with it are of real benefit— even in 
 the priming coat for it will enable the other- 
 wise viscid linseed oil to enter the pores 
 more deeply— this is true only in cold 
 weather and even then but little should be 
 used, just enough to accomplish its legiti- 
 mate employment. 
 
 In all but very cold freezing weather, 
 its use should not be resorted to in warm 
 weather for the last or finishing coat. As 
 more will be said concerning such use when 
 the operations of putting on the paint is 
 reached ; the above will suffice for the pres- 
 ent. 
 
 22. Turpentine is the chief one of the 
 volatile oils used in painting. It is de- 
 rived from our own American yellow pine. 
 It is however, becoming scarcer and scarcer 
 
40 EXTERIOB PAINTING 
 
 year by year and substitutes will fore© 
 their way into use and are already doing 
 so. 
 
 23. The various volatile oils derived 
 from crude petroleum by distillation, are 
 used and have been used for some time. 
 Their evil smell is against them. Benzine, 
 naphtha, and even gasoline are utilized in 
 paint mixing, but as long as they are not 
 more completely deodorized, it will be hard 
 for them to find their way into general use 
 as long as turpentine can be procured even 
 at higher figures than it sells for now. 
 
 QUESTIONS ON LESSON III 
 
 16. Some general remarks concerning 
 thinners and vehicles. 
 
 17. What is said of fixed oils? 
 
 18. What is said of linseed oil? 
 
 19. What are the properties of raw lin- 
 seed oil? 
 
EXTERIOR PAINTING 41 
 
 20. What are the properties of boiled 
 linseed oil? 
 
 21. What are volatile oils and what are 
 their uses in painting? 
 
 22. What is said of turpentine? 
 
 23. What is said of volatile oils of pe- 
 troleum derivation? 
 
 LESSON IV 
 
 ACCESSORY MATERIAL 
 
 24. In lessons II and III the material 
 required for the proper mixing of paint 
 was enumerated and so much of their prop- 
 erties explained as was necessary to com- 
 prehend their various functions in mak- 
 ing up paint to apply to exterior surfaces. 
 
 The following are not used in the prepar- 
 ation of paint mixtures, but are useful ac- 
 cessories either in preparing for the paint- 
 ing proper, or to make it look better. 
 
 25. Frequently the lumber used in 
 wooden buildings is anything but perfect ; 
 
42 EXTERIOR PAINTING 
 
 it usually has many knots and parts which 
 show an exudation of rosin or gmn ; paint- 
 ing done over such parts will not remain 
 in a sightly condition very long before this 
 resinous matter will come through the 
 painting and not only greatly mar its ap- 
 pearance, hut it will destroy it and cause 
 it to scale off the surface. Therefore, it 
 is of the greatest importance to stop this 
 injurious action and this is now universal- 
 ly accomplished by coating over such places 
 with some substances which will seal them 
 up and prevent the exudation named. 
 
 26. While the spirit solution of shellac 
 which is almost universally used for this 
 purpose is not perfection, when its appli- 
 cation has been well done, it is compara- 
 tively safe to do painting over it. It is 
 usually bought ready prepared for use 
 under the name of "Shellac varnish,' ' but 
 it is easily prepared by simply taking wood 
 or denatured grain alcohol and the shellac 
 itself (the orange is the best and strong- 
 
EXTERIOR PAINTING 43 
 
 est), let the two macerate for a few days 
 in a moderately warm place and the alco- 
 hol will dissolve it completely if not sur- 
 charged. About three and one-half pounds 
 of shellac wjll make five quarts of varnish 
 with one gallon of alcohol. This will give 
 a fairly stout solution. If given much thin- 
 ner than in the proportion named, it may 
 be too weak to rely upon to stop the ooz- 
 ing out of the sap or rosin. 
 
 27. Putty is another one of the acces- 
 sories which must be used in levelling and 
 filling up nail and other holes after the 
 priming of wooden buildings, and also 
 cracks, and poor joints. It is also useful 
 in brick painting after the priming coat in 
 levelling holes in poorly made brick as 
 well as filling up the mortar lines where the 
 mortar has been unevenly put on. Putty is 
 usually bought ready prepared, but can be 
 easily made by simply taking finely bolted 
 whiting and adding thereto sufficiently of 
 raw linseed oil to make the mass of th# 
 
44 EXTERIOR PAINTING 
 
 right consistency for proper working under 
 the putty knife. 
 
 29. Sandpaper and steelwool are use- 
 ful adjuncts to level up painted surfaces. 
 It is required frequently in outdoor paint- 
 ing to cut down dirt and dust which the 
 winds have blown upon the painting be- 
 fore it was dry and also to smooth down 
 puttying, etc. This completes the list of 
 absolutely necessary accessory material. 
 
 QUESTIONS LESSON IV 
 
 24. Some general remarks concerning 
 accessory material. 
 
 25. What is said about knots and resin- 
 ous parts in wooden buildings ? 
 
 26. How are spirit solutions of shellac 
 made? 
 
 27. What is said regarding putty? 
 
 28. What is said concerning sandpa- 
 per? 
 
EXTERIOR PAINTING 45 
 
 LESSON V 
 
 TOOLS AND APPLIANCES USED IN PAINTING 
 
 29. There are two groups of tools 
 needed by painters. First, the ones used 
 for applying the paint which consist chief- 
 ly of brushes; second, the tools needed in 
 preparing for the painting or required at 
 any stage of it. 
 
 The appliances are devices which are 
 used to facilitate the painting or any opera- 
 tion connected with it or in the preparation 
 of material used in painting. The bulk of 
 it consists in more or less ingenious de- 
 vices for getting at the surfaces to be 
 painted. 
 
 30. The principal tools as stated in the 
 preceding paragraphs are brushes. 
 
 In the matter of their selection one must 
 not be led to think that because some 
 brushes are listed cheap that they will 
 prove as economical in the end as much 
 higher priced ones. Quality is of far more 
 
46 EXTERIOR PAINTING 
 
 importance than mere price. If for in- 
 stance a wall brush can be bought for say 
 $8 per dozen and a brush will last eight 
 or ten days in condition fit for the proper 
 application of paint, one must not suppose 
 that another of the same width at $20 per 
 dozen is high in cost as compared with the 
 other. The latter will probably be in pret- 
 ty fair condition after a month or five 
 weeks of constant work, but this is not the 
 whole story by any means, for the man 
 who handles it will do one-third more work 
 with greater ease to himself than the one 
 handling the poorer brush. It is an easy 
 matter to figure for oneself what this ex- 
 tra and better work represents. On the 
 average it will be fully twenty-five per 
 cent greater or in other words, if wages 
 are $4 per day, it represents a saving of 
 $1 per day or more than the first cost of 
 the poorer brush; now multiply that by 
 thirty and you will readily see that the low 
 cost brush is a very dear investment in 
 
EXTEEIOR PAINTING 
 
 47 
 
 the end. The quality of the work done will 
 he hetter, so that the advice is given, not to 
 he misled into the huying of low-priced 
 hrnshes, thinking that there will he a sav- 
 ing in doing so. 
 
 Fig. l 
 Round Paint 
 
 Fig. 2 
 Oval Paint 
 
48 
 
 EXTERIOR PAINTING 
 
 32. The brushes mostly used in exterior 
 painting are but few, although the quality 
 and sizes of each are many,, in order to ac- 
 commodate the ideas of all kinds of 
 people. 
 
 The ones which are probably mostly used 
 are the wall brushes, of which some are 
 round as in figure 1, some oval as in fig- 
 
 Fig. 3 
 Flat Wall Metal Bound 
 
 Tire 2, and either wire or twine bound, or 
 set in rubber. The sizes run from 1-0 to 
 8-0. 
 
 Wall brushes used for the same purpose 
 are made in the flat shapes and are bound 
 by metal strips on their wooden heads, as 
 shown in figures 3 and 4, or by nailing to 
 the heads by leather strips, when they are 
 
EXTERIOR PAINTING 
 
 49 
 
 Fig. 4 
 Flat Wall Metal Bound 
 
 Fig. 5 
 Stucco Wall Leather Bound 
 
 Fig. 6 
 Flat Wall Rubber Set 
 
50 
 
 EXTEBIOK PAINTING 
 
 then known as stucco wall brushes as in 
 figure 5, or set in rubber with a steel clasp 
 encasing it as in figure 6. 
 
 The flat wall brushes are sold accord- 
 ing to their widths and usually are graded 
 by half inches, from two inches to four 
 and one-half inches wide. 
 
 The duster is an all important brush in 
 exterior painting as dust from the ground 
 and sand paper dust must be carefully re- 
 moved before applying the paint. Figure 
 
 .--:.■ 
 
 Fig. 7 
 Round Painters Duster 
 
 7 shows the round duster and figure 8 the 
 flat forms of that tool. They are usually 
 made in two or three sizes and in many 
 qualities of the stock used. 
 
EXTERIOR PAINTING 
 
 51 
 
 The sash tool properly speaking is a 
 small oval or flat brush and our figure 9 
 
 Fig. 8 
 Flat Painters Duster 
 
 Fig. 9 
 Sash Tool 
 
 will suffice to illustrate the shape of that 
 brush. The oval also comes chisel edged. 
 The oval sash tools usually from No. 6 to 
 No. 9, the size increasing with the numbers, 
 the flat 1 to 2 inches wide. 
 
52 
 
 EXTEKIOR PAINTING 
 
 At the present time many prefer to use 
 a flat brush for the purpose and any of 
 the inch, one inch and a half, or two inches, 
 chisel edged, double thick varnish brushes 
 answer very well for this. Figure 10 shows 
 the usual shape of the chisel edged var- 
 nish brushes used as sash tools. 
 
 Fig. 10 
 Flat Varnish Sash Tool 
 
 In the preparing of iron surfaces for 
 painting, it is frequently required that 
 rusty spots be removed from them and for 
 this purpose wire brushes have been de- 
 vised, shown under figures 11, 12 and 13. 
 
 It is sometimes necessary to make lines 
 on brick work in imitation of mortar lines 
 
EXTERIOR PAINTING 
 
 53 
 
 and sometimes in imitation of mortar lines 
 on stone work. Figure 14 shows one used 
 on the longer lines, a shorter one of the 
 
 Fig. 11 
 Wire For Cleaning Iron Rust 
 
 Fig. 12 
 
 ig. 13 
 
54 EXTEMOE PAINTING 
 
 same shape is used in marking out the sep- 
 arate brick. 
 
 Fig. 14 
 
 A few flat bristle fitches such as are 
 shown in figure 15, will be found useful in 
 getting at quirks and runlets, where an 
 ordinary brush would not reach readily. 
 
 The above are the brushes ordinarily 
 used in outside painting and while no doubt 
 many others are or could be used, these 
 will suffice to produce any other than orna- 
 mental painting. This forming the subject- 
 matter for another volume of the red se- 
 ries will not be touched upon at the pres- 
 ent, as all the available space will be needed 
 in connection with the subject-matter. 
 
 It is very important to have a good 
 brushkeeper in which the brushes can be 
 
EXTERIOR PAINTING 
 
 55 
 
 Fig. 15 Artists Flat Fitches 
 
56 EXTERIOR PAINTING 
 
 suspended in water or raw linseed oil, so 
 that the end of the bristles shall not touch 
 the bottom. There are a number of good 
 ones ready made; but a homemade one 
 which will insure the requisites demanded 
 of them is fully as good. 
 
 32. Putty knives and scraping knives 
 are required also— the former in order to 
 fill up and smooth over nail holes and cracks 
 in new work and old in wooden buildings 
 and mortar joints in brick or stone— the 
 latter in scraping off old paint when re- 
 moving the old coats. (See figs. 16 and 17.) 
 
 Palette knives also are useful tools to 
 have about in examining pigments and in 
 triturating them in mixing tints and many 
 other uses for which they are handy but 
 not indispensable. 
 
 Strainers and other tinware, better 
 known as painter's tinware, shown in fig- 
 ure 18, are articles to have on hand when 
 needed, while they are not absolutely re- 
 quired, as substitutes can be used instead. 
 
EXTERIOR PAINTING 
 
 57 
 
 •HE.HI&GtLiY 
 
 D 
 
 ill 
 
 if 
 
 HP 
 
 eISII 
 
 Fig. 16 
 s Putty 
 
 
 
 
 
 Painter 
 
 Knives 
 
58 
 
 EXTEKIOR PAINTING 
 
 Fig. 17 
 Painter's Scrapers 
 
EXTERIOR PAINTING 
 
 59 
 
 A sand bellow is aiso a tool which can be 
 dispensed with, but throwing sand by hand 
 does not do the work near so well, nor so 
 fast; One is shown in figure 19, but there 
 are many other forms of it which are fully 
 as good as the one shown. 
 
 Fig. 18 
 Painter's Tinware 
 
 Fig. 19 
 Bellows Sander 
 
60 EXTERIOR PAINTING 
 
 QUESTIONS ON LESSON V 
 
 29. Some general remarks concerning 
 tools and appliances used in exterior paint- 
 ing. 
 
 30. What is said concerning brushes 
 and other tools? 
 
 31. Name and describe the leading 
 brushes used in exterior painting. 
 
 32. Name other tools used in connection 
 with exterior painting. 
 
 LESSON VI 
 
 APPLIANCES USED IN EXTERIOR PAINTING 
 
 33. The most important appliances that 
 are used in connection with exterior paint- 
 ing are those which enable the painter to 
 get at his surfaces in order to be able to 
 paint them. So ladders of various sorts, 
 swing scaffolds, etc., are the most impor- 
 tant ones among them and as such deserve 
 
EXTERIOR PAINTING 61 
 
 the first place in describing these appli- 
 ances. 
 
 34. The ladders are either known as 
 single where only one is used, or as exten- 
 sion, where two or more are connected to- 
 gether and can be extended up at will. 
 
 The single as well as the extension lad- 
 ders should be made from strong well se- 
 lected Norway pine, which should be flaw- 
 less and perfect. It is better to pay a little 
 more per foot to make assurance doubly 
 sure that the workmanship as well as the 
 material is of the best. Second growth 
 hickory rungs which should only penetrate 
 one-third of the sides and then be screwed 
 in, are the only ones that are safe when 
 fastened in that way. 
 
