Digitized by the Internet Archive in 2017 with funding from Columbia University Libraries 35 T 5 1408 151 https://archive.org/details/commonsenseaboutOOIowe Common Sense about Interions Introduction \ Principles of Decoration 1 he Aim The aim of the wood finisher is to get as beautiful and as harmonious effects as possible with as little expense of money and labor as he may. At the same time it must be remembered that there is “no excellence without labor,” and that however good the material used, there must be proper labor in preparing the surface and in performing the work. It does not follow that a high degree of skill is necessary or that a large expense must be incurred in order to give tasteful and harmonious results. V ery often the inexperienced workman who follows closely and intelligently the directions of the manufac- turer will secure better results than the more experienced work- man who does not give thought and effort. Rare woods and most hard woods are expensive and usually require much labor to finish them properly. The beautiful ivory- like surfaces seen in kings’ palaces have been accomplished by much labor, often ten or twelve or even fifteen coats having been given, with the proper rubbings, before this result is obtained. But the paint and varnish manufacturer of today has been able to provide materials and methods which will make the home beautiful and still be within the ability of the average house owner to possess. It takes something other than money to secure good taste. The many home magazines and the booklets published by The Lowe Brothers Company like “Homes Attractive from Gate to Garret,” etc., are helping to educate the home maker to the truest taste. Harmony Since decoration does not exist for its own sake but is intended to assist in emphasizing the purpose of each part of the house, there should be in it meaning as well as beauty. Color and style are the two important questions in all interior finish. No general rules can be offered — as each house, and oftentimes each room, must be studied in itself as well as in its relation to surroundings and to other rooms. The aim is to make the entire house cheerful and harmonious. The modern arrangement of homes which leaves wide openings between the rooms on the main floors, makes harmony of color in all these rooms particularly important. In general, different tones of the same color in adjoining rooms (throughout a floor) assure best satisfaction. Dark rooms must have one treatment and light rooms another. There ought to be plenty of color and yet no discord or garishness. The essential things are good taste and restfulness. The greatest thoughtfulness in decoration may be offset bv mistakes in furnishing; hence the furniture should be as carefully studied as the decoration. Accomplishment If the room is dark, use light colorings; if light, darker coloi- ings may be used. If on the sunny side of the house, use the cooler colors; if on the north or shaded Side, use the warmer colors. As the upper part of the room is darker than the lower, the ceiling should be lighter than the walls, and very often the upper part of the walls should be lighter than the lower. The natural gra- dation is from floor to wall, frieze and ceiling. The woodwork to give best effect should harmonize with this arrangement, — as a rule, being darker than the wall ex- cept where white or very light enam- els are used on the woodwork. The decoration of the walls is usually accomplished by wallpaper or paint. Where wallpaper is used it may be either figured or plain. Extreme care must be taken in the former case that the figures are not too large for the room and that they do not have too many colors. In the latter case the work is simpler and as a rule more attractive. FOL'K The preference today for both decorative and sanitary reasons, is to use dull, flat, soft colors that can be obtained best bv painting. The introduction of finish like Lowe Brothers “Mellotone” has simplified the attainment of these beautiful effects. If the room is low, vertical lines in the paper and clear wall in painting will give the appearance of height. If the room is high, a drop ceiling, frieze or lines around the room like the chair rail at the usual height, or picture molding at the top of the doors or above the openings, helps to decrease the height. The average house, with walls of medium height, looks best therefore if the wall color is carried to the ceiling, the picture molding in the corner being painted the ceiling color. Reds, yellows and orange are advancing colors; that is, they stand out and make the room seem smaller. Blues, grays and greens are receding colors and add to the effect by seeming to increase the size of the room. Light green or gray is therefore better than orange for a narrow hall or for a smaller room in which extended effect is needed. Tans and browns are restful, unobtrusive and easily lighted. It is important to maintain harmony of walls and woodwork in color and design, and also of draperies, rugs and furniture. Mahogany woodwork and red walls are almost sure to clash. Oak and green may be good. Pine does not look well with buff, while the same woodwork with greens or tans is restful. All effects should be carefully studied before finishing. Take the advice of a good architect or competent decorator when there is a question of judgment. Kinds of Wood used for Finish and Floors The beauty of the finish depends largely upon the kind and condition of the woods used and the care taken in their treatment. When forests were more abundant than now, the number of woods regarded good enough for building was very limited. Now many others are found to be beautiful. Quarter and Plain Sawed The difference between plain-sawed and quarter-sawed woods, particularly oak, makes the latter popular for fine work. Plain-sawed lumber is secured by sawing a log lengthwise into as many boards as possible. Quarter-sawed lumber is secured by FI VR first sawing the log into quarters, lengthwise, and then sawing these quarters into boards of varying widths. These lattershow the grain of the wood with the finest effects, but make the lumber much more expensive. Open and Close-Grain f or finishing purposes, woods are generally known as open and close-grained. The open-grained woods are usually hard woods, and close-grained, soft, though there are exceptions to this division. The leading building and finishing woods may be arranged thus: Open-Grained Woods ASH. Good for interior woodwork or frames — not for floors. May be stained with good effect. Does not take paint well. MAHOGANY. One of the most beautiful woods for wood- work or furniture. Various grades — some beautiful and hard, some spongy. OAK. By far the most popular wood for line interior finish in all parts of the house, floors and furniture, because of its grain, figure, color, susceptibility to good finish, and medium price. It is hard, either white or red in color, and lends itself to stain- ing in many different ways. Does not take paint well. WALNUT. A most beautiful w'ood for dark finish or furni- ture, but its scarcity makes it expensive. It is hard, takes a fine finish, and is particularly good for dining room, library or large dignified decoration. CHESTNUT. Good for woodwork, but too soft and spongy for floors. May be stained and varnished. Close Grained Woods