MOHWIONAi BVmiTIlN/ PAINTING and riNl/niNG ISSUED BY The Sherwin-Williams Co. PROFESSIONAL BULLETIN For Architects and Fngincers On the Subject of Painting and Finishing ISSUED BY DEPARTMENT OF ARCHITECTURAL SERVICE The Sherwin-Williams Co. CLEVELAND, OHIO NO. 1 KniTKD n\ n. luin r VOL. 1 Painting of Concrete The advantages of painting exterior concrete or stucco walls are many. Probably the most important thing which Sherwin-Williams Con- crete Wall Finish does for such a surface is to relieve the somewhat cold monotony of un- treated concrete by adding warmth, life and color to the appearance of the building. This, however, is not the only function of Sherwin- Williams Concrete Wall Finish. It also acts as a weather-proofing for the walls, tending to exclude dampness and protecting materials used in construction of the building from deterioration through moisture. It also tends and Stucco Surfaces to eliminate hair cracks caused by porosity of unfinished surfaces, and reduces the streaking of the walls from rain and dirt to a minimum. Sherwin-Williams Concrete Wall Finish is a liquid paint. It is one of the many Sherwin- Williams architectural paints and finishes which is especially made for a particular purpose. The combination of pigments and liquids in this material insures its ability to withstand for the longest possible time the action of the elements as well as various kinds of gases found in manu- facturing and railway localities. IMPORTANT NOTICE This series of bulletins on the subject of painting and finishing is issued for the benefit of architects and engineers of the United States who are inter- ested in securing the best possible results from the application of paints and varnishes. The bulletins are prepared with the problems of the architectural profession in mind and this Company believes that the contents thereof will prove to be of great assistance on many occasions. Whenever confronted by some puzzling problem on painting and finish- ing which does not appear to be covered by these bulletins, we urge that the matter be referred to our technical experts in our Department of Architectural Service, who will be happy to assist to a satisfactory solution to the problem. To be filed in binder provided far purpose Pa^e two Residence of Mrs. Marshall Field, Washington, D. Painted with Sherwin-Williams Concrete Wall Finish PAINTING CONCRETE AND STUCCO SURFACES Drying with a beautiful flat finish, Sherwin- Williams Concrete Wall Finish is far more attractive and suitable a finish for concrete exterior surfaces than a paint which dries with a gloss. It has the beautiful fiat velvety effect of an interior fiat wall finish, which adds greatly and detracts in no way from the distinctive appearance of the concrete or stucco. Uses Ideal for painting concrete or stucco walls of residences, garden walls and similar surfaces, Sherwin-Williams Concrete Wall Finish is also used extensively for painting exterior concrete walls of manufacturing plants as well as loft and office buildings. Sherwin-Williams Con- crete Wall Finish is also used for painting con- crete bridges and re-inforced concrete poles. This material is also used to a considerable extent to paint brick walls, particularly those of old brick buildings to which new additions have been made. The same method of appli- cation is followed in finishing brick walls as in the case of concrete or stucco work. Application Sherwin-Williams Concrete Wall Finish is very dense and efficient in covering. For this reason, it is possible to secure a most satisfactory finish with but two coats of this material. It is exceedingly finely ground in modern paint mills of exclusive design and manufacture, conse- quently where that form of application is desired, the material can be sprayed on to a surface efficiently with air-brush equipment. Before applying Sherwin-Williams Concrete Wall Finish, the contractor should make sure through careful inspection that the surface to be painted is thoroughly dry and free from dirt and particles of sand, so that the bond between the paint and the concrete or stucco surface may be perfect. Any salts or efflorescence which is apparent on the surfaces to be finished should be carefully scraped off and washed with a solution of zinc sulfate and water mixed in the proportion of three pounds of zinc sulfate to a gallon of water. After this treatment, the surface should be allowed to dry thoroughly before any material is applied. By taking this precaution much trouble may be avoided. Colors Sherwin-Williams Concrete Wall Finish is made in seven beautiful tints and shades and also white. Color samples of the Concrete Wall Fin- ish line appear on page seven of this bulletin. Many additional shades can be secured with Sherwin-Williams Concrete Wall Finish by add- ing white to the various colors listed. Where the quantity involved is large enough to justify such action, The Sherwin-Williams Company is Covering Sherwin-Williams Concrete Wall Finish has a covering capacity ranging between 200 and 250 square feet, two coats, to the gallon, depending willing to manufacture special colors to order. If the architect desires. Concrete Wall Finish can be purchased in white and tinted by the painting contractor to the shade approved by the architect. Where this is done, the specifica- tions should call for tinting with Sherwin- Williams First Quality Colors in Oil, thinned with pure turpentine only. The use of dry- colors for tinting should be avoided. Capacity upon the porosity and texture of the Iwall which is being finished. It is put up in one and five- gallon packages and fifty-gallon barrels. Page three PAINTING CONCRETE AND STUCCO SURFACES Cunningham & Politeo, Architects Lincoln School, Alameda, California Painted with Sherwin-Willian\s Concrete Wall Finish San Francisco. California Cunningham & Politeo, Architects San Francisco, California Haight School, Alameda, California Painted with Sherwin-Williams Concrete Wall Finish Pa^e four m PAINTING CONCRETE AND STUCCO SURFACES O Specifications All exterior concrete wall surfaces shall receive two coats of Sherwin-Williams Concrete Wall Finish in the colors selected by the architect. Before proceeding with the painting, the paint- ing contractor shall make sure through careful inspection that the surfaces to be painted are thoroughly dry and free from dirt. Any salts or efflorescence on the surfaces to be finished shall be carefully scraped off and the surface washed with a solution of zinc sulfate. The first coat shall be thinned with pure turpentine in proportion of one quart of turpentine to the gallon of paint. At least forty-eight hours shall be allowed for the first coat to dry, after which second coat shall be applied in the consistency supplied by the manufacturer. E. F. Neild, Architect Shreveport, La. Residence of Herbert Atkins, Esq., Shreveport, La. Painted with Sherwin-Willianns Concrete Wall Finish Page five PAINTING CONCRETE AND STUCCO SURFACES Finishing of Cement Floors Sherwin-Williams Concrete Wall Finish is not