 Fig. 20 represents the single ladder. 
 
 Fig. 21 is typical of the extension lad- 
 ders. 
 
 Fig. 22 shows a single ladder with a 
 hook fastened at the top, by means of which 
 
62 
 
 EXTERIOB PAINTING 
 
 the ladder can be securely fastened to the 
 ridge of the roof. 
 
 Tig. 20 
 Single Ladder 
 
 35. But where buildings are more than 
 two stories up from the ground, it is im- 
 practical to do the painting from ladders 
 and' when over three stories, impossible to 
 do so; therefore, a swing scaffold must be 
 used for this purpose. This consists of a 
 platform which may be a ladder covered 
 
EXTERIOR PAINTING 
 
 63 
 
 Fig. 21 
 
 Extension Ladder 
 
 over with planks, but better one made espe- 
 cially for the purpose. At the ends, the 
 crosspieces or stirrups may be made of 
 iron or good inch manilla rope, into the 
 ends of which a single block is fastened and 
 with a double block at the top through 
 which a good strong manilla rope of not 
 less than three-quarters inch in thickness, 
 is passed but better a seven-eighths or even 
 
64 
 
 EXTERIOR PAINTING 
 
 Fig. 22 
 Roof Ladder 
 
 an inch one. Each end must have the 
 same double and single blocks, as other- 
 wise they might not work harmoniously. 
 The double blocks are fastened into the cor- 
 nice hooks, which hook over on the flat side 
 of the roof. Where the roof is slanting, 
 however, it will be necessary to have some 
 secure device upon which the end of the 
 hook may rest. There are many kinds 
 made and for sale ; the one shown in figure 
 
EXTEKIOR PAINTING 65 
 
 23 is about as good and safe a one as can 
 be found. 
 
 Fig. 23 
 Roof Bracket 
 
 In figure 24 a complete swing scaffold 
 is shown ready for operation. 
 
 36. In working over porches or piazzas 
 and under them, it is necessary to have 
 step ladders and trestles to support walk- 
 ing planks. 
 
 Fig. 25. Shows several forms of step- 
 ladders that are safe and made with a view 
 to stand the hard usage they receive at the 
 hands of painters, some can even be used 
 as trestles. 
 
66 
 
 EXTERIOR PAINTING 
 
 Fig. 26. Illustrates a walking adjus- 
 table walking plank, used between two tres- 
 tles. 
 
 37. When painting low buildings, it will 
 be found very convenient and at the same 
 time a speedier way of doing work, to have 
 
 Fig. 24 
 Swing Scaffold 
 
 two ladders against the side of a build- 
 ing ; using the rungs as a support for brack- 
 ets, better known as ladder jacks, through 
 which walking boards are passed through, 
 upon which the workman can handle a 
 
EXTERIOR PAINTING 
 
 67 
 
 wide stretch of painting at a time, saving 
 much time in the moving of ladders and 
 enabling him to do the work with more 
 ease to himself. Figure 26 illustrates the 
 form of ladder jacks of which there are a 
 
 Fig. 25 
 Extension Plank 
 
 great number in the market. 
 
 The above list contains all the really im- 
 portant appliances needed to reach any 
 and all the surfaces usually in the painting 
 of buildings outside. The list could be 
 
68 
 
 EXTERIOR PAINTING 
 
 swelled to many times the size it is by add- 
 ing the many special devices that come out 
 every year and while some of them occa- 
 sionally prove useful, the majority of them 
 do not prove so to the extent of forcing 
 the old ones out of business. 
 
 PA T ENT PENDIM9 
 
 Fig. 26 
 Ladder Jack 
 
 QUESTIONS ON LESSON VI 
 
 33. What is said concerning appliances 
 used for outside painting! 
 
 34. Give a description of the ladders. 
 
 35. What is said concerning the swing 
 scaffold? 
 
EXTERIOR PAINTING 69 
 
 36. Give a description of step-ladders, 
 trestles and walking boards. 
 
 37. What is said of ladder jacks ! 
 
 LESSON VII 
 
 THE PAINT SHOP AND ITS ARRANGEMENT 
 
 38. In order to do ontside or any other 
 kind of painting for that matter in a pro- 
 fessional way at least, a location should be 
 secured for the taking care of the material 
 and tools, appliances, the mixing and com- 
 pounding of paint, tints, etc., to say nothing 
 of the selling of material to customers, 
 which is a purely commercial affair, but 
 which may or may not be connected with 
 the shop. 
 
 The paint shop need not be an expensive 
 affair, but when it is not connected with 
 a store, may be located in some outhouse 
 or loft. The practice of many is to locate 
 it in some basement where the light is de- 
 ficient and frequently where there is much 
 
70 EXTERIOR PAINTING 
 
 dampness; this is altogether wrong, the 
 shop should be where there is good light 
 and it should be dry, especially where there 
 is much varnishing done and repainting of 
 blinds, the latter requiring the best of light 
 in order that the work may not be slighted. 
 
 It was stated that the shop should not 
 be damp ; for if it is, mildew will surely de- 
 stroy all paper packages and cause varn- 
 ishing to go wrong, to say nothing about 
 the unhealthy conditions which go with 
 such, nor of the unpleasantness of the sur- 
 roundings. 
 
 39. The shop should be shelved and 
 a portion of the wall space should be di- 
 vided up into drawers for the holding of 
 dry colors, etc., the shelves being used for 
 the holding of canned goods and such tools 
 as cannot be readily put into drawers. 
 
 Mixing tubs for the breaking up of white 
 lead and the mixing up of tints should be 
 provided and these should always be prop- 
 
EXTERIOR PAINTING 71 
 
 erly cleaned and made ready to be used 
 again as soon as they have been emptied. 
 
 A lye barrel should also be pro- 
 vided into which all paint skins, pot clean- 
 ings, etc., can be dumped in. 
 
 A good sized keg or vessel should be 
 provided into which all leavings or surplus 
 paint remaining after a job has been com- 
 pleted, can be poured in and from which 
 many jobs can be primed to good advan- 
 tage. Eeally two such vessels should be 
 used in every shop— one into which all 
 paint with a preponderance of linseed oil 
 should be poured and the other to be used 
 for the dumping in of paints containing 
 much turpentine or other volatile oils. 
 
 40. It is important to know the quantity 
 of material that is used on every job, there- 
 fore a good scale should be provided 
 wherewith to weigh everything that goes 
 out on every job and a record should be 
 made of the same. When paint is returned, 
 it too, should be weighed and it should be 
 
72 EXTERIOR PAINTING 
 
 credited to the job whence it was returned. 
 It is needless to say that in returned paint 
 a deduction must be made, for it is not as 
 valuable as it was when prepared for it in 
 the first place. 
 
 41. There should be a set of books pro- 
 vided, wherein a record of all transactions 
 may be made and the card system of ac- 
 counts will be found the simplest and easi- 
 est, as each separate deal can be found 
 in their fullness in short order without the 
 having to consult half a dozen separate 
 books. It will also be found much the best 
 system in keeping track of the employees 
 and of their doings. 
 
 42. It is very important that there 
 should be plenty of water handy in paint 
 shops as well as sinks into which washings 
 can be performed ; and while the same may 
 be provided in other ways such as carrying 
 water from a well or cistern, etc., yet con- 
 siderable valuable time is thus wasted and 
 in cities where water works exist, it is a 
 
EXTEBIOR PAINTING 73 
 
 very poor plan to resort to the makeshifts 
 named above. 
 
 In country towns where there is no water 
 system, of course such devices as will ac- 
 complish the object, must be put up with. 
 
 Shops should also have a stove, either a 
 gas stove or a gasoline or kerosene, 
 for the preparation of water colors and 
 the many objects which really pertain 
 more to the painting of interiors than to 
 that of exteriors. Under that head more 
 will be said as to their use and the reader 
 is referred to the volume of the red series, 
 entitled "Interior Painting and Decorat- 
 ing in Oil and Watercolors, ' ' for a fuller 
 complement for the paint shop. 
 
 QUESTIONS ON LESSON VII. 
 
 38. Give a description of what a paint 
 shop should be. 
 
 39. "What fixtures are needed in a paint 
 shop? 
 
74 EXTERIOR PAINTING 
 
 40. What other fixtures are useful in a 
 paint shop ? 
 
 41. What is said concerning the keep- 
 ing of accounts in the paint shop ? 
 
 42. What is said concerning water, 
 sinks, stoves, etc.? 
 
 LESSON ^III 
 
 THE PREPARING AND MIXING OF PAINT 
 
 43. In order to better understand the 
 application of paint to outside or any other 
 kind of painting, it will first be necessary 
 to consider the make up of paint into the 
 proper condition for its application. 
 
 It is not intended just at this time to en- 
 ter into the merits or demerits of any par- 
 ticular pigment entering into the paint 
 composition. More will be said however, 
 when the various surfaces over which paint 
 is applied outside is considered. 
 
 The mixing of pigments and the produc- 
 ing of tints by their intermixing will be 
 
EXTERIOR PAINTING 75 
 
 taken up in a general way. Every painter 
 should be familiar with this and he should 
 know how to prepare tints as well as ' ' how 
 to apply them. ,, 
 
 44. All pigments can be mixed alone by 
 themselves with .linseed or other fixed oils 
 and will make a paint, but many of the 
 pigments have a color which may not be 
 desirable nor ornamental, especially for the 
 covering of large surfaces upon the ex- 
 terior of buildings. While all pigments 
 have their uses either by themselves or for 
 the making up of tints, but few of them en- 
 ter very largely into the compound which 
 is usually used for such painting. Fash- 
 ion decrees to a certain extent the colors 
 or tints which should be used. Some years 
 the fad is more on the darker shades and 
 again the mode changes to white or very 
 light tints. 
 
 45. But be the tints dark or light, they 
 require a white base upon which to build 
 them. White lead is the only white pig- 
 
76 EXTERIOR PAINTING 
 
 ment with possibly the exception of zinc 
 white, which possesses sufficient opacity or 
 covering properties that can be used in 
 connection with other pigments for tint 
 making, as otherwise the strength of the 
 coloring of many of these would require 
 enormous quantities of the other semi- 
 transparent whites to produce the tints de- 
 sired. Besides, all the other white pigments 
 aside of lead or zinc would muddy up the 
 tints as they do not make perfectly white 
 tints when mixed by themselves with lin- 
 seed oil. 
 
 For all paint mixing even zinc is but sel- 
 dom employed except when used as a cor- 
 rective of white lead. So that the base 
 of all light tints may be said to be white 
 lead. 
 
 46. White lead comes in packages con- 
 taining 500, 250, 200, 100, 50, 25 and 12% 
 pounds of paste of lead and linseed oil 
 ground together. This paste is very stiff 
 and must be reduced to a much thinner 
 
EXTERIOR PAINTIETG 77 
 
 condition before the tints can be made and 
 therefore the contents of the lead package 
 or so mnch of it as will be required, must 
 be mixed up with linseed oil to reduce its 
 consistency. This is called the breaking up 
 of the lead in the painter's vernacular. 
 The mixing tubs which were spoken of in 
 paragraph 39, will be required for this pur- 
 pose. The process of breaking up the lead 
 is simple; all that is required is a strong 
 wooden paddle and the addition of linseed 
 oil in small quantities at a time with plenty 
 of elbow grease in triturating the stiff 
 paste so as to make it absorb the linseed 
 oil. More linseed oil should be added from 
 time to time as it is being absorbed, until 
 the mass can be poured out. It should not 
 be reduced too thin, however, and should be 
 very much stouter and thicker than paint 
 is required to be for application. When 
 it is in the condition described and all the 
 particles of lead have been reduced to a uni- 
 form smooth paste, then only is it in the 
 
78 EXTERIOR PAINTING 
 
 proper condition for the addition of the 
 coloring pigments. 
 
 47. The coloring pigments require a 
 somewhat different treatment than the 
 base. Like the base they should be poured 
 out of the cans and linseed oil should be 
 added to the paste and the whole stirred up 
 together until well amalgamated and of a 
 uniform consistency; but instead of stop- 
 ping when a rather heavy paint condition 
 is attained, as stated for the white lead, the 
 thinning with oil should continue until the 
 mass will pour out readily. In short, it 
 should be thinned even more than is needed 
 for application with the brush. 
 
 The reason for this is that when in a 
 rather thin condition the coloring pig- 
 ment particles will be well divided up and 
 will be easily absorbed and assimilated 
 with the white lead base, while when left 
 in a stiff paste it is difficult to mix it in 
 properly and certain portions remain un- 
 mixed with the consequence that when 
 
EXTERIOR PAINTING 79 
 
 taken up by the brush and spread out, such 
 will show up of a much darker tone than 
 the rest of the shade and it is very difficult 
 to attain uniformity, as with a well-thinned 
 paste. 
 
 Should there be more pigment thinned 
 out than is required for the present pur- 
 pose of making a tint, it need not be 
 wasted, as the liquid can be poured into 
 wide mouth bottles, with covers or any 
 other vessel that has a cover, which will 
 keep out the dirt. It is the most economi- 
 cal manner of handling the contents of the 
 small color cans. As it is usually done, as 
 much color is taken out of them as will an- 
 swer the purpose of the one making the 
 tint and the rest to skin up and dry. In 
 a few months, if the colors have not been 
 used up, half of it will be spoiled, full of 
 skins, or hardened and always an aggrava- 
 tion to the one who has to use them. 
 
 48. In the making of tints, one is sup- 
 posed to know the order in which each 
 
80 EXTERIOR PAINTING 
 
 pigment entering into its make-up in the 
 greatest quantity and the coloring should 
 be added to the base in that order. The 
 whole should not be poured in at once, but 
 very gradually and well stirred up before 
 more is added, as it is a very easy matter 
 to pour in more color if needed, but im- 
 possible to take it out if too much has been 
 used. The only way then is to put in more 
 lead to lighten it up, but then too much 
 paint is thus prepared which means a lot 
 of unused paint and a loss. 
 