Birch, Red or Black. Very popular for interior finish and furniture — not so good for floors. It is especially beautiful when stained mahogany. It has a very fine grain, is often beautifully figured, and takes a high polish. Bass Wood or White Wood. Used for interior finish, generally when enamel or paint is to be used over it. CHERRY. A beautiful wood for woodwork, taking stain well and making handsome finish whether kept in natural reddish tone or in mahogany color. Fir — (Oregon). A light, soft, rather coarse-grained wood, but compact in structure. On account of the light brown heart wood contrasting with light color of the outer wood, staining may be difficult, but the result is good. For the same reason painting should be three coat work. Poplar, White or Yellow. For woodwork or for exterior siding. It is quite soft; expands and contracts quite a little so that it must be put on when very dry; has a tine grain; takes paint and enamel better than pine, and makes a good effect with stains, especially Cherry, Mahogany, etc. It is the best of all woods for paint. PINE. The most widely used of building woods because of its low price, easy working qualities, and readiness to take stain or paint. There are many varieties in this country, the most generally used being southern, Oregon, white, yellow and red. It is used for interior finish, floors, and exterior work. It has a beautiful grain; may be stained in almost any of the popular colors with excellent effect; in natural finish it is generally beau- tiful, and is so used more than any other wood. CYPRESS. A ver}' common wood for l oth exterior and interior. It is good for finish but too soft for floors. It sometimes contains considerable pitch, but clear lumber presents no unusual difficulties in staining, varnishing or painting. Special care is neces- sary to assure absolute dryness before painting or varnishing. SYCAMORE. A beautiful soft wood for interior woodwork. It takes stain well. MAPLE. A very hard and very close-grained wood, particu- larly popular for floors. It takes varnish and stain well. California Redwood. A beautiful, soft wood, some- times finished in natural color and sometimes in stains for mahogany, weathered and green effects. It is a beautiful light red, hard enough for finish and floors. lor interiors it is used most frequently for woodwork, especially with mahogany finish. SKVKN Bret Things in Finishin g Selecting the Wood and Determining the Finish New The choice of wood to be used for finish and floors will be controlled largely by the cost or the special uses of the roorr. The chapter on woods has already indicated something of the variety of choice for American builders and the best things for various uses. The wood chosen will determine, in part at least, the finish. Pine, birch, oak, etc., lend themselves to proper stains, while poplar and similar woods are particularly good for enameling, painting or flat finishing. “Little Blue Flag” Varnish may be used on all these to give the natural effect. Old If the work is refinishing old woodwork or floors, there is no choice of woods, but of various methods of treating the wood already at hand. Even this may be given the effect of grained ;vood by one of the numerous methods now used. It should be noted, however, that it is very difficult to give to old work that has been painted a new appearance of natural wood that has never been covered. It may sometimes be done by careful graining. The enamels and flat finishes offered by The Lowe Brothers Company now make the solution of the old-painted-wood prob- lem a comparatively easy one, for it is hard to find anything more beautiful than woodwork finished with “Linduro,” Vernicol Enamel White, Extra White Enamel or Interior Enamel, in white or tints. These are durable, easy to keep clean, and may be made to harmonize with any scheme of wall decoration and hangings. With these finishes for the woodwork and “Mellotone” Flat Colors for the walls, a wide range of choice is given by Lowe Brothers Products, assuring beautiful effects. Mellotone is sometimes used for woodwork when a flat effect is desired. Lowe Brothers Flat White and Eggshell Gloss White are equally good for finishing interiors. RIGHT Preparing the Surface New Wood as it is turned over by the carpenter, particularly machine sanded, even though specified to be perfectly smooth, is as a rule not fit to receive proper finish. The first essential to beautiful effects is a perfectly smooth surface; therefore before filling either hard or soft wood — wood- work, floor or furniture — the surface must be carefully sand- papered with fine sandpaper, rubbing across the grain as well as with it, brushing off carefully all dust, then going over it again and again, brushing until it is perfectly smooth and clean. Not only must the surface be smooth, but it must be dry, clean and free from sap. If the room is damp and the wood moist, paint or varnish will not cling to it. If it is greasy, even from the slight touch of unclean hands, the finish will be likely to come off. All this must have attention when the sandpapering is to be done. So if the wood is green or the sap not all removed, the drying out, which will come through use and exposure to the air, will raise the grain and make the suAace rough or the paint peel. Old For new work the preparation of the surface is a comparatively simple process, only requiring plenty of labor. When the work is one of refinishing it becomes more difficult, but far more important. The aim must be to put the surface into practically the same condition as new wood, for with this done the process of finishing will be in general the same for both old and new wood. If the old wood has been varnished it must be sandpapered down, removing all the old varnish and making the surface clean and smooth. At times it is necessary to remove entirely the paint or varnish before the new'' coat is put on. Best results are thus assured by having the painter remove all the old coats. In these days many forms of paint and varnish removers are available, but these should be used with extreme care. All evidence of the remover should be removed before the painting is done. Take out all grease spots or discolored places. When these appear on soft wood they should be washed two or three times with benzine and wiped dry. If the wood is hard, such as oak, etc., it is best first to w'ash the spots with vinegar and then N IN benzine, before applying any coating. In all cases the wood should be allowed to become perfectly dry before the paint or varnish is put on. When thoroughly dry proceed as if the work was new. If the old work is painted, thorough sandpapering and cleaning must be given first and all loose paint must be removed. It may be necessary to burn off the paint, not only to remove the finish but to assure a dry surface free from sap. The wood should be made perfectly smooth so that when the finish is put upon it, it will present a clear, hard surface. 