recommended for finishing cement floors. There is a special product for this purpose, known as Sherwin-Williams Concrete Floor Paint. This material is made in eight different colors, namely. Dust Color, Gray, Light Brown, Light Tan, Maroon, Orange, Slate and Yellow. The Sherwin-Williams Company also manu- factures a Concrete and Cement Floor Hardener for use in hardening and dust-proofing floors. This is a colorless liquid which, when applied according to specifications, makes a cement floor which may be dusting badly, as hard as rock. Special information on both of these products will be gladly supplied upon request. The subject of finishing of cement floors is so im- portant that one of the later bulletins issued by our Department of Architectural Service will deal with this. Residence of J. T. Russell, D. D., Canon National Cathedral, Washington, D. C. Painted with Sherwin-Williams Concrete Wall Finish Page six PAINTING CONCRETE AND STUCCO SURFACES Geo. W. Maher & Son. Architects, Chicago, 111. James Miller, Painting Contractor, Marquette Bldg., Chicago, 111. North Shore Golf Club, Kenilworth, 111. Painted with Sherwin-Williams Concrete Wall Finish Sherwin-Williams Concrete Wall Finish Colors Extra Light Gray Light Gray Green Stone Dark Gray Pa^e seven PAINTING CONCRETE AND STUCCO SURFACES List of Leading Sherwin-Williams Archi- tectural Paints and Varnishes A Product for Every Purpose Flat-Tone Washable wall finish. Old Dutch Enamel For interiors and exteriors. Mar-not Varnish A water-resisting varnish for floors. Scar-not Varnish For highest grade finishing of interior trim. Velvet Finish Varnish For securing imitation rubbed effects on interior trim. Rexpar A spar varnish made especially to withstand the elements. Sherwin-Williams Handcraft Stains Spirit penetrating in type. Will not raise the grain of the wood. Oil Stains — For finishing of soft woods. Acid Stains For use on hard woods. Absolutely non-fading. Prepared Wax A hard wax finish for floors and interior trim. Concrete and Cement Hardener For hardening and dust-proofing cement floors. Concrete Floor Finish For producing enamel-like finish on cement floors. Metalastic — For protecting exposed metal and structural steel. Concrete Wall Finish For painting concrete, stucco or brick walls. SVFP The scientifically prepared exterior paint for wood buildings. Plaster Bond For damp-proofing interior side of exterior walls above grade. Antydamp — Foundation damp-proofing to use on exterior of foundation walls below grade before back filling. Preservative Shingle Stains — For staining and preserving shingles or rough wood siding. Carbolic-ol For preserving wood embedded in earth. Floor-Seal-Oil — For preserving, hardening and sealing hard or soft wood floors of public buildings, schools or gymnasiums. A b Li t i fOLU®75 I"' W i . . . S1924-A E23 824 PROFESSIONAL BULLETIN For Architects and Engineers On the Subject of Painting and Finishing ISSUED BY DERARTMBNT OF ARCHITECTURAL SERVICE The Sherwin-Williams Co. CLEVELAND, OHIO KDITED BY A. H. BUBT Enamel Finish on Interior and Exterior Surfaces The enamel finish on interior trim is becom- ing more popular each year. This is true not only of the pretentious residences of the wealthy, but also of the modest home of the working man and apartments which rent for very moderate prices. The reason for this popularity can almost entirely be attributed to the attractiveness of the finish. A room in which the interior trim is finished with a white or delicately tinted enamel, is a room which is invari- ably light and cheer- ful. There is an air of cleanliness and brightness in the enamel finish which is peculiar to that par- ticular type of finish THE COLGIN HOSPITAL AND CLINIC, WACO, TEXAS M. W. Scott Sb Co.. Waco. Texas, Architects and produces an effect far superior to the aver- age stained and varnished finish secured on pine. Unfortunately, where there is any great de- mand for a particular type of finishing ma- terial, such as enamel, it can be secured in many different grades or qualities. For this reason, there are literally hundreds of enamels on the market ranging from cheap, perishable enamels, whose life can be gauged in terms of months, to the beautiful, full- bodied, tough, elastic enamels of the type of Sherwin-Williams Old Dutch Enamel, for interior trim. the quality of which enamel is the universal In the dwelling of moderate cost, enamel gauge of excellence. Science has still to pro- finish is frequently used in finishing pine trim duce a finer enamel than Old Dutch. Characteristics of Old Dutch Enamel Sherwin-Williams Old Dutch Enamel is an American-made enamel of the long oil type. Years ago The Sherwin-Williams Company secured a special formula from a Dutch enamel maker. Our chemists worked with this for- mula and accomplished several important im- provements of a nature which not only improved the beautiful appearance of the enamel, but To be filed in binder provided for purpose Pa^e nine Page ten ■sS ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM gave it mechanical qualities in working and drying which are now the delight of this coun- try’s leading painters and decorators. Old Dutch Enamel has a fullness of body and a smoothness and depth of tone which is pe- culiar to itself. It is remarkably tough and resistant to wear, which is partially due to the elasticity given to the enamel by the wonderful pure, refined linseed oil, bodied according to the secret processes of The Sherwin-Williams Com- pany. Due to its unusual com- position, Old Dutch Enam- el may be used for the fin- ishing of exterior surfaces, as well as for interior dec- oration, with the most sat- isfactory results. To dem- onstrate the exceptional durability of Old Dutch Enamel, it might be ex- plained that The Sherwin- Williams Company manu- factures this same enamel in special colors for finish- ing the exterior of passen- ger cars of many of the country’s leading railroads. For this reason. Old Dutch Enamel fills a crying need. Window sills and window casings can be finished with Old Dutch Enamel without fear of checking, crack- ing or turning its color, as can exterior doors, pillars, balustrading and similar surfaces. The whiteness of Old Dutch Enamel is the cause of admiration of everyone who sees it. This whiteness is due to the purity and white- ness of the zinc oxide used in the manufacture of this product as well as to the paleness of the oil and reducer which are employed. Old Dutch Enamel is made to stay white when exposed to light. In other words, sunlight has more of a tendency to make the enamel whiter rather than to turn its color. A finer tribute to the durability of Old Dutch Enamel would be difficult to find than that volun- tarily written to The Sher- win-Williams Company by Mr. F. W. Puckey, of the architectural firm of Puck- ey & Jenkins, Chicago. “For three years I have been repainting golf balls with your Old Dutch En- amel. It stands up better than the enamel on new balls. This superiority is so pronounced that several ‘pros’ of my acquaintance