 QUESTIONS ON LESSON VIII 
 
 43. What is said in a general manner 
 concerning the preparing and mixing of 
 paints and tints! 
 
 44. What is said particularly about the 
 mixing of tints? 
 
 45. What is said about the base to build 
 the tints upon? 
 
 46. How is the base prepared ready for 
 the addition of the coloring? 
 
EXTERIOR PAINTING 81 
 
 47. How should the coloring pigments 
 be treated previous to being added to the 
 
 48. How should the coloring pigments 
 bo added to the base ? 
 
 LESSON IX 
 
 HOW TO MAKE THE TINTS 
 
 49. It is not the intention of giving the 
 student a long list of fancy named tints 
 nor to tell him how to make them. He can 
 find that information more fully given as 
 well as about the peculiarities, provenance, 
 etc., of each one of the pigments, in the 
 red serie manual, entitled "Colors, What 
 They Are and What to Expect from 
 Them." But in connection with the sub- 
 ject-matter of this manual, he should know 
 how to get up the leading tints and shades 
 that are used in outside house painting. 
 
 50. The various tints may be grouped 
 into the following, according to their hue : 
 
82 EXTERIOB PAINTING 
 
 The yellow toned tints. 
 
 The reddish toned tints. 
 
 The bluish toned tints. 
 
 The greenish toned tints. 
 
 The blackish toned tints. 
 
 The brown and drab toned tints. 
 
 51. In preparing the tints having a yel- 
 low tone, the ochres will be found by far the 
 most useful. They are permanent, especial- 
 ly those which are natural and which have 
 not been doctored up with Chrome yellow 
 and they are to be found in many shades, 
 giving and making tints with the white 
 base of various tones. 
 
 From ochre alone it is possible to make 
 a numberless list of tints ranging from 
 an ivory white onward in density through 
 the cream, light bufTs to the darkest of 
 them to nearly the self tone of the ochre. 
 
 52. Next to the ochres, Chrome-yellow 
 is the only other pigment which need be 
 considered in making tints for outdoor 
 use. 'As it is some very pretty effects and 
 
EXTERIOR PAINTING 83 
 
 tones are made from it alone or in connec- 
 tion with ochres. The range of color of 
 the Chrome yellow is much greater than 
 that of the ochres, as they run the gamut 
 from the faintest canary yellow upward 
 through the lemons, neutral tones of medi- 
 um yellow to light orange and to such dark 
 shades of the orange that one would call 
 it a red as it partakes so much more of the 
 red than it does of the yellow. 
 
 The list of tints and shades that can be 
 made from them is innumerable. The 
 Chrome yellows when well made are fairly 
 permanent except in situations where sul- 
 phurous gases are likely to develop. Sun- 
 light affect them somewhat too and their 
 tints are not so durable as those made from 
 ochre. 
 
 53. The reddish tints are not as exten- 
 sively used in outdoor painting as the yel- 
 lows, but are usually used in connection 
 with the yellows to warm up their tones 
 and in the making up of the terra cotta 
 
84 EXTERIOR PAINTING 
 
 shades, also with them. The most perma- 
 nent are the colors which owe their coloring 
 to iron oxides, such as the Venetian reds. 
 
 The Indian reds are also of this class 
 and they produce with a white base a wide 
 range of purple and lilac tints, which are 
 fairly permanent. 
 
 54. A pure toned blue tint is very sel- 
 dom used in the painting of exterior sur- 
 faces, the only situation where they are 
 used is for the painting of the ceilings of 
 porches and piazzas but of a very light 
 shade. As adjunct in combination with 
 other colors and the producing of com- 
 pound tints, they are very useful. 
 
 The ultramarine blue is the most per- 
 manent of any. Prussian blue is fairly so, 
 but strong sunlight affects it and the tints 
 made from it with white lead also. 
 
 55. The greenish tints are much more 
 used in outdoor painting than the blue— al- 
 though seldom without being toned down 
 by the addition of other pigments when 
 
EXTERIOR PAINTING 85 
 
 they are of a striking positive shade. The 
 tints of it mostly used are known under 
 the name of olive greens, sage, apple, wil- 
 low and a number of other fancy names, 
 all, however, being toned down consider- 
 ably from their bright original hues. 
 
 The only exception is in the painting 
 of blinds with white houses, where the 
 brightest and most vivid grass green 
 shades are usually selected for the pur- 
 pose. 
 
 56. The greys which mainly are reduc- 
 tions of some black pigment with white 
 lead, are most extensively used where cool 
 tones are desired in exterior painting. 
 They look clean and where properly bal- 
 anced with pure white or very light trim- 
 mings, certainly look clean and tasty. 
 
 Lampblack, which is far from being a 
 jet black, is the best black (if good) for 
 the making of clear toned greys which may 
 run from a faint pearl grey through in- 
 numerable gradations, up to a dark slate 
 
86 EXTERIOR PAINTING 
 
 color, simply by the addition of more or 
 less white lead. Drop or ivory black makes 
 good greys also. Many shades of grey re- 
 quire the addition of other coloring pig- 
 ments. 
 
 57. The brown or drab shades are also 
 very useful in exterior painting and a mul- 
 titude of shades belonging to this group are 
 used for the purpose. These drab greys 
 vary so much in tone and intensity, that it 
 would be a hard job of finding a name to 
 give to each one that it is possible to make 
 from any of the parent color either used 
 alone in combination with white lead, or 
 blender together with some other addi- 
 tional colors. 
 
 Eaw and burnt umber, Van Dyke brown, 
 each of them make a line of tints peculiarly 
 toned and when combined together and of- 
 tentimes when other pigments also enter 
 in combination with them, a very long list 
 of tints must result of it. 
 
 The above will suffice in order to give 
 
EXTERIOR PAINTING 87 
 
 the student a very fair idea of how to 
 make all the principal tints used in ex- 
 terior painting. Nothing has been said 
 about the use of self colors as this is sel- 
 dom done, excepting upon store fronts or 
 on window sash. As they are usually speci- 
 fied before hand, this will present no diffi- 
 culty even to the beginner. 
 
 QUESTIONS TO LESSON IX 
 
 49. What is said about the scope of this 
 lesson? 
 
 50. In how many groups may the many 
 various tints be classed in? 
 
 51. What is said concerning the making 
 of yellowish tints from ochres ? 
 
 52. What is said concerning the making 
 of yellowish tints from chrome yellow? 
 
 53. What is said concerning the making 
 of reddish tints ? 
 
 54. What is said concerning the making 
 fof bluish tints? 
 
88 EXTERIOR PAINTING 
 
 55. What is said concerning the making 
 of greenish tints? 
 
 56. What is said concerning the making 
 of blackish or grey tints? 
 
 57. What is said concerning the making 
 of brown and drab brown tints? 
 
 LESSON X 
 
 THE APPLYING OF PAINT 
 
 58. Applying paint with a brush is not 
 a very difficult operation to master. At 
 least, the putting of it on surfaces in a way 
 is not, especially to the onlooker. So, while 
 it is possible for an old lady or a common 
 laborer to take hold of a brush and put 
 paint on in some sort of way, to become a 
 good brush hand requires a great deal of 
 practice, good judgment and conscientious- 
 ness if you please. 
 
 Some may want to know where the last 
 comes in and for the purpose of enlight- 
 ening them it may be well to say right here 
 
EXTERIOR PAINTING 89 
 
 at the beginning that, in priming especially, 
 but also in all the rest of the coats of paint 
 applied to exterior surfaces to a lesser de- 
 gree, the paint may be skipped over the 
 surface instead of well brushed in, and ap- 
 parently it will look all right enough if the 
 man understands the way of slighting his 
 work so that if he has no conscience one 
 may never know if the work has been well 
 done until the subsequent coats have been 
 applied when it is too late to remedy it. 
 
 While this conscientiousness should be 
 exercised to its full extent in brushing the 
 priming coats well into the wood, it should 
 of course extend to the proper application 
 of all the other coats. 
 
 59. The " modus operandi" of the ap- 
 plication itself would be rather difficult to 
 explain and the saying that it consists in 
 brushing out the paint back and forth over 
 the surface to be painted would convey 
 about as much information concerning it 
 as any that could be given, and then it 
 
90 EXTERIOR PAINTING 
 
 would not be giving much. It would be on 
 a par with that given to a raw hand by the 
 farmer to take a hoe and go to hoeing. It 
 is simple and easy to look at, but the raw 
 man will have to more than hit at the 
 ground in order to do good hoeing and the 
 novice painter will have to do more than 
 rub the surfaces if he desires to do good 
 painting. 
 
 The general principles of good painting 
 are that 1st, the paint should be well rubbed 
 in, but no surplus should be left on the sur- 
 face, as if it is, it will either sag run or 
 dry wrinkled up; 2d, it should be put on 
 evenly, the brush marks layed off smoothly 
 after the rubbing in. If the above is care- 
 fully and well done, the painting cannot 
 help being good. 
 
 60. It is important to have good stout 
 tin pails to hold the paint. They should 
 be made with riveted ears to hold the wire 
 bail extending above the rim of the pails 
 and should not be too high as to make 
 
EXTERIOR PAINTING 91 
 
 them top-heavy ; rather wider than usually 
 pails of the same size that are made for 
 general use. 
 
 61. The directions given as to how to 
 mix up paints and tints in the paint shop 
 in paragraphs 43 to 48 will answer in all 
 their details for * paint that is to be mixed 
 and prepared on the job, and frequently 
 it is prepared there instead of in the shop, 
 especially if the job is a large one and the 
 distance is great. 
 
 In the above referred-to paragraphs it 
 is stated that the paint is in a stifTer paste 
 than that in which it is intended to be used 
 in the painting. The chief reason for this 
 is that some of it will probably be needed 
 for first, second and third coating, and as 
 each require a different kind of reducing 
 with raw linseed oil and turpentine, it 
 -could not possibly be prepared just right to 
 suit the different requirements of liquidity 
 the paint should have for the different 
 coats. There is a still better reason for 
 
92 EXTEKIOB PAINTING 
 
 it if the paint has to be hauled to the job 
 from the shop, and that is that if it was 
 thinned to even the rather stout condition 
 required for third coating, that it would 
 splash and slop over in the hauling. 
 
 62. While the following directions which 
 are given below are general and can only 
 be taken as a guide to the proper thinning 
 required for the various coats, they will be 
 found to apply in the majority of jobs done. 
 Where some particular mixing is needed 
 for certain kinds of painting and certain 
 pigments, the same will be noted and the 
 student will know how to vary from the 
 general advice given here. 
 
 63. For the priming coat, the stock color 
 must be very much reduced ; for one must 
 remember that the priming, as the first 
 coat will always hereafter be desig- 
 nated, must penetrate the fine pores of 
 either the wood or of the brick or stone 
 work being painted. Should this coat be 
 given with a stiff paint the pores would 
 
EXTEBIOE PAINTING 93 
 
 soak and absorb the oil from it, with the 
 consequence that the pigment would dry 
 upon the surface without the necessary 
 quantity of linseed oil required to hold it 
 on properly and will dry porous and ab- 
 sorbent, ready to take up some of the oil 
 used in thinning the second coat, which 
 should have all it is thinned with for its own 
 use. 
 
 The stock paint should be reduced to the 
 last limit ; all that is required of it is that 
 a little of the pigment should ent^r into 
 the pores with the oil and help close up the 
 orifices. Enough pigment should be added 
 to the oil to show plainly what its color is 
 when well rubbed out but through which 
 most of the veinings and details of the 
 wood can be seen. 
 
 64. It is usually the practice to use some 
 specially prepared priming into which the 
 stock colors do not enter. 
 
 Some use ochre alone thinned with lin- 
 seed oil. "While a good silicate-based ochre 
 
94 EXTERIOR PAINTING 
 
 will do fairly well if thinned well and if it 
 has been properly ground fine in oil, it is 
 better not to use it alone for that purpose, 
 and the use of American or clay-based 
 ochre will cause trouble in the future; so 
 that their use should be discouraged for 
 the priming coats. 
 
 White lead alone or in combination with 
 a good finely ground French ochre where 
 the lead itself predominates, when well re- 
 duced with linseed oil makes the best of 
 priming paint. 
 
 65. The priming coat thinner should be 
 raw linseed oil only, when the weather is 
 warm and when the surfaces to be primed 
 are perfectly dry. Then the linseed oil is 
 limpid and penetrating and will reach a 
 good distance into the pores, filling them 
 and when dry forming little tentacles or 
 rootlets which serve to hold the superadded 
 coats of paint. 
 
 In cold weather, however, the fluidity of 
 linseed oil becomes impaired, and then it 
 
EXTERIOR PAINTING 95 
 
 becomes necessary to render it less viscid 
 in order to restore it to a good degree of 
 fluidity. The addition of a volatile oil is 
 permissible for this purpose, and either 
 turpentine, benzine or naphtha added in 
 such proportion as to restore it to a good 
 degree of fluidity is proper. 
 
 The objection made that it evaporates 
 and has no binding properties is all right 
 in good weather, but in cold weather it is 
 not ; for then it is possible to use more lin- 
 seed oil to which has been added some vol- 
 atile oil in the priming of a given space 
 than could possibly be spread on by itself. 
 This has been doubted by some, but the 
 experiment is and can be easily made by 
 anyone. 
 
 66. The painting of the second coat is 
 for the purpose of giving a good founda- 
 tion for the third or finishing coat. Upon 
 wooden buildings and upon brick or stone 
 walls there will be found some soft parts 
 into which the priming coat has penetrated 
 
96 EXTERIOR PAINTING 
 
 deeper than it has in others, with the con- 
 sequence that some portions of the work 
 are still obsorbent of linseed oil, while the 
 surrounging parts that are harder are well 
 filled np and the drying of the priming has 
 stopped al} suction. Over such places the 
 second coat of paint would dry on top of 
 it and glossy, while upon the first it would 
 be partially absorbed by the partially-filled 
 soft parts to which a portion of its oil 
 would be given with the consequence that 
 it would appear partly flatted over them 
 and the general surface of the job would 
 show spotty or harlequin-like to the dis- 
 gust of all lovers of good work. 
 