1 Puttin g on fhe Finish Methods of Finishing The open-grained woods should be filled, or stained and filled, before being finished. The close-grained woods do not need a filler and when stained should have a liquid stain put on accord- ing to directions. The varnish or other finish should follow. In using fillers and stains, care should be taken to preserve the proper relations of the finished wood and the original. For example, oak will not look well if stained mahogany, nor will poplar be very satisfactory with oak stain; birch is most beautiful with mahogany stain, poplar will take mahogany, g r een, etc., and pine may be treated with oak stain, either light, dark or Flemish, or with Walnut, Early English and similar stains. Natural Finish Preserves and illuminates the appearance and grain of the wood. If open-grained wood is used, it should be filled first with Lowe Brothers Paste Filler, Light Oak. When the filler has been properly used according to directions, the pores being well filled, the surface should be smoothed care- fully with sandpaper and then varnished with “Little Blue Flag” Varnish, using the particular varnish suited to the location and the uses of the wood. Note — “Little Blue Flag’’ General Purpose Varnish is a very elastic durable varnish, suited to the best work for both exterior and interior. “Little Blue Flag” Elastic Interior Varnish is a medium dry- ing varnish for indoor use, with high lustre and great durability. “Little Blue Flag’ ’ Quick Action House Varnish No. 64 is a quick drying varnish of light color, which becomes very hard. It is suitable for interior woodwork that must be handled. “Little Blue Flag’’ Inside Rubbing Varnish is a quick hard- ening varnish for indoor work, especially for use where flat or dull finish is desired. “Little Blue Flag' ' Durable Floor Varnish, prepared espe- cially for floors, is very good for surfaces requiring hard wear. “Little Blue Flag’’ Spar Varnish is the best wearing varnish possible for outside use in all climates. If close grained wood is used, apply the varnish as above directly to the wood, giving three or more coats. Note — I f economy is desired, the first coat may be Lowe Brothers Transparent Varnish Primer, which is a good liquid filler. If a rubbed surface, that is, a flat or dull finish, is desired, on either soft or hard wood, use the Inside Rubbing Varnish as indicated above. “Rubbing’’ requires experience and as a rule only expert painters are competent to give a satisfactory finish. FI.RVFN i he natural finish of wood is popular for all parts of the house, and is almost always used in kitchens or exposed places. Where rubbed finish is desired, it is wisest, as a rule, in order to obtain more durable results, to give at least one more coat than for gloss finish. When the last coat is properly hardened, it may be rubbed with pumice stone and water for a dull finish; or rubbed with pumice stone and oil for an eggshell (or semi-gloss) finish. Stain Giving such tones and colors as may be desired — Light Oak, Dark Oak, Golden Oak, Flemish, Weathered, Early English, Light or Dark Mahogany, Bog Moss, Green, Walnut, Cherry. These effects may be secured on either open or close-grained woods with Lowe Brothers Oil Stain, which is non-fading and therefore better than ordinary dyes and stains. Stains like Early English, Weathered, etc., are primarily for use on Oak to give the popular and attractive decorative and mission effects. They may be used on Pine, E ir, etc., when desired. For close-grained woods, Pine, Poplar, etc., Oil Stain should be used directly upon the wood. If the full dark effect of the Stain is desired it may be allowed to dry on the wood; a clearer grain, however, will be shown by allowing the Stain to ‘set” (it is “set” when it flats out) and then wiping off carefully with a soft cloth. The surface may then be varnished (after 24 hours) in the usual way. For open-grained woods when a varnish finish is desired, the Stain should be applied and wiped when it becomes “set.” After 24 hours allowed for drying, the wood should be filled with Lowe Brothers Paste Wood Filler to match the Stain, and then varnished, using “Little Blue Flag” Inside Rubbing Var- nish, according to directions. Birch is usually stained to give a Mahogany finish. The most beautiful result will be secured by staining the wood in the regular way with Lowe Brothers Dark Mahogany Oil Stain. When dry put on a coat of Lowe Brothers Mahogany Glaze which will give the rich, much desired appearance of old mahog- any. If a Brownish Mahogany tone is preferred, use first Walnut Oil Stain and then the Mahogany Glaze. In either case the surface should then be finished with Varnish in the regular way and for handsomest effect should be properly rubbed of polished. dM:/ ■ • • ■ 1 TXVRLV H For wax or Mission Finish the wood, whether open or close- grained, should be stained and not filled. After the stain is thoroughly dry a thin coat of shellac is used, followed by two coats of prepared wax, well rubbed in. Note — S ome results are obtained without Stain, the color in the Filler acting as a stain. Lowe Brothers' Light Filler is colorless; Lowe Brothers’ Dark Filler is a medium brown and shows a dark oak effect without stain; Lowe Brothers’ Golden Oak Filler is a very dark brown and when used without stain shows a dark Antique grain. Stain is very popular in halls, living rooms, dining-rooms, and in schools, churches, large lodge rooms, etc. It lends itself very well to varied plans of decoration. Enamel — Gloss or Flat A popular form of finish for woodwork in all parts of the house. Enamel is a varnish paint and combines the variety of colors of the paint with the solid finish of the varnish. It is used now in every part of the house, from the hall, with its Ivory or White, to the bedrooms in White or Tints and the kitchen in darker colors. It is eco- nomical, being hard drying and glossy, and eas- ily cleaned. Poplar and other soft woods are generally used for enameling. Enamel is fin- ished either in gloss, eggshell gloss (semi-gloss effect), or flat 1 the popular dull finish). In finishing put on a priming coat of High Standard Flat White; follow i /ith two or more coats of the same, according to the quality of the vork, and then finish with one or two coats of Extra White Enamel, Vernicol Enamel White, or Linduro depending Tiff KTi: N upon the quality desired. If a hard, dull finish is to be secured, rub the last coat with pumice stone and water. Experience is needed to accomplish the best results in rubbing, and the greater the number of coats the harder and more beauti- ful will be the finish. Note — If an economical semi-gloss effect is to be secured, use Eggshell Gloss White for the last coat over the Flat White, or if a flat effect is wanted, use Flat White for all coats. No rubbing will be required. If tints are desired in bed rooms and other parts of the house, use Flat White tinted with a little of the final color for the under coats, and finish with one coat of Lowe Brothers Interior Enamel of the required tint. If a flat effect in tints is wanted, use Lowe Brothers “ Mellotone.” For registers, steam pipes, radiators, iron brackets and orna- mental necessities use Lowe Brothers Carriage Gloss Paint for a high gloss, hard finish in beautiful colors; use Aluminum Paint for silver finish, or Vernicol Stain for imitation of hard wood fin- ish and for black and white surfaces. Refimshing Old Woodwork Natural All old woodwork that has been varnished should be prepared as indicated on page 9. The finishing with varnish may then follow according to instructions for new work on page 11. Stain The old woodwork should be prepared as indicated on page 9. If the wood is not in condition for staining