have adopted it for re- painting golf balls to sell. “/ believe that the impact of the club against the resilient and yielding surface, and the grinding fall on sandy or gritty ground give a more severe test to an enamel than any use in a building." Uses Old Dutch Enamel is primarily intended for the finishing of interior trim, but due to its ex- ceptional durability, it can be used for exterior enamel work (see photograph of residence of J. Rudy Smith, page 19). Old Dutch Enamel is also ideal for the enameling of walls of baths, lavatories, kitchens and pantries. It is highly resistant to moisture and steam, which particu- larly fits it for use in rooms where moisture is present. Old Dutch Enamel is frequently used in man- ufacturing plants where cleanliness is particu- larly required. It was selected after a careful test by The Russell-Miller Milling Company of Minneapolis, who are manufacturers of Occi- dent Flour, for enameling the walls, ceilings and equipment of their Minneapolis “B” mill. Old Dutch Enamel is ideal for use in buildings of all types, including residences, apartments, hotels, theatres, churches, hospitals and schools. Page eleven ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM Designed and Built by Fred E. French Co., New York City Robert E. Mackay. Painting Contractor, New York City Apartment at 72nd Street and Fifth Avenue, New York City, Overlooking Central Park Finished throughout with Sherwin-Williams Old Dutch Enamel Pa^e twelve ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM Application The capacity and covering qualities of Old Dutch Enamel make it possible to secure a re- markable finish with this enamel with the minimum number of coats. It is generally recommended that five coats be used in secur- ing an enamel finish on interior trim, three of these coats consisting of a high grade of under- coater, the fourth coat consisting of one-half Old Dutch Enamel and one-half undercoater thoroughly mixed together, and the fifth coat being a full flowing coat of Old Dutch Enamel. For work of an exceptional quality, a sixth coat consisting of Old Dutch Enamel can be specified where desired, although it is difficult to improve to any considerable degree on the beauty of the five-coat job. The beauty of an enamel finish is dependent to a considerable degree upon the undercoats. That the right kind of enamel undercoater should be used in building up a proper founda- tion for the application of Old Dutch Enamel is quite important. The Sherwin-Williams Com- pany strongly recommends the use of Sherwin- Williams Flat-Rite Undercoater for this purpose. Flat-Rite Undercoater dries with an extreme- ly white, flat finish which provides an ideal undercoat. When applied it levels exception- ally well, making extensive sanding unneces- sary. It sands very easily without gumming the sandpaper and where mixed equal parts with Old Dutch Enamel for the fourth coat, it combines with that enamel in an ideal manner. It is well to mention here that when brush marks appear in the undercoater, or the under- coater is scratched by the use of coarse sand- paper, these defects are readily visible after the enamel coats are applied, regardless of what type of enamel may be used. Types of Finish There are three types of finish possible with Old Dutch Enamel, namely, the beautiful, full-bodied gloss finish for which Old Dutch Enamel is particularly noted; the exquisite, dull satiny effect ob- tained by rubbing the gloss finish of the Old Dutch Enamel down with powdered pumice-stone and water; and the dull effect which is produced by using Old Dutch Enamel, Dull Finish. This latter finish closely approximates the gen- uine rubbed effect. Where a slightly duller finish is desired, this can be secured by adding Sherwin- Williams Flat-Rite Enamel Under- coater in the proportion which will produce the dull effect which is de- sired. Exact proportions cannot be given herein on account of the fact that what one person might consider a dull finish, another might consider an egg-shell finish. John A. Nyden. Architect, Chicago Theo. Ebert & Co.. Painting Contractors. Chicago Melrose Apartment Hotel, Chicago, 111. Page thirteen ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM First Church Christ Scientist, Lakewood, Ohio Finished with Sherwin-Williams Old Dutch Enamel Paie fourteen ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM which is suppoed to have more gloss than a truly dull finish. Where the genuine rubbed effect is desired, no enamel can be found which will accept the rubbed finish more evenly and beautifully than Old Dutch Enamel. This enamel is so formulated as to permit rubbing within a reasonable length of time after the application of the final enamel coat. Colors Old Dutch Enamel is manufactured in white, in both the gloss and dull finishes, as well as in the beautiful tints of ivory white and French gray, in both the gloss and dull finishes. Other shades of Old Dutch Enamel are easily procur- able by tinting with Sherwin-Williams First Quality Oil Colors, which makes a choice of hundreds of shades available for the architect. Where the quantity of Old Dutch Enamel re- quired for any operation amounts to 100 gallons or over. The Sherwin-Williams Company will gladly make a special run of Old Dutch Enamel to match any special shade submitted by an architect. In tinting Old Dutch Enamel with Sherwin- Williams First Quality Oil Colors, the color should be added to a small amount of the enamel which, after thoroughly mixing, should be added to the rest of the enamel, a little at a time, until the desired tint is obtained. Where the enamel is tinted, the undercoater also should be tinted to a similar color. Great Lakes Construction Co.. Contractors, Chicago, III. Edgar D. Martin. State Architect, Springfield. Ohio Elgin State Hospital, Elgin, 111. Finished with Sherwin-Williams Old Dutch Enamel Pa^e fifteen ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM Pa^e sixteen kw Westchester-Biltmore Country Club, Rye, N. Y. '^NlwYo°rkandChf«gT^ Finished with Sherwin-Williams Old Dutch Enamel ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM (loverin^ Clapacitv Sherwin-Williams Old Dutch Enamel has a be supplied upon special order in five-j^allon covering capacity of approximately three hun- packages where required. This size, however, dred fifty square feet, one coat, to the gallon. is not recommended unless a large force of It is regularly put up in gallon, and half-gallon painters is applying the enamel at one time, and special lithographed, sealed cans. It can also use quantities of enamel in a short time. Specifications Old Dutch Enamel Finish on Preparation: Before proceeding with the work, the contractor shall make sure that the surface to be finished is perfectly dry and free from dust and dirt. First coat: Sherwin-Williams Flat-Rite Enamel Undercoater, thinned with pure linseed oil ill the proportion of one pint of oil to one gallon of undercoater. When dry, sand thor- oughly with No. 0 sandpaper and apply a thin coat pure