 67. The second coat of paint, generally 
 speaking, again should be thinned with 
 one-fourth turpentine or benzine added to 
 three-fourths of good raw linseed oil. This, 
 of course, applies to the thinning of the 
 stock color, which contains already a large 
 quantity of linseed oil, and in reality there 
 will be but little over one-eighth of the total 
 
EXTERIOR PAINTING 97 
 
 thinner used that will be volatile oil with 
 the percentage named. The addition of the 
 volatile oil is to make it set quicker and 
 that it may dry a trifle flat and porous in 
 order to make a good foundation for the 
 third or finishing coat. This second coat 
 should be very much thicker than the prim- 
 ing coat and of about the consistency of 
 good cream. It should cover well and 
 solidly over the priming, but should be well 
 brushed out and evenly distributed, and 
 lastly, laid off in one direction lightly with 
 the brush. 
 
 68. The third or finishing coat on new 
 work should not be thinned to the same ex- 
 tent as the second, and nothing but raw 
 linseed oil should be used for the purpose, 
 as it is the completion of the painting. No 
 volatile oil of any kind should be added, 
 for there is more pigment in it than in the 
 previous ones, and it will require all the 
 thinner to hold it on and at the same time 
 
98 EXTERIOR PAINTING 
 
 form an impervious coating that will pro- 
 tect the surfaces painted. 
 
 When the second coating has been well 
 done and it has dried thoroughly and hard, 
 the third coat should show a perfectly even 
 surface and glossy all over alike. It should 
 be put on rather thick and well rubbed out, 
 then there will be no trouble in its running 
 and drying wrinkled, as many say it will 
 if thinned with raw linseed oil alone. 
 
 The real reason why many wish to use 
 turpentine or some other volatile oil in the 
 third coat is that then it is not so difficult 
 to apply it ; that it will not require so much 
 hard work in the rubbing out, and that it 
 is a saving of time and material to them. 
 This is not denied, but it certainly is not 
 the best way, and the advice is given for 
 those who want the best results and who 
 are not afraid of a little extra work in or- 
 der to obtain them. 
 
EXTERIOR PAINTING 99 
 
 QUESTIONS ON LESSON X 
 
 58. General remarks on applying the 
 paint. 
 
 59. How is paint applied? 
 
 60. What are the best paint pails to do 
 the painting from? 
 
 61. What is said about having the paint 
 mixed on the job? 
 
 62. What is said in a general way about 
 the thinning of the stock colors? 
 
 63. What is said about the thinning of 
 the priming coat ? 
 
 64. What pigments are recommended 
 as best for priming coat? 
 
 65. What is said concerning the addi- 
 tion of volatile oils for the priming coat? 
 
 66. What is said about painting of the 
 second coat? 
 
 67. How is the paint to be mixed for the 
 second coat? 
 
 68. How is the third or finishing coat to 
 be mixed and applied ? 
 
100 EXTERIOR PAINTING 
 
 LESSON XI 
 
 THE PAINTING OF WOODEN BUILDINGS 
 
 69. In the foregoing chapters the mate- 
 rial and appliances used in exterior paint- 
 ing were reviewed and described and the 
 various operations for the mixing of paint 
 were stated as well as general directions 
 given for doing the painting. It is hoped 
 that the student has well mastered it and 
 understands all that was said thoroughly. 
 In order that he may understand all that 
 will be said in the following chapters, it 
 would not be amiss for him to go over the 
 questions and review them in order that he 
 will be doubly sure that he understands 
 them all. 
 
 The subject-matter of this lesson is the 
 painting of wooden buildings. This is 
 the most important part of the subject- 
 matter of this manual, as the painting of 
 buildings, on exteriors in America is chiefly 
 
EXTERIOR PAIXTI^G 101 
 
 upon structures with a wooden surface, at 
 the present time at least. 
 
 It is perfectly safe to state, that four- 
 fifths of all exterior painting is done upon 
 wood surfaces, therefore it is of the 
 greatest importance to consider it first and 
 before the other two which enter chiefly in 
 house construction— iron and brick— as 
 much that is explained here applies also 
 to those. 
 
 While the general principles of exterior 
 painting which have been given apply in a 
 way to all kinds of painting done exte- 
 riorly, a special application of them is 
 necessary to suit the various surfaces over 
 which paint is applied. 
 
 For this reason, therefore, the various 
 peculiarities of wooden, iron and brick sur- 
 faces will be considered separately and 
 their individual requirements noted under 
 their several headings. 
 
 70. The first step in investigating the 
 needs and requirements for the painting of 
 
102 EXTERIOR PAINTING 
 
 wooden buildings will naturally be that of 
 an examination of the condition that they 
 are left in after the carpenters are through 
 with them. The boards, on examination of 
 a powerful eyeglass, will be found full of 
 holes or pits. The naked eye reveals many 
 of these without the use of glasses in many 
 of the woods and are well known to most 
 people under the name of pores. These 
 pores are conduits through which the cir- 
 culation of sap takes place during the 
 growth of trees, and therefore they honey- 
 comb the whole unseen interior of the 
 woodwork. We all know the effect of 
 moisture upon all vegetation. During the 
 growth of the plant or tree it becomes its 
 life ; but after the cutting and the perfect 
 drying of the boards has taken place, then 
 moisture becomes its worst enemy— when 
 in contact tvith air. 
 
 71. The oxygen of the air is conducted 
 by moisture into the interior of the wood, 
 and combining with the sap, sets up a f er- 
 
EXTERIOR PAINTING 103 
 
 mentation which in time will rot the fibers 
 of the wood and cause its decay. Some 
 woods contain within themselves in their 
 dried sap an anti-ferment principle and 
 that protects them against this element; 
 but unfortunately the woods that must be 
 used in house construction are not of that 
 character, and when left to the action of 
 the elements, they very quickly decay. 
 
 This injurious action of moisture is so 
 much feared that architects and carpenters 
 require the painter to be right behind them 
 in order to prime the boards as fast as 
 they nail them On in order that moisture 
 may be kept out of them. 
 
 72. This is the one great object why 
 paint is used to cover wooden surfaces. It 
 has already been stated in paragraph 63 
 that linseed oil penetrates the open pores 
 of wood, sinking in to quite a distance in 
 its interior, forming innumerable rootlets 
 which firmly anchor the paint coatings and 
 fasten them to the wood. When dry the 
 
104 EXTERIOR PAINTING 
 
 surface of the wood is thus completely 
 sealed to the influence of moisture, and 
 that is prevented from acting upon the 
 dried-up sap. 
 
 73. To understand how this protection 
 is accomplished it will be necessary to 
 know what really takes place during the 
 drying process and what the paint drying 
 really means. Many painters have very 
 confused ideas about it. Some think that 
 drying is by evaporation, which is false; 
 therefore it will be well to study the phe- 
 nomenon of the drying of the fixed oil in 
 order to understand certain things in paint- 
 ing which otherwise would puzzle a man 
 unnecessarily. 
 
 Fixed oils are that class of oils which 
 dry by absorbing oxygen from the atmos- 
 phere and forming a new compound with it 
 which becomes hard and rubber-like in con- 
 sistency and which is waterproof as well. 
 
 It was said at the beginning of this para- 
 graph that there is no evaporation in the 
 
EXTEKIOR PAINTING 105 
 
 drying of fixed oils, or linseed oil, which is 
 the chief one of those oils used in painting 
 —this statement needs qualifying. There 
 is a small loss by evaporation in drying; it 
 is very slight, however, and this loss is 
 more than made up by other gains. 
 
 74. It will be an easy matter for any 
 one to test the process of drying so as to 
 satisfy himself of the correctness of the 
 statements made regarding it. A clean 
 piece of glass should be selected and it 
 should be carefully weighed and the weight 
 noted. A coat of raw linseed oil should be 
 spread over the glass and then it should 
 be reweighed, the deduction of the weight 
 of the glass giving the net weight of the 
 oil used. 
 
 It was stated that linseed oil dried by 
 absorbing oxygen from the atmosphere and 
 of fixing it by combining with it. This can 
 be ascertained by weighing the glass daily 
 when it will be found that it will gain con- 
 stantly during some ten days which it takes 
 
106 EXTERIOR PAINTING 
 
 to complete the process of drying. The 
 small loss of water by evaporation is more 
 than made up by the absorption of oxygen, 
 and the completely dried oil will be found 
 to have made a clear gain of nearly 8 per 
 cent in its weight. 
 
 75. The above test is easily made and 
 convincing, but it teaches us another thing 
 as well, and that is that painting is rushed 
 through entirely too fast. It will be noted 
 that the drying is not completed until the 
 tenth day, so that what, to the touch, may 
 feel and appear as being perfectly dry, is 
 far from being so. To paint over a coat 
 of painting in one or two days after its ap- 
 plication, will seal it up against the action 
 of oxygen, or at least greatly delay it, and 
 the further drying must be imperfectly 
 done at the cost of the durability of the 
 painting. For good work then when one 
 is not pushed nor forced to complete a job 
 by a certain time, at least ten or twelve 
 days should elapse before another coat be 
 
EXTERIOR PAINTING 107 
 
 applied again. This will give it the full 
 time required for it to dry to the limit. 
 Where dryers are used to hasten the pro- 
 cess, it would probably be hastened some- 
 what, but even then one week should elapse 
 between coats, as the finishing up of the 
 drying is the slowest part of it all. 
 
 QUESTIONS ON LESSON XI 
 
 69. General remarks on the painting of 
 wooden buildings. 
 
 70. What is the condition of wooden 
 buildings previous to the painting! 
 
 71. What action has atmospheric air 
 upon moist wood? 
 
 72. In what manner does paint prevent 
 the injurious action of moisture upon 
 wood? 
 
 73. How do fixed oils dry? 
 
 74. Describe the process of the drying 
 of oils. 
 
 75. What else does the test of oil dry- 
 ing teach us? 
 
108 EXTERIOR PAINTING 
 
 LESSON XII 
 
 THE PAINTING OP WOODEN BUILDINGS CON- 
 TINUED 
 
 76. It is supposed that everything is 
 ready and that some place has been se- 
 cured in the building to be painted where 
 the stock and tools can be placed and where, 
 if possible, they can be locked up. In the 
 larger buildings some corner in the base- 
 ment is usually devoted to this purpose, 
 and in the country one can find some out- 
 house for the purpose where there will be 
 no danger of doing damage by spilling or 
 upsetting paint. 
 
 77. The priming is the first operation to 
 be looked after. All the mill work such as 
 door frames, window frames, etc., may have 
 been brought to the paint shop and done 
 there, but is also frequently done right on 
 the job itself and left for some time before 
 they are nailed up to their proper place 
 on the building. 
 
EXTEEIOE PAINTING 109 
 
 All woodwork should be well brushed 
 over with the dust brush to remove the fine 
 dust made by the sandpapering machines, 
 and any resinous or sappy parts as well 
 as all the knots in the lumber, should be 
 gone over with one good coat ; or better, 
 with two coats of orange shellac varnish. 
 
 78. It would be better for the job really, 
 not to be in such a hurry about applying 
 the priming coat as it is the practice of 
 doing it. Even a rain will not hurt it any 
 should it come on to the building before the 
 priming is done. It would raise the grain 
 of the wood and it may cause a few checks 
 and the opening up of a few joints in the 
 carpenter's work, but the opening up of 
 the pores means that a greater quantity 
 of linseed oil will enter the wood through 
 them and the checks. Putty will fill up any 
 damage done by the joints opening up, so 
 that, after all, the real damage will be 
 small compared to the better condition that 
 
110 EXTEKIOR PAINTING 
 
 the wood will be in and to the good that a 
 better coat of priming will do it. 
 
 79. The application of the priming coat 
 does not require very great skill, but no 
 one but persons who are conscientious and 
 trustworthy should be allowed to apply it. 
 If slighted or simply brushed over without 
 the conscientious rubbing it in again and 
 again till the wood will absorb no more oil, 
 will not show much worse than the well- 
 done job, but the one will hold up the sub- 
 sequent coats in good shape for all future 
 painting, while the other will not. The 
 practice of many of using anyone— usually 
 the poorest hands in the shop— is wrong. 
 While it is stated at the beginning of this 
 paragraph that it does not require great 
 skill, the qualifications that were given with 
 the statement must not be lost sight of in 
 detailing the men for the work. A poor 
 painter who is conscientious will do a much 
 better job than one who is much better but 
 unreliable. 
 
EXTERIOR PAINTING 111 
 
 80. By referring to paragraph 64 the 
 student will derive some good notions as to 
 what pigments he should use for the prep- 
 aration of his priming color. By further 
 referring to the red series manual entitled, 
 "Colors," under the heading and descrip- 
 tion of Ochres, he will find the difference 
 between the various kinds of them and rea- 
 sons more fully given why one kind is much 
 better adapted for use in priming while the 
 other is utterly unfitted for it. 
 
 81. The priming should be perfectly dry 
 before another coat of paint is applied over 
 it, for reasons that were fully given in 
 paragraphs 73, 74 and 75. This will re- 
 quire nine or ten days, when it will be in 
 good condition to receive the second coat- 
 ing. But as it is upon the top of the prim- 
 ing coat that the puttying up of the nail 
 holes, cracks, or open joints must be done 
 in order that the putty may be covered over 
 with two coats of paint so that it will not 
 show through differently from .the rest of 
 
112 EXTERIOR PAINTING 
 
 the painting, that operation must now be 
 attended to before the second coat is ap- 
 plied. 
 
 The practice of many is to have a lump 
 of putty in the hand and to run over the 
 nail holes, cracks, etc., with it, cutting off 
 by simply smoothing them with the hands. 
 It is an imperfect way of doing the work. 
 For good puttying both hands should be 
 used, the left hand holding and forcing the 
 putty down to the bottom of the parts to 
 be filled, while the right hand holding the 
 putty knife cuts it off smoothly and levels 
 it up. 
 