directly — that is, if it is so spotted or worn that the stain on the natural wood will not look well, it will be best to give it a coat or two of Vernicol Ground Color. Over this may be put a coat of Vernicol Stain, of color selected, flowing it on carefully. Care must be taken to avoid laps. If a darker finish of the same color is desired, two coats may be used instead of one, sandpapering between coats. The use of Graining Color, with special tools, over the Ground Color, is popular. Painting An inexpensive and durable finish for old woodwork is “High Standard” Liquid Paint. Two coats should be given, allowing plenty of time between coats to dry and harden. Enamel One of the best and most attractive methods for old woodwork is enamel, gloss or flat, put on as indicated on page 13. Re- member that a gloss finish will show inequalities much more than flat, so that if the woodwork cannot be n ade perfectly smooth, it may be best to use flat finishes. FOURTEEN Treatment of Floors Getting Ready Act upon the old rule — first select your wood, then prepare the wood, and when plenty of time has been taken for these two things, you may begin to think of finishing. The great difficulty with most builders is that decisions regarding the finish of the floors are left until the last, when the owner is in a hurry to get in and the builder is given but a few days to do the work. At the same time, he demands from the painter the beautifully finished floors he has seen in some home where weeks of time were given to accomplish the results. Handsome floors are secured only at large cost of labor, time, patience and judgment, to say nothing of the money to be expended. The usual floors now-a-days are “hard-wood floors.” This generally means maple, oak or southern pine — ordinarily one or both of the last two. For outside floors white pine is probably the best. Cleaning 'Cleaning a floor” does not mean taking a bucket of water and a mop and using all the water at hand, with the idea that this will make it clean and get it ready for painting. Soaking a floor in this way means ordinarily days of waiting before it is properly dry, with danger then that some of the water still re- mains in the pores of the wood to be drawn out when the room is thoroughly heated. Wash the floors as little as possible. New floors usually may be swept thoroughly, and the spots, if any, may be removed by- sandpapering. Where the floor must be washed, clear water, with a little ammonia or alcohol, is almost always sufficient. Ammonia must be avoided if possible, because of its tendency to darken the wood or to injure the paint or the varnish. Tur- pentine may be used to remove stains, particularly those from paint or grease. Remember that the floor must be absolutely dry before the finishing is done, if good results are wanted. At least twenty-four hours should be allowed after cleaning, particularly if any water has been used. If possible, the room FI PTKKN should be thoroughly warmed in v/inter and the temperature kept at the proper degree before any finish is put upon the floor. Old floors usually require very thorough cleaning. If they have been painted, care must be taken that all old, loose paint is removed. All grease spots and stains of every kind should be removed if the floor is to be varnished. If it is to be painted, care must be taken that grease and moisture are removed. Sandpapering should be freely resorted to in both new and old work, for cleaning and smoothing. A temperature of at least 70° F. should be maintained in the room when the floor is finished, to avoid injury to varnish or paint. Finishing New Floors There are three ways in present use for finishing floors, whether old or new — shellac, wax and varnish. Staining the floor may precede any of these methods. The finishing of old floors depends upon their previous condition, and in addition to those mentioned above may include painting and staining. Which is the best of the methods for new floors it is perhaps difficult to determine. The first — shellac — is most economical at the beginning, and when good shellac is secured and properly put on it is often quite satisfactory, when not subject to very hard wear. The second— wax — is the time-tried method and has it friends among workmen, but it is expensive, laborious and unsanitary, and must have constant attention. The third — varnish — requires more time and labor at the beginning than the others, but when good varnish is properly used, it will be by far the most durable. The use of varnish is increasing very rapidly, as the experience in American homes proves it to be in every way the most satisfactory. After cleaning and preparing the wood, the floors should be finished in much the same way as the woodwork, except that they require more attention, particularly to the quality' of the materials to be used. Filling and Staining The color of the floor is often varied to make it harmonize with the finish of the woodwork of the room. As a rule, how- ever, floors are made of oak, either plain or quartered. These are generally stained to give a dark oak effect, or occasionally to give a green or reddish tinge. This is done before the varnishing in the same manner a, indicated for woodwork. *ii vrrrv 1" loors of Oak or other open-grained wood which are to be finished in a natural color must be carefully filled with Light Prepared Wood Filler, properly prepared, in the same manner as the general wood finish. If a color is desired they should be stained and filled in the usual way as described on pages 11 and 12. Close-grained woods need no filler; otherwise they are treated in the same manner. (See pages 11 and 12) The advantage of shellac is its ease of application and its quick drying. If the floor must be used in a very short time, Orange or \\ hite shellac may be used. The former darkens the wood somewhat and it continues to grow darker with the lapse of time. Good grain shellac should always be used, as it will show heel marks if the very best quality is not used. ax If a waxed floor is desired, the prepared finish of a good man- ufacturer should be secured and put on in accord with the direc- tions of the manufacturer. Varnish Open-grained woods should be filled with the best filler on floors just as on standing woodwork. Over this filler, when ready, the proper number of coats of varnish are given. Equally good results may be secured by applying the varnish directly to sivi:nti:hn the wood, even though a greater number of coats may be re- quired on open-grained wood. Liquid filler should never be used on floors of close-grained woods like pine, poplar, etc. To assure good results the varnish should be applied directly to the wood. Two or three coats at least, in addition to the priming coat of varnish, should be given to every floor, and one should remem- ber that even three coats of varnish will form a film of not over 1-500 of an inch in thickness, and that this will be required to stand the wear of rough shoes, heel nails, sand and dust for months, and often for years of time. Note — Lowe Brothers “Little Blue Flag" Durable Floor Varnish is made of the highest class of materials and is remarkably tough, is not easily marred or scratched, wears well and will resist dampness. 