white shellac. Sand again before applying next coat. Second coat: Sherwin-Williams Flat-Rite Enamel Undercoater in the consistency sup- plied by the manufacturer. When dry, sand with No. 0 sandpaper. Third coat: Sherwin-Williams Flat-Rite Enamel Undercoater. When dry, sand care- fully to smooth surface with No. 0000 sand- paper. Fourth coat: Sherwin-Williams Old Dutch Enamel mixed equal parts with Sherwin-Wil- liams Flat-Rite Undercoater. When dry, sand lightly with No. 0000 sandpaper. New Interior Wood I’rim Fifth coat: Sherwin-Williams Old Dutch Enamel applied in the consistency supplied by the manufacturer. Rubbed finish: Where de- sired, the final coat of Old Dutch Enamel, when sufficiently hard, shall be rubbed to a dull finish with powdered pumice-stone and water. Imitation rubbed finish: Where the archi- tect does not care to go to the expense of rub- bing the final enamel coat. Old Dutch Enamel Dull Finish can be substituted for fifth coat as specified above. Note No. 1: On open grain woods, such as oak, walnut and chestnut, the first coat of the above specification should be changed so as to call for one coat of Sherwin-Williams Trans- parent Paste Filler, wiping off surplus filler before same has become set on the surface. Follow with a thin coat of pure white shellac and sand with No. 0 sandpaper before applying coat No. 2 as specified above. Note No. 2: Where expense is a consideration, the third coat as specified above may be omit- ted. Old Dutch Enamel F'inish on Previously Finished Interior Trim Preparation : The surface to be refinished shall be thoroughly cleaned, preferably with Sherwin-Williams Flaxoap (pure linseed oil soap) and warm water. When dry, thoroughly sand with No. 0 sandpaper to remove any gloss which may be on the old finish. First coat: Sherwin-Williams Flat-Rite Enamel Undercoater thinned with pure turpen- tine in the proportion of one pint of turpentine to one gallon of the undercoater. When dry, sand with No. 0 sandpaper. Second coat: Sherwin-Williams Flat-Rite Enamel Undercoater in the consistency sup- plied by the manufacturer. When dry, sand smooth with No. 0000 sandpaper. Third coat: Sherwin-Williams Old Dutch Enamel and Flat-Rite Enamel Undtrcoater mixed equal parts. When dry, sand lightly with No. 0000 sandpaper. Fourth coat: Sherwin-Williams Old Dutch Enamel gloss or dull finish.: Note: Where expense is a consideration, third coat may be omitted. Pa^e seventeen Page eighteen Gordon fit Kaelber. Architects, ^ r' r> . ^ Rochester. N. Y. Residence of S. F. Jenkins, Esq., Rochester, N. Y. ^ ^ Rochester n y® Finished with Sherwin-Williams Old Dutch Enamel ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM Old Dutch Enamel Einisli on New Plaster Walls First coat: Sherwin-Williams ODP White Lead, oil and turpentine mixed in the proportion of three quarts of boiled oil, three quarts of turpentine to twenty-five pounds of ODP White Lead with the addition of a small amount of drier. Second coat: Sherwin-Williams Flat-Tone Mixing Size mixed with Sherwin-Williams Flat-Rite Enamel Undercoater in the propor- tion of one quart of Flat-Rite Enamel Under- coater to one gallon of Flat Tone Mixing Size. Third coat: Sherwin-Williams F'Lat Rite Enamel Undercoater in the consistency suji plied by the manufacturer. Fourth coat: Sherwin-Williams Old Dutch Enamel and Flat-Rite Enamel Undercoater mixed equal parts. Sand lightly when drw Fifth coat: Sherwin-Williams Old Dutch Enamel in the consistency supplied by the manufacturer. Thompson fit Harding, Architects, Rexer & Dempsey. Painting Cf i:';; Little Rock, Ark. Little Rc^ k. . Residence of J. Rudy Smith, Esq., Little Rock. Ark. OJd Dutch Enamel, being adapted to exterior use quite as well as for interior trim, lear w-' d on pillars of the above residence as well as throughout the interior Pa ie nnr-trp ENAMEL FINISH ON INTERIOR AND EXTERIOR TRIM C. E. Kountz. Architect. Hagerstown. Md. J. B McC. Wolf. Contractor. Hagerstown, Md. Hagerstown and Washington County Y. M. C. A. Building, Hagerstown, Md. Finished with Sherwin-Williams Old Dutch Enamel Old Dutch Enamel Finish on New Exterior Woodwork Preparation: The contractor shall deter- mine through careful inspection that the sur- face to be finished is dry and in proper condition for finishing. Before the priming coat is ap- plied, all knots and pitchy places shall be given a coat of pure orange shellac. First coat: Sherwin-Williams ODP White Lead, mixed with pure raw linseed oil, turpen- tine and a small amount of drier, the oil and turpentine being in the proportion of one pint of turpentine to one gallon of oil. Second coat: Sherwin-Williams ODP White Lead, mixed with pure linseed oil and turpen- tine together with a small amount of drier, in the proportion of one gallon of turpentine to one gallon of oil. Third coat: Sherwin-Williams ODP White Lead, mixed with turpentine and a small amount of drier, with little or no linseed oil added. Fourth coat: Sherwin-Williams Old Dutch Enamel Gloss, thinned in the proportion of one pint of turpentine to one gallon of enamel. Fifth coat: This coat shall be applied as soon as the fourth coat is sufficiently dry to per- mit brushing over same safely. If the fourth coat becomes quite hard before the fifth is ap- plied, the fourth coat shall be “mossed” before the fifth coat is flowed on. The fifth coat or final enamel coat shall consist of Sherwin-Wil- liams Old Dutch Enamel in the consistency sup- plied by the manufacturer. Note No. 1: Where a fine finish is desired, the first and second coats shall be sanded to a smooth surface with No. 0 sandpaper. The third coat shall be sanded smooth with No. 0000 sandpaper. Note No. 2: Sherwin-Williams Old Dutch Enamel Dull Finish is not designed for exterior use. Old Dutch Enamel Gloss only is recommended for exterior exposure. Page twenty S1924-E23-825 PROFESSIONAL BU 1.1, E l IX I'or Architc'cts and l On the Subject of Painting and Finishing ISSUED BY DEPARTMENT OF ARCHITECTURAL SERVICE The Sherwin-Williams Co. CLEVELAND. OHIO NO. 3 KDi i 1:1) in A. n. lu n r VOL. 1 Painting and Decorating of Interior \\ alls Materials employed for the decoration of interior walls can be considered under three classifications, namely, oil paints, water paints and wall coverings, such as wall-paper, burlap, tapestries, brocades and matting. The latter classification represents the oldest common form of wall decoration, while oil paints repre- sent the most modern form of wall decoration, which is coming into more general use each year. Walls and ceilings decorated with oil flat wall paint are becoming increasingly more apparent in hotels, clubs and better type of residences, while in office buildings, schools, theatres, audi- toriums and hospitals the older form of wall decoration has long since given v/ay to oil paints. Sherwin-Williams Flat-Tone Wall Finish, a washable oil paint which dries with a velvety, flat finish of exquisite visual texture, was a pioneer of the modern form of wall and ceiling decoration. Today it is probably the best known flat wall