 82. It is now ready for the application 
 of the second coat. By referring to para- 
 graphs 66 and 67, the student will see how 
 the stock paint should be thinned and 
 mixed for use. 
 
 It will be well to state here that in order 
 to guard against the possibility of missing 
 some portions of the boards in the painting 
 of the last coat on account of their being 
 
EXTEKIOB PAINTING 113 
 
 of a similar shade, it will be found better 
 to add some pigment to the stock color to 
 darken it up a trifle— just sufficiently that 
 when the third coating is applied, that the 
 one doing the work may be able to see that 
 there have been no holidays left (holiday 
 in painters' vernacular signifies a spot left 
 untouched by paint). 
 
 This coat should cover the priming sol- 
 idly and should be fairly well brushed out 
 and evenly spread— the right way will soon 
 suggest itself to even a novice at the work. 
 
 83. A lapse of ten days should be al- 
 lowed for the proper drying of the third 
 coat and then it will be ready for it, taking 
 care that any dust which may have blown 
 upon the paint before its drying was com- 
 pleted, be sandpapered off and the whole 
 job well dusted from any dry dust having 
 settled upon it. 
 
 The stock paint is the color agreed upon 
 for the proper shade of the finished job. 
 It, with the trimmings, especially if light, 
 
114 EXTEKIOR PAINTING 
 
 should have been put on on the second coat 
 with just enough variation to guard against 
 holidays— this variation should be just a 
 trifle darker in shade, because a slightly 
 lighter shade of a tint will cover more sol- 
 idly over a darker one than a darker one 
 over a lighter one. The trimmings, when 
 darker than the body color, will usually 
 cover well in one coat. So the second coat 
 can be put on all over the job without any 
 special attention to the trimmings; but if 
 these are lighter than the body color or 
 white, as in many instances, then it will be 
 necessary to go over the trimmings, on the 
 second coat also, as otherwise they would 
 not cover perfectly solid in one coat over 
 a dark shade. 
 
 The third coat, as it has been already in- 
 timated in paragraph 68, should be put on 
 rather thick and should be well brushed 
 out ; this will permit its application thinned 
 only with oil, so that it will neither run nor 
 wrinkle up in the drying. 
 
EXTERIOR PAINTING 115 
 
 The second coat should have so filled up 
 the pores of the wood that after properly 
 drying there will be no more penetration 
 and should have stopped all suction. The 
 third coat will then dry altogether on the 
 surface and will not need to he thinned 
 with any more oil than will be necessary to 
 insure its spreading properly under the 
 brush. 
 
 The job when complete will present a 
 perfect even gloss all over alike and will 
 shed water like a duck's bask, forming a 
 waterproof coating and a complete protec- 
 tion to the wood over which the painting 
 has been done. It will, besides, look a thing 
 of beauty and be the joy and pride to the 
 owner and painter alike. 
 
 Painting thus becomes not only a matter 
 of prime importance on account of its 
 utility, but also it is a matter of equal im- 
 portance to most people of taste and means 
 of even more importance, as a beautifier. 
 
116 EXTEKIOR PAINTING 
 
 QUESTIONS ON LESSON XII 
 
 76. Selection of place for stock and tools 
 on job? 
 
 77. How should the woodwork be pre- 
 pared for the priming? 
 
 78. Is it best to commence the priming 
 immediately after the boards have been 
 nailed on to the building? 
 
 79. What is said regarding the applica- 
 tion of the priming? 
 
 80. "What is said concerning the pig- 
 ments to be used in the priming? 
 
 81. How and when should the puttying 
 be done? 
 
 82. How should the paint be prepared 
 for the painting of the second coat? 
 
 83. How should the paint be prepared 
 for the application of the third coating? 
 
EXTERIOR PAINTING 117 
 
 LESSON XIII 
 
 PAINTING WOOD BUILDINGS (CONTINUED) 
 
 84. In the two previous chapters the 
 painting of new wood only was considered 
 and in that way and manner which only 
 can make a good substantial first-class job; 
 i. e., by painting new wood with three 
 coats of paint. 
 
 Painters are frequently required, how- 
 ever, to paint new buildings in two-coat 
 work only— even by architects who should 
 know better— so the space below will be 
 given to considering "how a passably good 
 looking" job may be made out of it, as 
 when people must have their painting done 
 in that way, the painter must be able to 
 accommodate them or lose their trade. 
 
 85. It must be plain to be seen from 
 what has been said heretofore about the 
 principal function of good priming, that if 
 the work is to be finished in two coats, that 
 it cannot be given in the manner recom- 
 
118 EXTERIOR PAINTING 
 
 mended for three-coat work. Should it be 
 given with the small proportion of pigment 
 required, then the second or finishing coat 
 cannot possibly cover over it and make a 
 good fair solid covering over it and it 
 would look but little better than second 
 coats do in three-coat jobs. 
 
 The priming for two-coat finish must be 
 fully as heavy as second coating should be, 
 as described in former chapters, in order 
 that it may prevent something substan- 
 tially covered in order to receive the finish- 
 ing coat. 
 
 86. The heavy pigmented priming will 
 be acted upon in the following manner. The 
 pores will absorb the oil until filled up; 
 this will leave the pigment upon the sur- 
 face with an insufficiency of oil to properly 
 bind it and when dry it will be found very 
 porous and absorbing ; this is said in a gen- 
 eral way, but more especially of inert pig- 
 ments. Pigments having an affinity for 
 linseed oil, and which combine with it to 
 
EXTEKIOB PAINTING 119 
 
 form soaps, will not loose so much of it; 
 but the retention of the linseed oil and the 
 preventing it from freely entering the 
 pores will of itself produce bad priming. 
 White lead is of that character. As it was 
 highly recommended as a priming pigment, 
 the reader may think that a different view 
 of it is here presented, but it is not. 
 
 The recommendation of it as a primer 
 was under the condition that only so much 
 of it be used as will show where the prim- 
 ing has been applied, with a very large 
 preponderance of linseed oil over which the 
 small quantity of lead used could not pos- 
 sibly exert any deteriorating influence; 
 but this would not be the same in a heavy 
 lead priming coat. The quantity of oil it 
 would need for thinning would bear no 
 comparison to the other, and this would be 
 no greater than needed for its proper bind- 
 ing, let alone the having to part with any of 
 it to fill the hungry pores, which is the real 
 object of good priming. 
 
120 EXTERIOR PAINTING 
 
 87. The priming, then, far this work 
 must be heavy and must not be rubbed out 
 too much in its application, but laid off in 
 a way very similar to second coating. 
 
 It goes without the saying that all the 
 preparatory work mentioned to be done 
 prior to priming, as stated in the preced- 
 ing chapters, must have been attended to 
 before the paint coat is applied, as it is as 
 essential or even more so for this as it is 
 for the other. 
 
 88. When dry, which will require the 
 same time as is usual, then the nail holes, 
 cracks and joints should be neatly puttied 
 up, as already described in paragraph 81. 
 The last coat or the second, must be fully 
 as thick as it is usual for third coat, with 
 this difference, that it will be much easier 
 to put on as the priming will not have 
 stopped all tne suction and that the pig- 
 ment is more porous, so that the paint will 
 adhere to it more readily than it would if 
 
EXTERIOR PAINTING 121 
 
 the surface was well filled and nan-porous 
 or but a trifle so. 
 
 Now as to the looks. The priming not 
 having thoroughly filled the wood, the sec- 
 ond coat will have to finish that; besides, 
 it will have to divide enough of its own 
 binding oil to supply the porous coating of 
 the priming which will leave it in a some- 
 what semi-flat condition, which will look 
 fair enough and much more even in appear- 
 ance than it is usual for ordinary second 
 coat. So that there is a gain in appear- 
 ance at least. But there is a hereafter 
 coming, when the defective priming and 
 upper coat will surely tell. 
 
 QUESTIONS ON LESSON XIII 
 
 84. What is said about painting build- 
 ings in two-coat work! 
 
 85. Where lays the difference in prim- 
 ing two-coat and three-coat work? 
 
122 EXTERIOR PAINTING 
 
 86. What is the result of heavy prim- 
 ing? 
 
 87. How should the priming be applied? 
 
 88. How should the second coat be put 
 on? 
 
 LESSON XIV 
 
 THE REPAINTING OF WOODEN BUILDINGS 
 
 89. Wooden buildings have to be re- 
 painted for several reasons, the principal 
 of which are noted below: 1st, Because, 
 unfortunately, while oxygen acted benefi- 
 cially in the drying of the linseed oil and by 
 its combining with it, it formed an oxy- 
 linoate rubber-like waterproof gum, which 
 causes it to become a perfect shield to the 
 deleterious influences of the atmosphere 
 upon wooden surfaces ; yet after this bene- 
 ficial action has been accomplished still 
 further changes take place. Most of them 
 can only be demonstrated by aid of chem- 
 istry, nor will they be readily understood 
 without some knowledge of that science. 
 
EXTERIOR PAINTING 123 
 
 When reduced to effects, it may be said 
 that after the process of drying is com- 
 pletely finished and even during the pro- 
 cess of drying, the oil loses some of its 
 ethers. In their escape, fine pores are pro- 
 duced which will, in course of time, honey- 
 comb the several coatings of paint down 
 into the rootlets formed by the priming, 
 which will form conduits through which 
 moisture, the great enemy of all but few 
 of created things, will slowly find its way 
 to all parts of the paint and gradually but 
 surely sap its life to its foundation, and 
 cause the life of the paint linseed oil to 
 decay. When that is complete, then the 
 pigment either falls off or scales off, ac- 
 cording as to the particles composing it 
 have affinity for each other when they scale 
 off or have none, when they chalk off and 
 fall singly. 
 
 Therefore, wooden buildings should be 
 repainted more frequently than they usu- 
 ally are. Five years is as long as they 
 
124 EXTERIOR PAINTING 
 
 should be allowed to stand without new 
 coatings of paint being given them. 
 
 90. This decay of linseed oil, according 
 as it has been going on for a longer or a 
 shorter period, and also as to the character 
 of the pigments that were used in prepar- 
 ing the paint, present various conditions 
 that require different treatment to remedy. 
 
 When the previous painting has been well 
 done, at the end of say five or six years, 
 it will still look good, although it will have 
 lost its glossy enameled-like appearance. 
 It is then on the verge of becoming in a 
 much worse condition, and while it does not 
 look bad, it needs renewing. In that con- 
 dition it will not take much trouble to put 
 it in good trim again for another period 
 of five years, and at a minimum of expense. 
 
 If the painting is delayed much longer 
 than that and a further decay of linseed oil 
 occurs so as to have lost its power upon 
 the pigment as a binder, then if the pig- 
 ment was white lead mainly, it will be 
 
EXTERIOR PAINTING 125 
 
 found to chalk badly. This does not re- 
 quire any special preparation for repaint- 
 ing other than dusting and cleaning it of! 
 as much as possible, but where the pig- 
 ments used have an affinity for each other 
 and hold together, as in paint which con- 
 tains considerable zinc, then they crack and 
 scale. In this condition, it is sometimes 
 necessary to remove the old paint entirely 
 away before repainting; but of this, more 
 will be said further on. 
 
 There are a number of intermediate 
 states or conditions in which the old paint 
 may be in according as it may approach 
 the one typical one first described and the 
 last, so that according to that it may be 
 classed as good or poor. 
 
 90. There will be no need of saying 
 much about the applying of the paint it- 
 self, if the repainting is done when it is 
 first needed other than that it should be 
 thoroughly cleaned before that is com- 
 menced. 
 
126 EXTERIOR PAINTING 
 
 As the priming is all right and sound 
 there will be no need of any. The chalking 
 of the lead which has just fairly com- 
 menced will not have taken much of the 
 material from the building, and it is then 
 in a weakened condition which if prolonged 
 would injure it seriously, but which can be 
 cured and restored to its original state of 
 usefulness by a simple coating of linseed 
 oil with but little more pigment added to it 
 than is usually used in the priming coat. 
 This will allow of the linseed oil pene- 
 trating to all the interior parts of the for- 
 mer painting and filling it up, the pigment 
 accompanying helping to seal up the few 
 open pores that might otherwise be left 
 open. 
 
 91. When thoroughly dry, a good solid 
 coat of color should be applied, as stated 
 for third coat in paragraph 83, which see. 
 These two coats are all that will be re- 
 quired to make a good job of repainting 
 upon all fairly good surfaces. 
 
EXTERIOR PAINTING 127 
 
 92. The cost of doing the work then will 
 be at the minimum. The first coat being 
 nearly all oil, but comparatively little of it 
 will be needed, especially if the first paint- 
 ing was well done. As to the cost of the 
 finishing coat, that, too, will be but slight ; 
 so it is a matter of real economy to repaint 
 often. 
 
 QUESTIONS ON LESSON XIV 
 
 89. Why should wooden buildings be 
 repainted? 
 
 90. What are the conditions that build- 
 ings needing paint are usually found in? 
 
 91. How should the repainting of the 
 first coat be done ? 
 
 92. How should the finishing coat be 
 applied? 
 
 93. What is said concerning the cost of 
 repainting wooden buildings when first 
 needed? 
 
128 EXTERIOR PAINTING 
 
 LESSON XV 
 
 THE REPAINTING OF POOR SURFACES ON 
 WOODEN BUILDINGS 
 
 94. In the preceding lesson the repaint- 
 ing of fairly good-conditioned wood build- 
 ings was considered. In this lesson it is 
 purposed to take up the repainting of sur- 
 faces which have been let go too long be- 
 fore repainting, or which, from one cause 
 or another, have not a good surface to 
 paint over. 
 
 95. There are several reasons why the 
 old paint may be in bad condition. It fre- 
 quently is caused by bad priming; by the 
 poor quality of the thinner used; by the 
 injudicious selection of material and by 
 waiting too long before repainting, any one 
 of which reasons being sufficient to cause 
 the trouble, but as they usually are com- 
 bined together in producing the damage, it 
 is not always an easy matter to credit to 
 
EXTERIOR PAINTING 129 
 
 each of those agencies for the exact amount 
 of damage due to them. 
 