1'he most beautiful floors are secured by rubbing Durable Floor Varnish with oil and pumice stone, giving the soft, dull effect that is regarded as the finest obtainable. T his finish has the added advantage of not showing the marks of castors and heavy chairs, and of being unusually durable. 1 he extra expense of the work at the begining is fully overcome by the added wear and beauty. Note — This finish is not possible with ordinary varnish, or with one containing rosin. “Durable Floor" is made with this use in view, and the rubbing secures a most beautiful finish. For this purpose it far surpasses w>ax. Its use in fine work is increasing because of the confidence of those who know it. When the floor is to be rubbed, at least two days should be allowed the last coat of varnish for drying and hardening. Refmishing Old Floors Paint If the old floor is quite old or rough or soiled, it may be best to give it a coat of Floor Paint. This may be secured in good and durable colors. The cracks should be first filled with crack filler, though it must be remembered that even with good fillers the expanding and contracting of the ordinary floors is likely to cause some of the filler to come out. Lowe Brothers Crack Filler is a practical product for filling the cracks and crevices in old or new floors of hard or soft wood. It will retain its elasticity, will not dry out like putty, and offers a good, smooth surface for varnishing or painting. Note — Lowe Brothers Hard Drying Floor Paint is a varnish floor paint of the highest quality, and is remarkably durable. It has the combined advantages of good paint pigment and high class varnish. The painted floors are particularly useful for kitchens, work rooms, etc. KIGHTIf K\ Stain One of the most popular methods of refinishing old floors at the present time is staining. The old Hoor should be given one or more coats of Vernicol Ground Color in order to give it a uniform appear- ance. Over this put one or two coats of Vernicol Varnish Stain, using Light Oak.DarkOak, Walnutorwhat- ever color may be desired to se- cure harmony in the finish. Two coats are better than one for floors of this kind, as they will add toughness and durability. It must be remem- bered that the use of two coats will make the floor a little darker than one coat over the Ground Color. Note.— Vernicol Floor and Varnish Stain is an unusually tough, dur- able varnish stain, which gives the proper color and varnish in the same coat. It is economical and satisfactory over soft wood floors, particularly of the old style. A popular method of improving old floors is to grain them. This may be accomplished by putting on Vernicol Graining Color, of the color desired, over the Ground Color, using a grain- ing tool according to instructions, which any careful person can do. When dry put on one or two coats of Vernicol Stain Clear. For best work a coat of “Little Blue Flag” Durable Floor Var- nish should be put on over this. Complete instructions for this popular method of finishing floors may be had upon application. Care of Floors The varnished floor is the easiest of all to keep in order. Be- cause of this many householders think that it needs no attention NINETEEN A little care regularly will assure the varnished floor lasting for years. The floor should be kept clean with a hair brush, or with a soft cloth tied over the end of a broom, as is the custom with many housekeepers at the present time. The use of skimmed milk and water in the cleaning of floors once each week or so, rubbing dry with a soft cloth, will retain the lustre. An occasional rubbing with a cloth moistened with raw linseed oil, also adds to the beauty of finished floors. The varnished floor which has been heavily used may be touched up with a little Lowe Brothers Durable Floor Varnish. Care must be taken that the new coat of varnish runs even with the edge of the boards. Floors should be varnished at least once a year in places where they receive heavy wear. Before revarnishing old floors on which the varnish or shellac has turned black or is badly stained, the old varnish should be completely removed. When this is done, stains in the wood should be taken out as in the case of new floors. When varnish is used over Stains, care must be taken to have the Stain properly wiped off and the floor thoroughly dry before the varnish is put on. In revarnishing floors in ordinary condition, when it becomes necessary, the floor should be cleaned with a little turpentine and properly sandpapered to make it smooth, then the spots should be touched up with a little varnish and sandpapered. After this the Durable Floor Varnish may be used satisfactorily. TWENTY Finishin g fhe^alls Walls are a 'background to a picture, and this picture is a room, with furniture to occupy the middle distance, and the foreground peopled by living men, women and children. Their qualities as a background depend on many circumstances, such as the room’s light, shape and size, its type of architecture, and the needs of its furniture also; because a treatment too ornate to put behind pictures may be a charming background by itself, that is, without pictures.” It is evident that two circumstances must be regarded in choosing the form of decoration; first, whether the wall is to be a setting for pictures, and second, whether the wall is to be ornamental without pictures. The latter allows some figures on the wall; the former is better with a plain surface. Flatness, solidity and uprightness are the essential character- istics of a wall, and the decoration should not interfere with these characteristics. In selecting colors, the dull, soft colors give more permanent satisfaction, and harmonize more easily with furnishings than strong, glossy, striking colors which please but a short time. Remember that the walls are the most prominent feature and give tone to the entire room. It is not necessary for good taste that all rooms be of the same color, but rooms opening into each other should harmonize or have agreeable contrasts. Tans, greens and browns usually harmonize, as do blues and grays. Green and red give agreeable contrasts while reds and orange clash. The stronger the color the more decided the difference. Living rooms, dining rooms and the first floor generally, re- quire more decided colors, while bedrooms should be lighter and have the dainty effects that most housekeepers prefer. Kitchens need strong durable colors, not too dark. Bath rooms are best in light tints, as these assure care and cleanliness. If the house is large or if you are not sure as to best effects, consult a good decorator. Th^ best results in practical house decoration are secured by using a permanent flat finish like Lowe Brothers “Mellotone,” which has all the soft, comfortable qualities of water colors, and the permanent, sanitary, washable qualities of oil paint. TWKNTYONK It should be remembered that “Mellotone” is not a kalsomine that may be easily rubbed off; — not a water paint that cannot be cleaned and must be washed off before renewing — not a tem- porary wall covering serving until something better can be put on; — not a cheap imitation of a finer finish; — not something just as good as something better; — not a glossy surface that tires you with its insistence; — not ordinary colors glaring and strong, — but Mellotone’ is a real paint of proper oils and pigments to give a very attractive, suitable, sanitary covering for interior walls and surfaces of every