finish in the world. It will be found adorning not only the walls of thousands upon thousands of buildings in this country, but the better class of buildings in Canada, Mexico, Philippine Islands, China, Australia, England and the Argentine. The cause for the vast popularity of Flat-Tone is apparent to anyone who has had any exper- ience with this remarkable flat wall finish. Its To be filed in binder provided for purpose beauty of finish is probably its leading charac- teristic, but of almost equal importance is its high degree of washahility , its durability , its sanitary qualities and its economy. Then there are the mechanical qualities which are best appreciated by the painter who applies Flat-Tone, such as its ease of application, tre mendous hiding power, leveling free from brush marks and quickness of drying. The economy of Flat-Tone over other oil wall paints is due to its remarkable opacity or hiding power and to the elimination of a separate sizing coat on new plaster walls. This latter feature is a most important item, because the major part of the cost of painting is the labor required in applying the materials. Instead <>f requiring a separate sizing coat, a special mixing size has been developed for Sherwin-Williams Flat-Tone which is mixed equal parts with Flat-Tone and this mixture is used as a combina- tion sizing and first color coat. While The Sherwin-Williams Comjiany always recommends the use of three coats of Flat Tone on new work, it is frequently possible to secure a beautiful finish with two coats of Flat Tone where the darker tints are employed. Contrast this with the number of coats, includc'c the sizing coat, required to secure propi-r ■ - nng where walls and ceilings are painted v. 'h ’■ ■ : mixed lead and oil paints. win-^Vilhanis Co Copyright . 1923. The Sher -■n PAINTING AND DECORATING OF INTERIOR WALLS Benjamin Wistar Morris, Architect New York City Carrere & Hastings, Consulting Architects. New York City Todd. Irons & Robertson. Inc., General Contractors, New York City Shatz Painting Co.. Painting Contractors. New York City The Cunard Building, New York City Finished with Sherwin-Williams Flat-Tone Pa^e twenty-two PAINTING AND DECORATING OF INTERIOR WALLS (Miaracteristics of Flat-'roiie Flat-Tone is a paint of the lithopone type and is largely responsible for the great popularity to which lithopone paints of all types have fallen heir. The lithopone used in Flat-Tone is of Sherwin-Williams manufacture, as is true of all of the important ingredients used in the manufacture of Sherwin-Williams Architectural Paints and Finishes. Its colors are as strictly non-fading as Science has been able to produce, while the remarkable range of tints and shades which comprise the Flat-Tone line of standard colors shown on page 37 of this bulletin, offer the most exceptional variety of tints to be found in wall paints of any competitive manufacturer. A certain percentage of flat drying oil varnish is used in Flat-Tone, which helps to produce the velvet-like effect of the Flat-Tone finish, and which also contributes largely to the high washability of Flat-Tone. One of the outstanding characteristics of Flat- Tone is its fineness of grinding, which results in the beautiful uniform flat finish for which this product is famous. On page 26 of this bulletin, a microscopic photograph of a film of Flat-Tone is reproduced which magnifies the surface fifty diameters. Observe the complete absence of grittiness and pores. The length of life of Flat-Tone is gauged in terms of years. It is difficult to state the exact length of the life of this flat wall finish because walls finished with this material are usually repainted after the Flat -Tone has been (jii the walls four or five years, for the puri)ose of cluing ing the color scheme or freshening the appear ance of the interior. It is significant, however, that Flat-Tone walls are usually refinished with Flat-Tone and not other fiat wall finishes, of which there are scores on the market. The durability and washability of Flat Tone, together with its tendency to retain its high light reflecting qualities to a greater degree than is true of water paints and calcimine- renders the cost of Flat-Tone in the long run no more than that of ordinary calcimine on account of its power to easily outwear several coats of such material. While paint is seldom associated with the idea of illumination by the layman, the architect and engineer is yearly becoming more cognizant of the relation borne by the type and color of paints used on interior walls to the resultant illumination of a room. Illuminating engineers demonstrate that a flat wall finish has a higher light diffusing efficiency than paints of other types. It has been demonstrated that Flat- Tone Wall Finish tends to diffuse light more efficiently than a gloss paint and without the specular reflection or glare so conducive to eye strain, which has made paints even apiiroaching a gloss so unpopular for use in the office, library, school room or hospital. More will be said hereinafter on this subject. Uses Flat-Tone can be applied with equal effective- ness to plaster, wallboard, metal, wood, brick or Keene’s Cement. It is primarily a finish for interior walls and ceilings. Flat-Tone is not designed for exterior use. Flat-Tone is only intended for interior dec. Pa^e twenty-ei^ht PAINTING AND DECORATING OF INTERIOR WALLS that nature has spread so lavishly for her children. . . . Our eyes are made to find rest and contentment in soft greens, pale blues and an occasional touch of red, and above all, in the glorious golden yellow of the sunshine. “White is the winter color -dazzling and brilliant — and is somehow reminiscent of win- ter’s cold and cheerlessness. Let us then cover our hospital walls with color, selecting those that give warmth and quiet and that gentle stimulation that helps the i)atient along ihe road to recovery.’’ In selecting colors for rooms with northern and eastern exposure, colors possessing warmth and a reasonably high light -reflecting factor should be used, while rooms of western and southern exposure may have the cooler colors, such as grays, greens and blues. This principle applies to all classes of buildings, whether hospitals, schools, public buildings or residences Flat-Tone as an Aid to Proper Acoustic (;]onditions In a very interesting paper* presented before the International Association of Master Painters and Decorators, Kansas City, Mo,, February, 1922, on the subject of “Paint as an Aid to Acoustic Conditions,” some very important data was given on the sound-absorbing qualities of oil flat wall paints of the lithopone type, such as Sherwin-Williams Flat-Tone, The following extract from the paper in question illustrates how Sherwin-Williams Flat-Tone can fill another important mission aside from its important qualities as a beautifying agent and aid to efficient light diffusion: “In order to get at least an approximation of the sound-absorbing properties of paint, a series of tests was made by one of the writers, using a