 96. The condition which is the most ag- 
 gravating is that of scaling. The surface 
 commences to check and crack, then in a 
 little while some of the cracks will part 
 from the wood and after a little longer wait 
 will begin to pull itself entirely off of the 
 surface, falling down by force of its own 
 weight in much the same way that can be 
 noticed on limbs or trunks of sycamore 
 trees. 
 
 If they would only take a notion to all 
 peel up and come down at once, it would 
 not be so bad, as then there would be a 
 clear field to recommence the painting 
 upon, but they do not, and there is the 
 trouble; some parts will remain on so 
 tight that it would be a question of many 
 years of waiting for the total scaling to 
 occur, and in the meantime the parts which 
 have scaled off would be an eyesore to 
 every onlooker. 
 
130 EXTERIOR PAINTING 
 
 The remedy— and it is the only one— is 
 to take the paint off entirely. 
 
 97. There are a number of ways by 
 means of which paint may be removed. 
 The old way of removing it by coating it 
 over with some strong alkaline washes will 
 be remembered by many of the old-time 
 painters, hut while it is effective, it is very 
 dirty and requires afterward great care 
 in removing every vestige of it by repeated 
 washings and neutralizing. It has well- 
 nigh become obsolete to-day, and justly so. 
 
 98. The many excellent ones manufac- 
 tured under a certain patent which have no 
 bad effect upon the hands of the one ap- 
 plying them and which can be used much 
 more cleanly, are a very great step for- 
 ward ; and but that their cost is too great 
 for use on such large surfaces as the out- 
 side of a house, they would be used more 
 extensively than they are, as in the open 
 air the offensive alcoholic smell which is 
 complained of so much by those having to 
 
EXTERIOR PAINTING 131 
 
 use them in interior work is so much re- 
 duced by diffusion in the atmosphere that 
 the smell is bearable to most persons. 
 
 99. The most common method adopted 
 by painters for removing paint outside is 
 by the use of gasoline torches. These pro- 
 duce an intense heat which, combined with 
 the forceful jet of air, can be guided to 
 any and all parts of the work where needed 
 on the job. The intense heat softens the 
 paint at once, and the painter who guides 
 the burner on the paint with his left hand, 
 follows it up with a wide scraping-knife 
 held in his right hand, removing the paint 
 in ribbon-like flakes the whole width of the 
 weatherboarding at once. It is quickly 
 done. There is but one thing the matter 
 with it, and that is that where the boards 
 have loosened themselves from the build- 
 ing, that possibly some of the lint of the 
 wood inside may become ignited from it 
 and many buildings have been burned down 
 from this cause. If one has a spray pump 
 
132 EXTERIOR PAINTING 
 
 and is careful to spray over the parts that 
 have been worked over soon after the re- 
 moval of the paint and to carry the work 
 on from bottom to top instead of from top 
 to bottom, there need be no danger feared 
 from the burning off of the paint. 
 
 100. After the job has been well cleaned 
 up it stands in precisely the same condi- 
 tion as a new building that has never been 
 painted, with the exception that some of 
 the rootlets of the priming may still re- 
 main in the wood, and for that reason the 
 priming will not be absorbed as freely as 
 in new wood painting, and therefore more 
 pigment can be added to it. This is all 
 right, as it will not part with so much of its 
 oil in filling the pores. If the job is to be 
 finished in two coats only, the priming may 
 be given somewhat thicker than stated 
 above. It is best, however, not to overdo it, 
 and for best work three coats are recom- 
 mended. 
 
 101. If two coats only are to be given, 
 
EXTERIOR PAINTING 133 
 
 the second being the finishing coat, it should 
 be rather thick and thinned with all linseed 
 oil. If it is to be done in three coats, then 
 the second should have a little turpentine 
 added to it and should not be too thick for 
 easy rubbing and laying out. 
 
 It is needless to repeat that any putty- 
 ing needed on the surface of the wood to 
 level it up or to cover any imperfection 
 should be given previous to the application 
 of this coat. 
 
 102. In the application of the third coat 
 all that has been said previously in regard 
 to its mixing, thinning, and its application, 
 will apply for this repainting in full. 
 
 QUESTIONS ON LESSON XV 
 
 94. What is said about the scope of this 
 lesson? 
 
 95. To what agencies is the decay of the 
 old paint due ? 
 
 96. What is said about paint scaling? 
 
134 EXTERIOR PAINTING 
 
 97. How are paint coats removed for 
 repainting? 
 
 98. What is said about the patent paint 
 removers? 
 
 99. What is said about removing paint 
 by aid of gasoline torches? 
 
 100. How should be mixed the priming 
 or first coat for burnt-over work? 
 
 101. How should the second coat be ap- 
 plied? 
 
 102. What is said regarding the appli- 
 cation of the third coat? 
 
 LESSON XVI 
 
 THE PAINTING OF OLD WOODEN BUILDINGS 
 WHICH WERE NEVER PAINTED BEFORE 
 
 103. There is just one more condition in 
 which the painting of wooden buildings re- 
 quires a special treatment differing from 
 all that described under the previous con- 
 ditions. It is necessary to note the condi- 
 tion of wood that has been left exposed un- 
 
EXTERIOR PAINTING 135 
 
 painted for many years. It will be found 
 that moisture will have acted upon the in- 
 terior of the fibers and partially destroyed 
 the binding that held them together, so that 
 they crumble off in the form of lint, which 
 birds sometimes pull off to line their nests 
 with, and that possibly there may be so 
 much decay that some parts, especially the 
 sappy ones, will be completely rotten. 
 
 104. If, from changing of ownership or 
 any other reason, the building is to be 
 painted, it will be an expensive affair to 
 do it in the usual way of priming, second 
 and third coating it with paint. 
 
 If done with raw linseed oil, as usual, a 
 brushf ul of it will cover but little more than 
 the spot where the brush hits the work, 
 and a gallon of priming paint can be ap- 
 plied within a very small space on the 
 weatherboarding. It disappears so rapidly 
 that were it possible to look through the 
 board one would look for it on the other 
 side. It is questionable if it would not 
 
136 EXTERIOR PAINTING 
 
 prove more economical to tear the weather- 
 boarding off and put on new, than to at- 
 tempt to paint it in the ordinary way. Nor 
 does this suction of oil stop at the first coat 
 if the boards are bad— the second coat will 
 also require a much greater quantity of 
 paint than usual. The worst of it all will 
 be that even after the third coat has been 
 put on, while it will be glossy, the surface 
 will be found full of ridges and uneven. 
 
 105. It may be well to say that some- 
 times old houses which have been painted, 
 but from which every vestige of it has long 
 ago disappeared will frequently be found 
 in but little better condition than that men- 
 tioned in the preceding paragraph. It 
 therefore stands to reason that such should 
 receive the same kind of treatment as is 
 described in the succeeding paragraphs. 
 
 106. What is really needed in order to 
 make these old structures look well and 
 wear well is not an overwhelming drench- 
 ing with linseed oil, but a good filling. This 
 
EXTERIOR PAINTING 137 
 
 filling must be able to penetrate to a rea- 
 sonable distance inside the mass of pores 
 of the wood, but it is not essential that it 
 should do so very much more than the lin- 
 seed oil priming usually does in the first 
 coating of new lumber. It should be able to 
 level up the ridges formed by the decay of 
 the wood side, to some extent at least, so 
 as to greatly reduce them and this, it was 
 explained, linseed oil does not do. 
 
 107. To prepare this filler coat which 
 may be called the priming coat, as it is so 
 in reality, requires the use of somewhat 
 different material tha«n that which has been 
 described in the former lessons and a some- 
 what different treatment of such other ma- 
 terial as is mentioned there which is to be 
 used in connection with the new. 
 
 Whiting (carbonate of lime) should be 
 used, and a proper working formula is 
 given below and the proper methods of 
 mixing it: 
 
 20 lbs. of whiting, 
 
138 EXTERIOR PAINTING 
 
 25 lbs. of white lead, 
 
 Water, 
 
 Milk (sweet) and linseed oil, in suit- 
 able quantity, as described below. 
 
 Take the whiting, place it in a galvanized 
 pail, pour sufficient water over it to work 
 it up into a thick smooth uniform paste. Let 
 it stand for two or three hours in order 
 that the water may have time to soak up to 
 every portion and particle of it, then add 
 the white lead to the whiting, stirring it up 
 well with it. Let it stand over night, when, 
 next morning, the whole mass will work up 
 smoothly together. Pour in as much sweet 
 milk at a time as will mix with the 
 mass by much stirring, then add about 
 the same quantity of linseed oil as was used 
 of the milk and stir well. This will reduce 
 the thickness of the paint while the milk 
 will thicken it, because it forms an emul- 
 sion with the linseed oil. The whiting con- 
 tains sufficient alkaline matter to saponify 
 
EXTEEIOK PAINTING 139 
 
 the oil in the lead and all subsequent addi- 
 tions of oil. 
 
 The action of the milk is very much the 
 same as that of water, excepting that the 
 casein which it contains is one of the best 
 binding and waterproofing substances 
 known, and many water paints which are 
 patented are composed from it. When 
 added to the filler compound it thickens it 
 by combining with the oil in emulsion. The 
 quantity of pigments mentioned in the fore- 
 going recipe will require the addition of 
 nearly one gallon of sweet milk and of one 
 gallon of linseed oil. 
 
 If it is desired to color it with any of the 
 usual colors, take these in the dry state 
 and thin them up with water to a rather 
 thin condition, then pour in the mass into 
 the mother base, stirring it in until thor- 
 oughly mixed. 
 
 108. To apply it it should have been 
 reduced to a condition of about the same 
 consistency as is usual for second coating 
 
140 EXTEEIOR PAINTING 
 
 in ordinary work. It should be well 
 brushed in and layed off rather full in or- 
 der to level up the board as much as pos- 
 sible. It will be found to slide on the 
 boards readily, and the brush will carry 
 enough to make quite a show for the quan- 
 tity used. The water of its emulsion will 
 prevent the changed condition of the oil 
 penetrating the pores as would be the case 
 otherwise, and when dry the painting pre- 
 sents a much better finish than would have 
 been possible in any other way. 
 
 Do not be afraid of it, as it will stand 
 not only as well, but better than if it had 
 been put on with linseed oil only. 
 
 109. The second coat may be the same 
 mixture as given for the priming, puttying 
 or any specially bad places should be gone 
 over first before its application, and the 
 spreading of it should be done in the same 
 way as stated in paragraph 108; this will 
 finish up the leveling up of the boards. 
 
EXTERIOK PAINTING 141 
 
 When dry, it should be in excellent con- 
 dition to receive the finishing coat. 
 
 110. The finishing, or third coat, must 
 be put on thick and thinned with linseed oil 
 only. It may be mixed from any of the ac- 
 customed material mentioned in the paint- 
 ing of new wood, or it may be the thick 
 stock color prepared for the filling— only if 
 that is used, enough of it should have been 
 saved out of the batch before it was thinned 
 out fully. It will then be pretty thick and 
 reduced to a good working consistency with 
 linseed oil only. 
 
 QUESTIONS ON LESSON XVI 
 
 103. What is said regarding the paint- 
 ing of old wooden buildings which had 
 never been painted before? 
 
 104. Describe the condition such build- 
 ings usually present. 
 
 105. Do old painted buildings from 
 which the paint has perished for years 
 need a similar treatment? 
 
142 EXTERIOR PAINTING 
 
 106. What is said about filling and sur- 
 facing such old buildings? 
 
 107. How is this filling coat to be pre- 
 pared! 
 
 108. How should the filling coat be ap- 
 plied? 
 
 109. How should the second coat be put 
 on? 
 
 110. What is said concerning the appli- 
 cation of the third coat? 
 
 LESSON XVII 
 
 THE PAINTING OF IRON BUILDINGS, 
 
 111. The painting of iron surfaces re- 
 quires a somewhat different system than 
 that described for wooden ones. 
 
 Its requirements must be first looked into 
 in order to. find the best agents to counter- 
 act any evil influences which can be pre- 
 vented. 
 
 Iron, like wood, is full of fine pores, the 
 main difference between them being that 
 
EXTERIOR PAINTING 143 
 
 these fine pores are not so continuous as 
 in wood nor nearly so large. 
 
 The atmospheric influences which work 
 havoc upon wood are also hard at work in 
 forming new combination with iron or steel. 
 Iron has a great affinity for oxygen, and 
 when aided by moisture, the two 'readily 
 combine together to form oxide of iron, or 
 rust. This action continues until in time 
 the whole of the iron will decompose into 
 such oxide, especially if it is not very thick. 
 This weakens it in a very short time in 
 the case of sheet iron and renders it unfit 
 for use. 
 
 112. There is but one remedy, and that 
 is, to cover it over with such substances as 
 will prevent the access of atmospheric air 
 to the iron. 
 
 This is the reason why there is so much 
 galvanized iron in the market. It is given 
 a coating of zinc. The zinc has little affin- 
 ity for oxygen, and if the galvanizing has 
 been properly done, it will effectually pre- 
 
144 EXTEBI0R PAINTING 
 
 vent the oxygen from the surface of iron. 
 But this galvanizing process is not al- 
 ways possible, especially for large struc- 
 tural iron. The cost, too, is greater than 
 some of the hereafter described methods 
 are, and which for certain purposes are 
 even better than galvanizing is. 
 
 113. The next best thing that may be 
 used to prevent the oxidation of iron is by 
 giving it several coats of paint, as stated 
 for the painting of wood buildings, and 
 for the same reasons. The proper selection ■ 
 of pigments, however, requires some ex- 
 planation, as some are unfitted for the pur- 
 pose. 
 