kind; — is a permanent, washable, non-fading finish with a solid dignified effect that is appropriate for the finest homes, the most elegant club rooms or the most highly decorated public buildings, as well as for the cozy, comfortable homey” cottage or bungalow. ‘ Mellotone V beauty is recognized, — it is “soft as the rain- bow tints,” — its economy has been proved, its sanitary qualities are well known, and its ease of working makes it popular with the experienced decorator as well as the home worker. Using a good product is only one of the elements of successful finish. The walls or other surfaces must be properly prepared, there must be proper atmospheric conditions; the paint must be put on covering the surface thoroughly, and care must be taken for right drying and hardening. Before painting, the walls must be cleaned thoroughly, espe- cially removing grease spots and dirt. Old paint, kalsomine and paper must be cleaned, and the loose paint or paper removed. When the walls have been previously finished with kalsomine or water colors, particularly if several coats have been used, the old colors should be washed off and the walls left clean and dry. Wet plaster should never be painted. Smooth plaster, wood or old painted surfaces should be sandpapered. All this is important to insure a permanent finish. Cracks in the walls must be filled with plaster, and knots in the wood covered with shellac. The proper method of first coating walls that are to be finished with “Mellotone” will depend upon the condition of the plaster — whether it is hard or porous, smooth or sand finished, old or new. On common porous plaster walls, which are generally smooth, a mixture of one part of “Mellotone” and from two to three parts of Sealcote, varying according to surface conditions, is recom- mended. If the wall is very absorbent it may be necessary first TWKNTY-TWO to apply a coat of Sealcote straight and then a coat of the 'Mello- tone” and Sealcote mixture. This latter process will need in a majority of cases only an additional final coat of “Mellotone.” On hard, non-porous plaster walls, whether smooth or sand- finished, the best first coater is “High Standard’’ Liquid Paint because of its penetrating and binding properties. Use a color of “High Standard’’ Liquid Paint corresponding to that of the “Mellotone’’ chosen for finishing. A serviceable first coater for non-porous plaster walls may be made by mixing equal parts of ’Mellotone” and Sealcote, and then adding boiled linseed oil in the proportion of about one quart of oil to a gallon of the “Mellotone-Sealcote mixture. If burned spots from the plaster show through the sizing coat or the first coat of ‘Mellotone,” apply another coat of size over the first, and let this thoroughly dry and harden before putting on the next coat. Allow forty-eight or more hours after sizing for thorough drying and hardening. Glue size, gloss oil and similar cheap first coatings should never be used under ’’Mellotone,’’ for they will soften up and give a glossy appearance to the finished work. When the wall is uniformly dry and hard and glossy, the finishing coats of “Mellotone’’ may be given, allowing at least forty-eight hours between coats for drying and hardening. While w »• at times one coat may seem to be sufficient to give the solid color desired, yet, as a rule, two coats are strongly recommended. It is hardly reasonable to expect one thin coat of paint to with- stand the washing and cleaning of years of wear. Old walls if painted before and in good condition may not need sizing, but a little boiled linseed oil — not over a pint to a gallon — should be added to the “Mellotone.” If the old walls are not in good condition, they should be thoroughly cleansed and sized. Burlap, canvas or window shades should first be given a coat of “High Standard” Liquid Paint. On metal ceilings no sizing is necessary. Usetwocoats of “Mellotone” as it comes from the can. When “Mellotone" is used on wood, it is important to prime with “High Standard" Liquid White or White tinted with the color to be used. Then finish with two coats of “Mellotone." Wall boards of various manufacturers are popular in building at the present time. In general they may be finished in the same manner as plastered walls. As a rule two coats are suffi- cient — the first a mixture of Sealcote and “Mellotone," and the second “Mellotone” of the final color. Especially good results may be secured by adding to the first coat a little boiled linseed oil — -one pint or less to the gallon. The use of “Mellotone" over wall paper is not recommended. This is not only unsanitary, but unless the first covering cf paper is smooth and very tight, the paper may pull off. In addi- tion it is impossible to know whether the paper contains chemicals which may discolor the paint. If “Mellotone” is used at any time over paper, the surface must have a good coat of size — ‘Sealcote” — put on in the regular way. “Mellotone” may be used for stenciling or for hand decoration, just as water colors. Mellotoncd walls lend themselves to either form of decoration without special preparation. Expe- rienced decorators are enthusiastic over the advantages of “Mellotone” for both free-hand work and fine stenciling. “Mellotone” should be applied with a good wall brush, in much the same manner as kalsomine. It should be brushed on freely, for i: works easily — flowing out smoothly and evenly, and does not show laps. It should not be rubbed out like house paint. The colors or tints of “Mellotone” may be modified by any thoughful painter by mixing colors or by mixing white with tints. In this way an infinite variety of attractive shades may be secured although the regular colors are in every way satisfactory. I WEN IN I'Ol.K It is not fair to expect too much of “Mellotone ’ or any other paint. The fact that paint is ready-made does not take away the necessity for brains or thought in its application, but a little thought and practice will make sure better results than can be secured by any “hand-made” colors or cheap imitations of good paint. Cleaning Mellotone Mellotone walls may be cleaned and satisfactory results secured if proper care is taken to use the right kind of cleaning preparations. A non-alkali soap, such as Ivory or a neutral oil soap, dissolved in hot water will do the work. A way to test the presence of alkali in a soap is to taste it. Put a little on the tip of the tongue; if it smarts or burns it contains alkali and should not be used. If the walls are greasy, adding a lirtle kerosene oil to the suds will make the work easier. There are on the market today several special dry pow- der and paste cleaners which are rubbed on the walls with a damp sponge and then rinsed off. in w'ashing “Mellotone” do not expect the soap to do the work without any rubbing as a soap or cleaning powder strong enough to remove dirt without rubbing is a paint remover and the paint will come off with the dirt. Naturally any paint, whether gloss or flat, will gradually wear down under frequent washings and in the course of time the surface must be rehnished. Experienced painters suggest the following method: Lay off about a square yard at a time. Cover the surface with a strong suds applied with a sponge. Then wash off with a sponge or soft brush, rubbing lightly, using only a little water. Rinse off with a sponge or damp chamois skin and clear water, using downward strokes. 