specially constructed cylinder, three feet long and one foot in diameter, placed hori- zontally on a wooden base. In the center of the cylinder a watch was suspended. The observer then stood with one ear at the open end of the cylinder, and slowly moved away. The point at which he could no longer hear the tick of the watch was marked. The cylinder was then lined with coatings such as are depicted in the front part of this paper. The results are given below as the averages of several readings by four observers. Greatest Distances from End of the Cylinder at which Tick of a Watch Can be Heard Metal walk- „ 40 inches Metal wall with sand finish paint (*) 19 inches Metal wall with sponge finish paint i ' 18 inches Metal wall with cork finish paint + 14 inches “It will be noted from the above results that all of the finishes reduced the carrying proper! ies of sound over 50 per cent. The amount of sound absorbed will, of course, depend upon the thickness of the paint, the roughness of surface, porosity, and other similar data. “A church building that has recently come under our observation is a Greek classic type of architecture, briefly described as four hemi- spherical arches set at right angles, topjred with a dome over these arches used as supjxirts. When the auditorium was completed, its acoustical properties proved to be ver\- unsatis- factory. A reverberation or undue prolongation of the sound existed, and, in addition, because of the large size of the room, and form and position of the walls and dome, echoes were set up. If an observer stood on the platform and clapped his hands, a veritable chaos of sound resulted. Echoes were heard from every direc tion, and reverberations continued for a number of seconds before all was still again Speakers found their utterances thrown back at them, and t •) San ] sprayed up>on a “tacky ' priming ■ -if :'f paint f n’shint coats of any color arc then applied. Sponge finish Heavy paste paint in-nt -ining -.n'n'vfnb -■ " '•» is applied. A sponge is then pre?-"Kl lightly ag.-in*-* ’Vc -f. ^ quickly withdrav.*n. t’ Cork finish Ground cork is pref---d agptnst ’ - k- rr n. nt coat. Finishing coats of any desired arc *hcn appl '^ *By Henry A. Gardner, Director of Educational Bureau. Scientific Section, Paint Manufacturers’ Ass’n. of the U. S.. and Wm. DowTiey of Cleveland, Ohio, who was consulting painter and decorator on the new Cleveland Public Auditorium, in which vast quantities of Sheru'in- Williams Flat-Tone were used. See photographs pages 30 and 31. Architects specializing in theatre, auditorium, church, school and courthouse work should have a copy of the illustrated reprint of this paper, of which there are a limited number of copies available, which will be gladly forwarded upon request. PAINTING AND DECORATING OF INTERIOR WALLS m :“U CO 5 S u. Paie thirty PAINTING AND DECORA TING OF INTERIOR WALLS PAINTING AND DECORATING OF INTERIOR WALLS The new Cleveland Public Auditorium, recently thrown open to the public, was finished with Sher- win-Williams Flat-Tone. It has a seating facility for 13,000 people. One of the main features of the Auditorium is a pipe organ costing $100,000, hav- ing 10,010 pipes and 150 direct speaking stops. Auditorium Main Lobby The Lounge Typical East ar entrances. Interior Exhibi Auditorium West Corridor, balcony Hall, below Main PAINTING AND DECORATING OF INTERIOR WALLS auditors all over the house experienced difficulty in understanding what was said. After the decoration of the auditorium with a soft litho- pone flat wall paint, it was the consensus of opinion that the acoustics has been very ma- terially improved. “Another instance where we have been privileged to see the effect of paint was in the dining hall of a large eastern country club hav- ing a high arched ceiling. A perfect babel of voices prevented conversation during the dinner hour. The ceiling and walls were given two additional coats of paint, and stippled. Marked improvement was noted. “When the surfaces of the walls and ceilings of a certain auditorium where the reverberation was excessive were changed from smooth plaster to rough plaster surfaces created by the circular motion of a barbed trowel, and then painted and stippled, the reverberations were materially re- duced.” That the application of Flat-Tone will greatly lessen reverberation in an auditorium of any type, there can be no doubt. Flat-Tone Colors There are sixteen regular Flat-Tone colors, not including White, which offer a wide choice of beautiful tints and shades. In addition to these regular colors there are many beautiful colors which can be secured by mixing these shades together, equal parts. On page 37 color samples of all of the regular Flat-Tone colors are shown, in addition to fourteen beautiful admixtures, which will be supplied ready for application where quantity required justifies. In each case color has been mixed with color, but where the architect merely wants to lighten the shade of a regular Flat-Tone color, without changing its tone, this can be done by adding Flat-Tone White in sufficient proportion to secure the shade desired. Application In securing a successful finish on any wall, the first essential is that the wall be perfectly dry and free from plaster hot spots. For this reason sufficient time should be allowed for walls to dry thoroughly before applying Flat-Tone. Ordin- arily, if there has been heat in the building for a month during the colder season of the year, or if the plaster was applied in the Summer months and it has been on the walls one month during good warm drying weather, one may be reasonably sure that the surface is in proper condition for finishing. When applying the first coat of paint to the wall, the important consideration is the necessity for thoroughly sealing the wall against wall suction, which tends to draw the oil out of the paint, so that in spots the color will be lighter than in others. As has been explained previously in this bulletin, The Sherwin-Williams Co. have de- signed a special Flat-Tone Mixing Size which is mixed equal parts with the paint for the first of Flat-Tone coat, thereby making possible a sizing coat and first color coat in one operation, which eliminates the expense of applying a separate sizing coat. Due to the great opacity or hiding power of Flat-Tone, a satisfactory job should be secured on new work with two coats, where the darker shades are employed, but in the case of the light tints such as Cream, Ivory or Caen Stone, three coats are usually necessary to secure a perfect finish. If, after the first coat consisting of Flat-Tone and Flat-Tone Mixing Size, equal parts, has been applied and has dried out, the wall shows any signs of not being perfectly sealed, it is suggested that as a safeguard to insure the best possible results, Flat-Tone Mixing Size be added to the second coat, in the proportion of one quart of Mixing Size to the gallon of Flat-Tone. Flat-Tone should be applied with a wide stucco brush and each coat allowed to dry thoroughly before applying the succeeding