 114. The first coat which comes in con- 
 tact with the iron itself is the only real im- 
 portant one; if that is compounded of the 
 right pigment, the superadded coats may 
 consist of any color desired. All pigments 
 which are the result of the combining of 
 oxygen and other metals and which have 
 the further property of having an affinity 
 
EXTERIOR PAINTING 145 
 
 for the iron themselves, or of readily im- 
 parting to it of the oxygen they contain, 
 would cause its oxidation instead of be- 
 coming a protection against it. So any 
 pigments containing hydrate oxides should 
 be avoided, such as ochres, raw siennas, 
 and even white lead. The oxide of iron 
 paints, not being hydrates, would not be 
 very dangerous, excepting that they, in 
 time, will become more or less hydrated by 
 exposure to the elements, but so slowly as 
 to reduce the danger to a very small de- 
 gree. It is for this reason that so much 
 of the iron which is painted at the factory 
 receives a coating of such iron oxide paint. 
 
 115. Bed lead, however, for priming 
 iron is the ideal pigment for the purpose 
 and stands in a class by itself— head and 
 shoulders above all others. But for its 
 greater cost and the greater difficulty of 
 its application, there would not be any 
 other used. 
 
 116. As red lead has been so highly rec- 
 
146 EXTERIOR PAINTING 
 
 ommended, the student will naturally want 
 to know why it is so much superior and 
 in what this superiority consists. Eed lead 
 is the bi-oxide of lead, and, like all oxides 
 of that metal, has the property of saponify- 
 ing a portion of the oil used in its applica- 
 tion with the brush and of hardening in a 
 few days to a metallic solidity. It is for 
 this reason that it is never found ground in 
 oil ready for use as most other dry colors 
 are, as it will settle at the bottom of the 
 can and dry into a hard mass with so much 
 of the oil as it has saponified. After red 
 lead has dried once, although it has emul- 
 sated a portion of oil, the soap thus made 
 is insoluble, or it would not be so exten- 
 sively used in jointing up glass in the mak- 
 ing of aquariums. This lead soap dries 
 bard and non-porous, and gives a perfectly 
 weatherproof coat to the iron surface over 
 which it is placed. It is not likely to be 
 injured by abrasion as most any other 
 paint would be on account of its metallic 
 
EXTERIOR PAINTING 147 
 
 hardness. This alone would suffice to put 
 it at the head of the list ; but with its other 
 good qualities added, it must be considered 
 as the king of them all. 
 
 117. While red lead up to this point has 
 had only its good qualities brought to view, 
 it must be admitted that like every other 
 good thing there is a dark side to it. 
 Bed lead we have seen cannot be ground 
 up in paste form before hand. This, how- 
 ever would not amount to much, but that 
 on account of its heavy weight and com- 
 parative coarseness of its atoms, it will set- 
 tle quickly and when painted out over the 
 iron surface if not put on rather heavy and 
 well brushed out, it ivill run. This, how- 
 ever, would not amount to much, but that 
 having on hand, or on large jobs a power 
 paint mill and running the lead paint 
 thinned for use through it, not more to be 
 ground than will be used during the day. 
 This grinding combines the red lead and 
 linseed oil much better and it helps to sa- 
 
148 EXTERIOR PAINTING 
 
 ponify it. Eed lead thinned so it could hard- 
 ly be applied without running before giv- 
 ing it such a grinding, will be found much 
 thicker afterward and much easier to apply 
 —from the saponification received in the 
 grinding. 
 
 QUESTIONS ON LESSON XVII 
 
 111. What is said concerning the action 
 of the elements on iron ? 
 
 112. In what wav does galvanization of 
 iron surfaces afford it protection? 
 
 113. Can the oxidation of iron be pre- 
 vented by painting it? 
 
 114. What kind of pigments should be 
 avoided in priming iron? 
 
 115. What is the best pigment to use in 
 the priming of iron ? 
 
 116. What is said about the peculiari- 
 ties of red lead? 
 
 117. Can the running of red lead paint 
 be prevented or lessened? 
 
EXTERIOR PAINTING 149 
 
 LESSON XVIII 
 
 THE PAINTING OF IRON SURFACES 
 
 118. In the previous lesson it was main- 
 ly the consideration of the requirements of 
 iron and steel that were noted and also that 
 of the various pigments useful or other- 
 wise for the preparing of the priming coat 
 of paint. This lesson will treat mainly 
 upon the preparing of the surface of the 
 iron for painting and of the painting prop- 
 er itself. 
 
 119. The preparing of the surface of 
 iron and steel previous to the painting is of 
 as much importance as that of the painting 
 itself is. If it has been well done, a good 
 job of painting can be done over it. If this 
 has been neglected, no matter how good the 
 painting may be that is applied over it— 
 trouble will surely follow. 
 
 Two enemies of good painting on iron 
 work, must be removed before anything in 
 the way of applying the paint is commenced 
 
150 EXTEKIOR PAINTING 
 
 on pain of making bad work of it. These 
 enemies are scales and rust. 
 
 120. Scales— these are to be fonnd on 
 all iron work, especially upon rolled iron. 
 Some of these scales are so loose that they 
 can readily be pried off by inserting a 
 chisel under them, others again are pretty 
 hard to remove by hammering them, all 
 such as can be taken off will give way and 
 by proper use of scrapers and wire brushes, 
 can be got rid of. It requires conscientious 
 workmen on such a job as it is an easy mat- 
 ter to slight it. 
 
 121. Rust— The one greatest of the two 
 enemies of iron or steel. It must be en- 
 tirely removed from the surf ace of the iron 
 to be painted and that is not always very 
 easy to do. But as it is all important that 
 it should be, no pain should be considered 
 too great in order to do so. When it is 
 known that rust produces more rust and 
 that if any be left in ever so little a quan- 
 tity will soon become a nucleus and center 
 
EXTERIOR PAINTING 151 
 
 of propagating activity for the producing 
 of more, no amount of extra work should 
 he thought as thrown away in trying to get 
 rid of it. 
 
 There is but one way and that is to rub 
 the surface faithfully with wire brushes 
 until the rust is all removed. Patience, el- 
 bow grease and the dust brush will accom- 
 plish it if persevered in, 
 
 122. When the surface has been well 
 cleaned up the priming should not be de- 
 layed a minute longer than necessary, be- 
 cause dampness may set in and cause more 
 rust and more cleaning of it will be nec- 
 essary before painting again. 
 
 It was said that red lead is a difficult 
 paint to apply on account of its heaviness 
 and consequent separating from the oil, so 
 when it is used without grinding it in a 
 paint mill previously, one should keep the 
 paint rather thick, in order that it may not 
 run after applying it. 
 
 It is customary with many concerns to 
 
152 EXTEKIOE PAINTING 
 
 add one-fourth part by weight of good Eng- 
 lish Venetian red to three parts of red lead 
 and of mixing thoroughly together. This 
 of course will make its application very 
 much easier and it may be all right— es- 
 pecially if the Venetian red is a well-made 
 one— but it surely would be all wrong, if it 
 is not. 
 
 The application itself requires care as 
 can easily be imagined, for it must be well 
 rubbed out, not merely as well rubbed out 
 as a thick third coat would have to be on a 
 wood building— but more, or it will surely 
 run— if the red lead is used alone. 
 
 If ground or rather run through the paint 
 mill just before application, it will be much 
 easier applied and while even then, it will 
 require considerably more rubbing than 
 ordinary paint, it will stand without run- 
 ning much better than without it. 
 
 If it has been mixed with the Venetian 
 red as mentioned above, there will be no 
 difficulty. 
 
EXTEKI0R PAINTING 153 
 
 123. The all important portion of paint- 
 ing lays mainly in the first coating as fully 
 explained above. Iron is not near as ab- 
 sorbent as wood, so that two coats all 
 told including the priming, usually suffice 
 to give a full gloss to the iron surface— es- 
 pecially if the finishing coat is of a dark 
 good covering tone ; but if the finish is to be 
 white, it will be necessary to give an extra 
 one or two coats of white over the priming, 
 as it is not possible to give a very good 
 cover in one coat of white over red lead. 
 
 There is no special change in the treat- 
 ment of the superadded coats and the colors 
 should be mixed and applied in the ordi- 
 nary way which was fully described in the 
 painting of wooden buildings. (See para- 
 graphs 66, 61 and 68.) 
 
 QUESTIONS ON LESSON* XVIII 
 
 118. Give a synopsis of this lesson. 
 
 119. What are the two enemies of good 
 painting on iron work? 
 
154 EXTERIOR PAINTING 
 
 120. How are scales removed from iron 
 surfaces ? 
 
 121. How is rust removed from iron 
 work? 
 
 122. How should the priming coat be 
 applied on iron surfaces ? 
 
 123. How should the subsequent coats 
 of paint be mixed and applied? 
 
 LESSON XIX 
 
 PAINTING GALVANIZED IRON SURFACES 
 
 124. It is now the universal practice to 
 do the finishing of store fronts, etc., cor- 
 nices, etc., in galvanized sheet iron work. 
 At least the cornice work will be of that 
 metal, while the remainder of the building 
 may be wood. There is really no absolute 
 need of paint upon galvanized iron work 
 that has been well done, as that is a much 
 better protection to the iron than paint can 
 possibly be. But for looks such must be 
 painted in order to be in accord with the 
 
EXTERIOR PAINTING 155 
 
 rest of the building if it be a wooden one, or 
 to enhance its attractiveness if the whole 
 surface is galvanized iron. 
 
 When left in its natural tone there is no 
 great attraction in an unpainted galvanized 
 iron surface, and its look is cheap and un- 
 satisfactory ; so paint is usually resorted to 
 to beautify it ; also to bring out the details 
 of the work by the use of color. 
 
 But there is one trouble with the paint- 
 ing of galvanized iron, which affects all 
 painting done upon it when the galvanized 
 work is first put up— it is very apt to scale 
 off. This is due in part to non-porosity 
 with a greasy surface. This greasiness is 
 not apparent, but is there just the same. 
 Letting the weather have its full effect 
 upon it will in time remove it. Washing it 
 off with dilute muriatic acid (1 part acid to 
 6 parts water) will also help it— will help to 
 prevent this tendency of the paint parting 
 company with it. 
 
 Another reason is that some of the metal- 
 
156 EXTERIOR PAINTING 
 
 lie salt pigments form an electrical combi- 
 nation with the zinc of the galvanized coat, 
 and trouble results from this cause, too. 
 
 125. Eed lead comes in as a cure for all 
 the trouble here as well as for the painting 
 of the pure iron surface as well, so that the 
 remedy can be used in full assurance that it 
 is fully effective. Eed lead does not com- 
 bine with zinc electrically, as white lead 
 will, and priming over any galvanized sur- 
 face will be the very best treatment that 
 can be given it. All that was said concern- 
 ing this pigment heretofore will apply with 
 equal force here. 
 
 126. It will be necessary if the work has 
 been recently erected to wash it over with 
 the muriatic acid wash described above in 
 order to kill the greasiness mentioned also. 
 The priming will proceed directly, as men- 
 tioned in the preceding lesson, and so for 
 the superadded coats also. 
 
 127. There are other metals employed 
 in house construction that for beauty sake 
 
EXTEEIOft PAINTING 157 
 
 are frequently painted such as copper or 
 zinc sheeting. Neither being greatly af- 
 fected by the elements, the painting cannot 
 be said to be " for their preservation, ' ' but 
 as said, to make them look in harmony with 
 their surroundings. Either of these two 
 can be safely primed with red lead only. 
 The student not acquainted with chemistry 
 can make no mistake by confining himself 
 entirely to red lead for the priming of all 
 metallic surfaces. Those who are well 
 versed in that science might possibly devise 
 some priming which would answer the pur- 
 pose, but they, too, are advised not to ex- 
 periment on anything valuable. If they 
 confine themselves to red lead exclusively 
 there will be no need of regrets afterward. 
 
 QUESTIONS ON LESSON XVIX 
 
 124. What is said regarding the paint- 
 ing of galvanized iron surfaces? 
 
 125. What pigment is recommended for 
 the priming of galvanized iron? 
 
158 EXTERIOK PAINTING 
 
 126. How should the painting proceed? 
 
 127. How should other metallic surfaces 
 (copper and zinc) be treated? 
 
 LESSON XX 
 
 THE PAINTING OF BRICK BUILDINGS 
 
 128. All persons are more or less fa- 
 miliar with brick buildings and with their 
 usual conditions. It will be well to study 
 them systematically in order to understand 
 what is required and best fitted to give 
 them the proper treatment for their pres- 
 ervation. 
 
 In breaking up a brick there becomes re- 
 vealed to the naked eye a spongy mass of 
 minute openings permeating the whole in- 
 terior of its make-up, and extending to the 
 outer surface. These openings during a 
 rainy season absorb moisture readily and 
 conduct it to the interior of the brick work. 
 It is owing to this that so many brick build- 
 ings are damp, anil that in some sections of 
 
EXTERIOR PAINTING 159 
 
 the country the walls sweat so that little 
 rivers can easily be started down the walls 
 by simply running the hand down their 
 sides. This is not so common in the mid- 
 land section of the United States as it is 
 in the extreme seaboard sections where the 
 amount of rainfall is great and continuous 
 at certain times of the year. But even in 
 the Middle West there is some danger from 
 moisture, especially if the plastering is 
 done directly over the brick without lath- 
 ing. 
 
 While moisture will not affect a well- 
 burned brick, it will eventually cause the 
 decay of the soft ones. Besides this decay, 
 moisture is a good carrier of sulphurous 
 acid which is again eagerly received by the 
 lime, of which the mortar is compounded, 
 forming a new and soluble combination 
 with it which in a few years leaves a mor- 
 tarless joint and more trouble ahead. 
 
 The only assurance a person can have 
 that a brick building will be dry inside, and 
 
160 EXTERIOR PAINTING 
 
 that the mortar will remain where it has 
 been placed, is by the "sealing it up," i. e., 
 coating it with something that is water- 
 proof of itself and by properties inherent 
 of itself. It will not be necessary to repeat 
 here what has been fully explained in para- 
 graphs 71 to 75. The action of paint as a 
 preservative, and the manner in which it is 
 done, applies with equal force to the paint- 
 ing of brick buildings. 
 
 129. There are some few variations in 
 the methods used for painting brick build- 
 ings wherein it differs from that mentioned 
 as used in painting wood, and such will be 
 noted where they occur. 
 