1 he principal difficulty is cleaning sandhnished walls, because the little particles of sand come off when rubbed. Especial care must be taken therefore with walls of this kind. The trouble is not with the paint but with the wall. Quantity and Cost As in other painting work the price per gallon is not the real test of value. What it will do, how long it will last, how easily it may be kept clean — these are the first questions. The cost per square yard of finished work is sometimes the basis of first judgment. On this basis “Mellotone" is cheaper than hand-made flat paint because it covers so much more and does it so much better — one coat equaling two of the old way. In many tests “Mellotone’’ has been found to be the cheapest of prominent wall coverings because it covers so much more surface with least labor and does it so thoroughly. Of course the amount covered by a gallon of Sealcote or “Mellotone’’ depends on the condition of the surface — whether smooth or sand-finished plaster, new' or old wmod, burlap or canvas, wall board or steel. Practical painters have found that a gallon of ‘Mellotone will cover from 600 to 800 square feet on a smooth surface, sometimes even more, and 500 to 600 square feet on sand-finished w^alls. Experienced painters are able to give even greater covering. Good painters are agreed that “Mellotone" is economical in first cost and cheapest in the end because of its many practical qualities. Just what a square yard of finished work wfilT cost depends upon the location, for the labor is by far the greatest part of the cost. The material for a good sized room would not cost over four or five dollars. “ Mellotone’s” remarkable popularity and the approval of its quality and character wherever used are indicated in no way- better than in the fact that “Mellotone your Walls” has come to be the common name among painters in many parts of the country for finishing u'alls with a flat finish. 1'he remarkable increase in its use and its universal approval by experienced painters and decorators are evidence that it is a practical finish (or all kinds of umrk. Thin g s fo Remember Woodwork will be receptive to varnish or stain only when it is dry and warm. Interior work, when possible, should have a coat of stain or paint on the back before leaving the mill. Open-grained wood should be well filled before the varnish is applied in order that the surface may be even. In choosing colors or materials for finishing, select thpse which will retain their beauty and be permanent. Some finishes, most attractive at the beginning, soon lose their beauty;' others do not wear and leave the surface unprotected. The Lowe- Brothers finishes are made for service. ■.» - : ' , -t "■ Puttying should be done after the first coat. Sandpapering should be done lightly after each coat except the last, in order to keep a perfectly smooth surfaced < • Varnish should be used exactly as it leaves the factory. Archi- tects and property holders should see that the varnish is brought to the work in sealed cans. “Little Blue Flag’’ Varnish is put up in sealed cans only. Shellac should be made of grain alcohol rather than wood alcohol. Do not use shellac as the first coat on outside work or in bath rooms. All varnishing and enameling should be done with the tem- perature as nearly 70° F. as possible; never when the temperature is below 50°. The temperature should be kept as uniform as mav be possible until the varnish has set. Be careful to have the surface, whether of woodwork or floors, in perfect condition, i. e. dry and level, before varnishing. Fair work can only be done with suitable brushes. If you must be economical, reduce the number of coats of var- nish or paint; don’t reduce the quality of the material. High- grade varnish, like “Little Blue Flag,” is the only safe one, and the same may be said of “High Standard ’ Paint. Enamel solves the problem of what to do with old woodwork. It is beautiful, lends itself to proper decorative effects, and is easily kept clean. Remember that stains like Oil Stain or Vernicol will show darker on soft wood than on hard because it absorbs moreof the stain. Differences of grain in the same kind of work will make a difference in the effect secured by staining. ▼ W KM N SHVKN Before purring the stain on the woodwork or floor it is well ti select if possible a small board of the wood used, stain and finish it in the manner proposed in order to be sure that the desired effect may be secured. In the same way it is well to test the color of “Mellotone” for walls by painting a small board or panel and comparing it with the woodwork. This will show whether they will harmonize as well as give the effect on the wall. It is easier to modify materials before the work is really begun than to change after they are on the wall or woodwork. High Standard ’ dealers usually carry stencils and painters are prepared to do this work satisfactorily. The drift of decoration at this time even for large halls, churches, lodge rooms, etc., is to perfectly plain schemes of color. Where needed, simple stenciling is used with occasional free hand effects. "Mellotone” is washable; so are Extra White Enamel, Ver- nicol Enamel White, Linduro, Vernicol Stain and Varnishes. Remembering this will enable any householder to secure a "waterproof” bath room or kitchen and one that will be fully satisfactory. The materials here described, largely with the home in mind, are equally useful for churches, college and school rooms, club I WI N i y-kh.ih* rooms, business offices, theaters, lodge rooms, hospitals and any other rooms where wear as well as beauty are desired. The cost of work is important but it is a mistake to measure it by the price per gallon of the paint or varnish used. 1 wo thirds of the expense usually is labor. Hence durability and spreading capacity are important elements. 1 he better the material, the less it will take, as a rule, to do the work and the longer it will last. The price per gallon therefore is lost sight of in the cost for the whole work measured by i:s years of wear. On this — or any other fair basis — the Lowe Brothers products have been proved to be most economical. Remember that it is not fair to expect one kind of varnish to do all kinds of work. One varnish is made to withstand the weather, and another to last for a lifetime on parlor or library woodwork. Require varnish suited to each purpose. Honorable painters are always ready to assist the architect and owner in securing the best kinds. Unfortunately, there are here and there dishonest painters who will keep on hand empty varnish or enamel cans which are filled from the same barrel whatever may be the specifications. Sealed cans are the only safety, and cans of turpentine, benzine, etc., should not be allowed about the work. In choosing wood for floors, wearing qualities are of prime importance, but that need not interfere with bringing out the beauty of the material. TW r.NTY-N INK While the floor is being varnished, the doors and windows should be closed and the temperature should be as nearly 70° as possible. Varnish is especially susceptible to chill and is often ruined because care is not taken when the floor is being finished. Especial care should be taken when the work is being done not to wear shoes with heavy nails and rough soles. The