coat. Pa^e thirty -two Dl PAINTING AND DECORA TING OF INTERIOR WALLS Flat-Tone Covering Capacity One gallon of Sherwin-Williams Flat-Tone will cover approximately 275 to 300 square feet, two coats, depending upon the condition of the surface over which the material is applied. When used over smooth plastered walls, one gallon will cover between 350 and 400 square feet, two coats. Flat-Tone is put up in all sizes of packages, ranging from 50-gallon barrels to 5 and 1 -gal- lon cans, as well as smaller packages. Decorative Stencil Designs Under certain conditions the use of stencils in wall decoration is desirable. The Sherwin- Williams Co. is in position to supply a wide choice of stencils suitable for any class of build- ing or room. These stencils are cut after the exclusive designs of the decorators in The Sherwin-Williams Company’s Department of Decoration. Any architect interested in receiv- ing a Sherwin-Williams Stencil Catalog will be presented with one upon request. J. Harold MacDowell, Cleveland Chas. R. Ritter. Supervising Painter and Decorator. Cleveland Cleveland City Hospital Finished with Sherwin-Williams Flat-Tone Pa^e thirty-three PAINTING AND DECORATING OF INTERIOR WALLS IS ccaj^ 1 rP IrfLiM Is - « i- 15F pi< i " ‘ /.r • i HB ml li B. Leo Steif & Co., Architects, Chicago Henning Bood & Co., Painting Contractors. Chicago Hollywood-Kenmore Apartments, Chicago, Illinois Finished with Sherwin-Willianns Flat-Tone Pa^e thirty-four PAINTING AND DECORATING OF INTERIOR WALLS Flat-Tone IMulti-(^olor Effects The number of unusual and attractive decor- ative effects which can be secured through sponge stippling Flat-Tone are unlimited. (See samples of Flat-Tone Multi-Color Effects on page 39.) This is the very latest idea in interior decora- tion and was introduced several years ago to the architects of this country by The Sherwin- Williams Company. It has been used advan- tageously in many theatres, clubs, hotels, resi- dences and other buildings. Flat-Tone Multi- Color Effects have the advantage of being every bit as washable as Flat-Tone itself, and also have the very desirable quality of not showing soil to the extent which is true of plain colors. The colors to be used in securing the various Flat-Tone Multi-Color Effects are specified for each effect and may be used as they come from the original container, although for best results the addition of Flat-Tone Mixing Size to each stipple color is recommended, in the proportion of one part of size to three parts of Flat-Tone. On new walls the preparation (ground coats) for the stipple coat should be secured by apply- ing two coats of Flat-Tone in accordance with the specifications for the first two coats of the regular flat wall finish. For stippling, a sponge of good even, open texture is used, though not necessarily a large one. The bottom of the sponge is the surface best suited to stippling and should be trimmed or sliced off, if necessary, to get the interesting flat printing surface. When ready to stipple - which can be done as soon as the foundation coat is flatted out fairly hard pour or brush out a small quantity of the first stipple color on a piece of board or tin, as convenient. Alter thoroughly soaking the sponge in water, wring the water out as completely as possible. This will open up the sponge. Dip the sponge in the color on the flat surface, not in the can. Tap the sponge once or twice on the board to remove surplus paint and stipple directly on the wall. A firm straight tap on the wall is the best. Do not use a twisting or turning motion. When two or more stipple colors are specified, the next color may, but need not, follow imme- diately. It is not necessary to wait until the first coat is dry or hard. Use a separate sponge for each color stippled. The average painting contractor of fair ability can turn out a most acceptable Flat-Tone Multi- Color job by merely following the brief directions given herein. The cost of Flat-Tone Multi- Color work should be no more than the average three-coat straight color job, because the third coat of the Multi-Color System is the sponge stipple which requires less material than a straight brush coat and is applied quicker when applied by an experienced painter. On account of limited space; it has been possible to show but seven of the many beautiful Multi-Color Effects possible with Flat-Tone. A portfolio of twenty different effects, with illus- trated directions for application, will be for- warded to any architect upon request. This is an excellent guide for a painting contractor. Flat-Tone System Effects, sometimes known as Tiffany Effects (samples of which are shown on page 39 of this bulletin), are secured by using a ground coat similar to the ground coat used in Flat-Tone Multi-Color System. This is glazed over with a special varnish glazing liquid manu- factured by The Sherwin-Williams Company, which is previously tinted to the color desired. This glazing liquid when tinted is semi-trans- parent, and the resulting effect is rich and very Flat-Tone System Effects pleasing to the eye. Flat -Tone System work costs a trifle more than either Multi-Color work or three-coat straight color work, but there are many instances when this form of decoration can be employed more advantageously than either of the other two forms. Like a straight Flat-Tone finish or Flat-Tone Multi-Color Effects, Flat-Tone System Effects are highly washable. Page thirty-five PAINTING AND DECORATING OF INTERIOR WALLS Gordon & Kaelber, Architects, Rochester, N. Y. McKim, Mead & White. Associate Architects, New York City Russel B. Smith. Inc., Consulting Engineers, New York City Allen Decorating Company. Painting Contractors Rochester. N. Y. Library, Eastman School of Music, Rochester, N. Y. Finished with Sherwin-Williams Flat-Tone Specifications Plain Color Work on New Plaster Walls and Ceilings Preliminary Inspection: Contractor shall inspect walls before starting work, to make sure that surface is dry and in proper condition for finishing. First coat: Sherwin-Williams Flat-Tone in the color selected by the architect, mixed equal parts with Flat-Tone Mixing Size. Second coat: Flat-Tone of like color thinned with turpentine in the proportion of three- quarters pint turpentine to one gallon of Flat- Tone. Third coat: Flat-Tone of like color without reduction. Note: Three coats of Flat-Tone are always recommended to secure the most desirable effect on new work. However, it is possible, under normal conditions, to obtain a very satis- factory finish with two coats of the deeper shades. Special Notes on Painting Newly Plastered Surfaces The Sherwin-Williams Company never advo- cates the painting of plaster walls which have not been given an opportunity to dry out thoroughly. If “green” plastered walls are painted, there is always a possibility of the alkali in the plaster attacking the paint, and causing discoloration. However, there are certain occasions where walls, which have not been given sufficient time to dry out thoroughly, must be painted for commercial