 Wood, for instance, parts readily with 
 any surface water it may have absorbed 
 during a rainy spell ; but brick does not, es- 
 pecially if there are many soft ones. Even 
 when the outer brick are hard, it is custo- 
 mary to use softer ones inside, and the 
 hard brick will convey moisture to them. It 
 will take two or three weeks of warm 
 
EXTERIOR PAINTING 161 
 
 weather after a rainy spell to dry out an 
 ordinary brick building to fit it for the 
 priming coat of paint. For greater safety, 
 the priming of a brick building should be 
 delayed till summer or early autumn, when 
 there is less rain than in the spring. 
 
 130. The priming should be just a trifle 
 thicker than described for the priming of 
 wood in paragraphs 77 to 79. It should be 
 well and thoroughly brushed in, and after a 
 few minutes run over again in order to 
 soak up and fill the brick all that can pos- 
 sibly be absorbed. 
 
 Hard brick will not absorb the paint as 
 readily as the softer ones, so that it will 
 depend upon their degree of hardness as to 
 the quantity of material that will be 
 needed, some requiring more than twice as 
 much as others, 
 
 131. The second coat over brick re- 
 quires to be mixed a trifle heavier than for 
 woodwork, but sufficiently fluid to soak up 
 any portion that may not have been com- 
 
162 EXTEKIOK PAINTING 
 
 pletely filled up with oil by the priming. 
 On hard brick there will be but little more 
 absorption, and on such it will be apt to 
 dry with a pretty fair all-over gloss; but 
 on the parts that are rather soft, the gloss 
 will not be uniform. Of course, on soft 
 brick the whole surface will be mostly flat. 
 
 132. The third, or finishing coat, should 
 be mixed and put on in exactly the same 
 manner as described for woodwork in para- 
 graph 68. 
 
 This on either soft or hard brick will 
 produce a good universal gloss which will 
 shed water and afford a protection to the 
 surface against the possibility of moisture 
 entering it. 
 
 QUESTIONS ON LESSON XX 
 
 128. What is said in general about the 
 painting of brick buildings ? 
 
 129. What condition should the surface 
 of brick buildings be in previous to the 
 painting? 
 
EXTERIOR PAINTING 163 
 
 130. How should the priming be mixed 
 and applied? 
 
 131. How should the paint be mixed and 
 applied in the second coating? 
 
 132. How is the third or finishing coat 
 to be mixed and applied? 
 
 LESSON XXI 
 
 PAINTING BRICK BUILDINGS ( FLATTING) 
 
 In the preceding lesson, all the painting 
 operations described were done with a view 
 of obtaining a glossy finish; but it fre- 
 quently happens that such a finish is not 
 desired on account of the glare which will 
 bring out all the roughness on the face of 
 the brick. On the contrary, if the paint 
 finishing coat is done pat the defects be- 
 come nearly invisible, and the general out- 
 look of the surface of the building acquires 
 the appearance of pressed brick— at a dis- 
 tance at least. 
 
 134. This flatting of the paint requires 
 a special treatment and different handling 
 
164 EXTERIOR PAINTING 
 
 of the painting as well as a different mix- 
 ing of the paint itself; as this flatting is 
 not done in the same way as it is usually 
 done in interior flatting, for the very good 
 reason that if it was mixed in the same 
 way, it would soon be washed off by rains, 
 as there would be no binding to hold it on. 
 135. In order that flatting will hold on 
 to exposed exterior painting, it must be 
 well bound on to the surface; that is self- 
 evident. But linseed oil used in even mod- 
 erate quantities, let alone a sufficient quan- 
 tity of it to make a good binder for the 
 paint, would not produce a good flat and 
 at best but a semi-flat, so some other thin- 
 ner must be used in order to produce the 
 dead -fiat required for the imitation of 
 pressed brick so much admired. The color 
 itself should be ground in some good japan 
 —this will partially help to hold it on— 
 and while it is not nearly so good as lin- 
 seed oil for an exposed condition when 
 applied, as will be described in succeeding 
 
EXTERIOR PAINTING 165 
 
 paragraphs, the flatting will hold firmly 
 and stand good for years. 
 
 Nearly every color-grinder prepares va- 
 riously colored reds and yellows to imitate 
 the many different tones of brick, and no 
 one should undertake to make or prepare 
 his own from dry colors, for failure will be 
 pretty sure to follow. 
 
 136. The priming and second coat 
 should be given in the usual way, as de- 
 scribed in paragraphs 130 and 131. 
 
 The third coat, too, should be put on in 
 the usual way. It is all important, how- 
 ever, that it be thinned with all raw linseed 
 oil without dryers of any kind being added 
 to it. The reason for this is that the dry- 
 ing may proceed as slowly as possible, and 
 that after the painting has commenced to 
 set, that it may hold a tack as long as pos- 
 sible. 
 
 137. The painting of the flat coat re- 
 quires more care in its application than the 
 other coats, because the endings must be 
 
166 EXTERIOR PAINTING 
 
 squared up to the mortar joint and must 
 not extend beyond on the adjoining brick 
 because by the time the next stretch is ap- 
 plied it would have set and there would be 
 a doubling up of the paint, which would 
 show glossy. 
 
 The paint, as taken out of the cans, must 
 be thinned with turpentine only. 
 
 Now in order to do a good job of flatting 
 that ivill hold instead of waiting till the 
 third coat has dried hard, as it has uni- 
 versally been recommended before, the flat 
 coat must be applied to it just as soon as 
 it has set and while it is yet tacky. If done 
 in that way the flat coat will be held on by 
 the third coat, and really, it will become a 
 part of third coat itself. 
 
 This is the only sure ivay of binding it 
 on so that it will hold. 
 
 QUESTIONS ON LESSON XXI 
 
 133. What is said concerning the flat- 
 ting of brick buildings f 
 
EXTERIOR PAINTING 167 
 
 134. Is the flatting on brick surfaces 
 done in the usual manner ? 
 
 135. How should the pigments be 
 ground for brick flatting? 
 
 136. How should the priming, second 
 and third coat be put on for flatting? 
 
 137. How should the flat coat be ap- 
 plied? 
 
 LESSON XXII 
 
 REPAINTING BRICK WORK AND PENCILING 
 
 138. The repainting of brick buildings 
 does not differ in any respect from that of 
 any other repainting already explained. 
 It will depend upon the good or bad con- 
 dition of the old paint itself as to whether 
 it needs to be burned off or not. Usually, 
 it is not necessary unless the old paint is 
 scaling off badly or when there has been 
 a great number of coats of paint put on 
 for years, as it would be unsafe to add still 
 more on to the already too numerous num- 
 ber on it. There is always great danger of 
 
168 EXTERIOE PAINTING 
 
 blistering after a dozen or more coats, and 
 it is always best to burn it off in order to 
 get a good foundation for a new clean job 
 of painting. 
 
 The painting or burning off of the old 
 paint and of painting of the job afterward 
 should proceed in exactly the same manner 
 as described in the preceding lesson. 
 
 139. Lining or striping of the mortar 
 line is often resorted to in order to give the 
 job a more natural appearance. When it 
 is well done it certainly looks well; but it 
 must be well done. If the mortar line is 
 lined out straight there will be no trouble. 
 If the mortar line is wavy, crooked and un- 
 even, it will be better not to do that kind 
 of work at all, as the straightening out of 
 the lines would have to be done upon the 
 face of the brick, which would make it look 
 miserably poor. It is much better to leave 
 it in its solid color, which will at least not 
 call the attention of the beholder to the 
 defects of the brick laying. 
 
EXTEEIOK PAINTING 169 
 
 140. The color for the striping should 
 be mixed rather short in order that a good 
 clean edged line can be carried out. By 
 short, is meant a word used by sign paint- 
 ers to denote a paint which, in addition to 
 linseed oil, has had a small quantity of pe- 
 troleum oil added to it. This gives it the 
 property of not spreading as much as it 
 would without it and consequently of cut- 
 ting clean-cut edges. 
 
 The lining itself is not very difficult ; yet 
 the man with the know how can do so much 
 more of it with ease to himself than the 
 novice can that it will look miraculous to 
 him; nothing but time and practice will 
 give one the proper speed. Fig. 14 illus- 
 trates the form of the tool used in the lin- 
 ing of the mortar. It is used in connection 
 with a straight-edge. 
 
 QUESTIONS ON LESSON XXII 
 
 138. How is the repainting of brick 
 walls to be done and prepared for! 
 
170 EXTERIOR PAINTING 
 
 2391 What is said about the lining or 
 striping of the mortar line? 
 240. How is the mortar line striped? 
 
INDEX 
 
 Accounts — to be kept in paint shop 72 
 
 Appliances — used in exterior painting 60 
 
 Atmospheric air — its action upon moist woods 26 
 
 Base — for mixing tints 77 
 
 Best pigments — for priming coats 94 
 
 Blackish tints — how made 85 
 
 Bluish tints — how made 84 
 
 Brick buildings — how they should be painted 158 
 
 Brick buildings — how to flat brick walls 165 
 
 Brownish tints — how made 80 
 
 Burning off old paint — with gasoline torches 131 
 
 Chrome yellows — the tints made from them 83 
 
 Coloring pigments — how prepared for the mixing of 
 
 s tints 78 
 
 Coloring pigments, how used in mixing tints 79 
 
 Condition brick walls should be in for painting 167 
 
 Condition of buildings needing to be repainted 167 
 
 Condition wooden buildings should be in for paint- 
 ing (new work) 102 
 
 Drab tints — how made 80 
 
 Drying of fixed oils 38 
 
 Elements in the air injurious to wood, iron and brick. 26 
 
 Enemies of wood, iron and brick 25, 26 
 
 Fixed oils — what they are 36 
 
 Fixed oils — how they dry 37 
 
 Filling up old wood buildings with emulsion paint. .137 
 
 Fixtures useful in the paint shop 69 
 
 Flatting for brick painting — general remarks 164 
 
 Flatting for brick painting — how applied 165 
 
 Flatting for brick painting — how mixed 164 
 
 Gasoline torches — for burning paint 131 
 
 Galvanized iron — how it should be primed 154 
 
 General remarks on applying paint 86 
 
 General remarks — material and accessories 30 
 
 General remarks — pigments 31 
 
 General remarks — preparing and mixing tints 74 
 
 General remarks — the painting of brick buildings . . . 163 
 
 i 
 
11 INDEX 
 
 General remarks — the painting of iron buildings . . i*2 
 General remarks — the painting of wooden buildings . 100 
 
 General remarks — thinners and vehicles 35 
 
 General remarks — thinning the stock colors 94 
 
 General remarks — tools and appliances 45, 60 
 
 Green pigments — short description 32 
 
 Groups of pigments — how divided 31 
 
 Groups of tints — how divided 82 
 
 How surfaces are protected by painting 25 
 
 How the elements affect surfaces of brick 126 
 
 How the elements affect surfaces of iron 143 
 
 How the elements affect surfaces of wood 101 
 
 How to kill knots for the painting of wood 41 
 
 How to make shellac varnish . 42 
 
 How to mix priming for iron 145 
 
 How to mix priming for wood 108 
 
 How to mix second coating for wood 112 
 
 How to mix third coating for wood 113 
 
 How to remove rust from iron surfaces 149 
 
 How to remove scales from iron surfaces 150 
 
 Iron surfaces — general remarks on painting them. . .142 
 
 Iron surfaces — how they should be cleaned 149 
 
 Iron surfaces— how they should be primed 145 
 
 Iron surfaces — how they should be second and third 
 
 coated 152 
 
 Knots— how to kill with shellac varnish 41 
 
 Ladders— used in exterior painting 62 
 
 Linseed oil — (raw) 36 
 
 Linseed oil — (boiled) 37 
 
 Lining of mortar joints on brick walls 169 
 
 Material used in exterior painting 30 
 
 Mixing of tints for painting 74 
 
 Oils— fixed 35 
 
 Oils — volatile 38 
 
 Ochres and the tints made from them 82 
 
 Paint shop — what it should be « 69 
 
 Painting brick surfaces 158 
 
 Painting iron surfaces * 4 ^ 
 
 Painting wood surfaces 10 ° 
 
 Patent paint removers 13 
 
 Petroleum volatile oils used in painting 38 
 
 Preparing paints and tints '* 
 
 Putty and its uses J J* 
 
 Puttying— how it should be done ni 
 
INDEX 111 
 
 Reasons why exterior surfaces should be painted .... 25 
 
 Reddish tints — how made 53 
 
 Red lead — for priming iron 146 
 
 Red lead — for priming other metals 156 
 
 Red lead — its peculiarities 147 
 
 Red pigments — short description 32 
 
 Resinous parts of wood — how to kill 41 
 
 Rust on iron or steel — how to remove 149 
 
 Sand paper and its uses 113 
 
 Scales on iron — how to remove 148 
 
 Shellac varnish — how to make 42 
 
 Shellac varnish — how to use in killing knots, etc ... 43 
 
 Striping of mortar joints on brick walls 170 
 
 Surfacing or filling up old wooden buildings. 137 
 
 Thinning the priming coat 94 
 
 Thinning the second coat 95 
 
 Thinning the third coat 97 
 
 Tools used in exterior painting 45 
 
 Trestles used in exterior painting 67 
 
 Turpentine and its uses 38 
 
 Volatile oils 38 
 
 Volatile oils — turpentine 38 
 
 Volatile oils — petroleum products 39 
 
 Wooden buildings — how to prepare for painting. . . .109 
 Wooden buildings — how to prepare for repainting . . 128 
 
 Wooden buildings — how to prime (new work) 94 
 
 Wooden buildings — how to second coat (new work) . 95 
 Wooden buildings — how to third coat (new work) ... 97 
 
 Wooden buildings — burning off old paint 130 
 
 Wooden buildings — how to fill old wood 137 
 
 Wooden buildings — how to prepare the paint for fill- 
 ing 139 
 
 Yellow pigments — short descriptions of 32 
 
NOV 2 
 
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