shoes should be perfectly clean. In estimating upon the use of any of these products, the painter needs to know their spreading capacity. House paint is usually figured upon the quantity required to cover the surface two coats over priming coat. Lowe Brothers “High Standard” Paint covers for priming 600 to 800 sq. ft. per gallon; for the second and third coats it will cover 325 to 400 sq. ft. per gallon for the two coats. \V here the surface is in particularly good con- dition “High Standard” will cover 400 sq. ft. per gallon two coats. “Mellotone” will cover from 500 to 800 sq. ft. one coat, depending upon the condition of the surface. Over ordinary walls (particularly old ones previously painted), sand finished or rough coated walls, the amount of surface cov- ered w ill be less, over smooth walls in good condition, greater. If one coat is used, figure on about double the amount of surface. Varnish paints like "Linduro,” Vernicol Enamel White, Interior Enamel, Inside Gloss W hite, Floor Paint, etc., will cover 250 or more sq. ft. turn coats, per gallon; Vernicol Floor and Varnish Stain, 300 or more sq. ft. two coats. In Canada where the Imperial gallon is used, the covering capacity is about twenty per cent greater per gallon, than the figures above indicate. The Lowe Brothers Company will be pleased to answer any questions of architect, painter or householder, in order that there may be no misunderstanding as to the best method of using the products. It is alw r ays important to choose the right finish for any work to be done. Quality as well as beauty is essential. The Lowe Brothers Company has from the beginning of its history insisted upon quality, and it has refused to make many classes of products because its experienced and scientific men have demonstrated a lack of quality in some one or more of the essential factors of a durable and satisfactory product. In making suggestions, there- fore, this Company will always give a candid judgment, whether it is to the advantage of its products or not. The confidence of users is the first aim of the makers of “High Standard” products. Tit I RTT word In this booklet many things have been stated which ever}' painter knows, because it is thought best to remind him and his helpers of the little things needed to give best results in home decoration and because this may be a text book for him to use with those whom he is training. The principles of color and decoration here given are stated with the home in mind. They apply equally to large buildings — office and public buildings, schools, churches, apartments, hospitals, etc., which are now almost universally finished in some of the methods here suggested. This company is always ready to give suggestions or advice to those who wish special plans for colors. The Lowe Brothers Company’s oldest department is that of general house paint for exterior as well as interior. “High Standard” Liquid Paint products have had an enviable reputation for a generation. Though this booklet is devoted to interior finishes, the Company is prepared to give equally careful advice regarding exteriors. “Paint and Painting,” “Homes Attractive,” “Varnish and Varnishing” and other pamphlets tell the story. They may be had for the asking. Lowe Brothers’ dealer-agents are in almost every community and are prepared to supply the wants of paint users promptly and satisfactorily. They wfill furnish color cards and suggestions upon request. Dayton, Ohio Boston Jersey Ci:y Chicago Kansas Cry Minneapolis Toronto The Right Finish for Every Surface For Exteriors "High Standard" Liquid Paint (Sixty Colors ) Porch Floor Paint ( Eight Colors ) Flat Brick Colors (Three, Colors) Concrete and Cement Coating*!' Fourteen ( ’olors) Elastic Cement Floor Finish (Ten Colors) Rich-Tone Shingle Stain ( Fourteen Colors) "Little Blue Flag" Spar Varnish "Little Blue Flag” Elastic General Purpose Varnish Linduro Standard Barn Paint ( Four Colors) Standard Metallic Paint ( Four Colors) For Interiors Linduro Vernicol Enamel White Extra White Enamel Interior Enamel (interior Gloss Colors) Fourteen Shades a nil White and lllark “Mellotone ( Sixteen Colors and II hite, and lilurk ) Sealcote Transparent Varnish Primer Prepared Wood Filler Vernicol Stain ( Eleven Colors . Chur and (Iron ml ( ’olors) Non-Fading Oil Stain (Twelve Colors) Mahogany Glaze Color Graining Colors Distemper Colors Auto-Carriage Gloss Co.ors (Nine Colors a ml Char) Aluminum Paint "Little Blue Flag" Inside Rubbing Varnish "Little Blue Flag” Quick Action House Varnish No. 64 "Little Blue Flag" Elastic Interior House Varnish "Little Blue Flag” Crystal Finish For Floors Hard Drying Floor Paint (Tired re Colors) Vernicol Stain ( I'll even Colors. Clear and ((round l o! nr J Elastic Cement Floor Finish (Ten Colors) Lowe Brothers Crack Filler "Little Blue Flag” Durable Floor Varnish For Amateur House Use SCREENS. WAGONS, ETC. Out-Door Furniture Colors ( Six Colors) Bath Tub Enamel Screen Paint (Tiro Colors) Auto-Carriage Gloss ( ine Colors and ( tear) Wagon Paint ( Five Colors and Clear I arnish) The Lowe Brothers Company PAINTMAKERS-VARN1SHMAKERS DAYTON. OHIO Boston Jersey City Chicago Kansas City Minneapolis LOWE BROTHERS, LIMITED TORONTO, CANADA »yfi nr*A«? • nvnjm Common Sense About Interiors Suggestions for securing attractive results in painting, Varnishing, enameling and staining the interiors illustrated in this booklet Page 4 — Colonial Hallway Linduro Enamel woodwork with Mahogany posts, stairs and furniture finished with Mahogany Glaze; walls — “Mellotone” tinted Pompeian Red; ceiling -Gray Tint; floor — Quartered Oak finished with “Little Blue Flag’’ Durable Floor Varnish. Page 6 — Reception Hall Woodwork — Non-Fading Oil Stain, Early English; walls — “Mellotone" Dark Tan; ceiling — Light Tan; floor — “Little Blue Flag" Durable Floor Varnish. Page 10 — Library Woodwork — -Non-Fading Oil Stain, Weathered Oak; walls — “Mellotone" Dark Tan; ceiling — Ivory ; Mission furniture; fire-place Dull Red. Page 13 — Bath Room \\ oodwork — Extra YV hite Enamel; wainscoting — Blue Tint “Mellotone;” walls — Light Blue Tint “Mellotone" Page 17 — Craftsman Living Room Woodwork — Non-Fading Oil Stain Golden Oak; walls — lower panel Dark Tan “Mellotone, "upper panel Light Tan. Spanish leather cushions; rug — in Browns and Greens. Stone fire-place. Page 19 — Living Room Woodwork — Dark Mahogany Oil Stain; walls — Green Tint “Mellotone" with Cream Ceiling; Quartered Oak floor finished with “Little Blue Flag" Varnish; fireplace — Dark Green tile. Page 20 — Colonial Parlor Woodwork — Linduro Enamel; walls — Golden Yellow “Mello- tone; Frieze — Light Cream “Mellotone;” Mahogany furniture. Page 23 — Bed Room Woodwork — Extra White Enamel; walls and ceiling — Gray Tint “Mellotone;" Wilton Rug; Oak Floor finished with “Little Blue Flag" Varnish. Page 25 — Bed Room Woodwork — Linduro Enamel White; walls — Blue Tint “Mel- lotone;' ceiling — Cream Tint; Maple floor finished with “Little Blue Flag" Durable Floor Varnish. Page 28 — Dining Room Woodwork — Mahogany Oil Stain finished with Mahogany Glaze; walls — Olive Green “Mellotone;" ceiling — Light Cream; Mahogany furniture; Bokhara rug with Red and Green tones. Page 29 Ki tc hen Woodwork — Interior Enamel Agate Gray; walls — Dark Tan “Mellotone;" ceiling — Light Tan; Yellow Pine floor painted with Hard Drying Floor Paint A 12. I