reasons. Where this is the case, we would recommend the follow- ing procedure, although unfortunately we can- not guarantee that it will always prevent the discoloring of the finish. First coat: Sherwin-Williams Flat-Tone in color selected by the architect, mixed equal parts with Flat-Tone Mixing Size. Page thirty-six PAINTING AND DECORA TING OF INTERIOR WALLS Ivory White R. F. 78 per cent Sherwin-Williams Caen Stone R. F. 72 per cent Ivory R. F. 75 per cent Ivory Tan R. F. 59 per cent Silver Gray and Cream R. F. 56 per cent Buff Stone and Pale Azure R. F. 45 per cent Bright Sage and Shell Pink R. F. 41 per cent Silver Gray R. F. 49 per cent Buff Stone and Ivory Tan R. F. 56 per cent Lichen Gray R. F. 68 per cent Bright Sage and Ivory Tan R. F. 49 per cent Bright Sage R. F. 37 per cent Bright Sage and Pale Azure R. F. 36 per cent Forest Green and Pale Azure R. F. 27 per cent Forest Green and Buff Stone R. F. 25 per cent Forest Green R. F. 19 per cent Silver Gray and Caen Stone R. F. 57 per cent Shell Pink and Cream R. F. 62 per cent Shell Pink R. F. 63 per cent Silver Gray and Pale Azure R. F. 39 per cent Shell Pink and Silver Gray R. F. 48 per cent Pearl Gray R. F. 72 per cent Pale Azure R. F. 36 per cent Cream R. F. 69 per cent Buff R. F. 59 per cent Buff Stone R F. 54 per cent Tan and Silver Gray R. F. 34 per cent Tan R. F. 31 per cent Cocoanut Brown and Tan R . F. 23 per cent Cocoanut Brown R. F. 21 per cent REFLKCTION FA(.TOR OF FLAT-TONK WHITE 70 , . Please do not detach color samples. The Sherwin-Williams Co. will be glad to supply you with as many as you require, upon request. Pa^e thirty-seven PAINTING AND DECORATING OF INTERIOR WALLS Second coat: Flat-Tone Mixing Size as it comes from original container. Third coat: Flat-Tone of like color reduced with turpentine in proportion of i pint of turpentine to one gallon of Flat-Tone. Fourth coat: Flat-Tone without reduction. Specification for Flat-Tone Multi-Color Effects on New Walls The surfaces indicated shall be finished with specification for the effect selected. No paint Sherwin-Williams Flat-Tone Multi-Color Sys- shall be applied until contractor has determined tern in strict accordance with the manufacturer’s that walls are in proper condition for finishing. Specification for Flat-Tone System Work The surfaces indicated shall be finished with Sherwin-Williams Flat-Tone System in the effect selected, closely following in all details the manufacturer’s specifications for securing the desired effect. No paint shall be applied to the walls or ceilings until the contractor has definitely determined that those surfaces are in proper condition for finishing. Jordan Green, Architect, Newark, N. J. The New Jersey Painting Co. Robt. E. Mackay. Pres. ■ L tt T" E E t f 1" s s i r E Newark Athletic Club, Newark, N. J. Finished with Sherwin-Williams Flat-Tone Page thirty-eight PAINTING AND DECORATING OF INTERIOR WALLS TEXTURE EFFECTS IN Sh ERWIN - Williams Fla t- Tone FLAT-TONE MULTI-COLOR MULTI COLOR EFFECT No. 48 R. F. 66 per cent MULTI-COLOR EFFECT No. 26 R. F. 56 per cent MULTI-COLOR EFFECT No. 49 R. F. 48 per cent MULTI-COLOR EFFECT No. 32 R. F. 69 per cent MULTI-COLOR EFFECT No. 45 R. F. 49 per cent MULTI-COLOR EFFECT No. 29 R. F. 53 per cent ‘ MULTI-COLOR EFFECT No. 50 R. F. 46 per cent FLAT-TONE SYSTEM SYSTEM EFFECT No. 50 R. P'. 51 per cent SYSTEM EFFECT No. 53 R. F. 49 per cent SYSTEM EFFECT No. 12 R. F. 43 per cent SYSTEM EFFECT No. 27 R. F. 29 per cent SYSTEM EFFECT No. 3 R. F. 51 per cent SYSTEM EFFECT No. 29 R. F. 36 per cent SYSTEM EFFECT No. 36 R. F. 35 per cent Please do not detach color samples. The Sherwin-Williams Co. will be glad to supply you with as many as you require, upon request. Pa^e thirty-nine PAINTING AND DECORATING OF INTERIOR WALLS Verus T. Ritter, Architect, Philadelphia Mitman & Ziegenfass. Painting Contractors Bethlehem. Pa. Liberty High School, Bethlehem, Pa. Finished with Sherwin-Williams Flat-Tone Franz C. Warner, Architect. Cleveland Willing Bros., Elyria, Ohio Contractors Roxboro School, Cleveland Heights, Ohio Finished with Sherwin-Williams Flat-Tone Page forty S1924 X S22 322 PROFESSIONAL BULLE l IN I*'()r Architects aiul Icngineers On the Subject of Painting and Finishing ISSUED BY DEPARTMENT OF ARCHITECTURAL SERVICE The Sherwin-Williams Co. CLEVELAND, OHIO NO. 4 1:1)111:1) in a. n. lU'irr VOL. ) Protective Finish for Metal Surfaces The purpose of this bulletin is not to discuss the causes for the corrosion of metals, but to discuss ways and means of protecting metal, with a view to preventing corrosion. In seeking a cure for an ill, it is first necessary to diagnose the cause. In seeking the funda- mental causes and in studying the resultant reactions which attend the formation of rust, the investigators of the problem of corrosion of iron and steel have ad- vanced three separate theories. These may be briefly stated as the carbonic acid, hydrogen peroxide and the electrolytic the- ories. Each of these theories have been ex- haustively investigated by learned societies, and while there still is a difference of opinion, the electrolytic theory is upheld by the greater number of authorities. It is not practical to enter into the discussion of the electrolytic theory in this bulletin. The subject is highly technical and the discussion would of necessity be somewhat lengthy. Suffice it to say that the principle upon which the standard spec- ifications, appearing hereinafter, for the pro- tection of iron and steel surfaces are based is, that the priming coat (or shop coat) applied directly to an iron or steel surface should be of the type which will minimize the electroly- sis of the metal to the greatest degree possible and that the successive coats should be of a pro- tective, elastic weather- resisting nature which will effectively exclude dampness and destruc- priming coat. C‘'p\ riir''’ b\ Bro\M> Hr'iUicrs. N The difference in color between the priming coat of Kromik Structural Steel Primer and the successive field coats of Metalastic Brown and Black make it possible to readily determine the progress which is being made with the field coats on structural steel. tive gasses from the The Priming Coat It therefore must be evident that the priming coat on iron or steel surfaces is equally important as the coats which follow, if not more so. Sher- win-Williams Kromik Structural Steel Primer, which is recommended for priming of structural steel, ornamental iron work and similar iron and steel surfaces, was formulated on the basis of the proven fact that chromates possess the quality of causing iron or steel to be passive, or in other words, chromates apparently possess the power To be hied in binder provided for purpose Pafle for ty -one Copyright. 1923, T he Sherw i n -W i Uia nis Co. PROTECTIVE PAINTS FOR METAL SURFACES C. W. & Geo. L. Rapp. Architects, The LundofiT-Bicknell Company. The Bass Construction Co., Steel Erectors. Chicago. Illinois. General Contractors, Cleveland, Ohio Cleveland. Ohio The New Keith Theatre and Office Building, Cleveland, Ohio. Structural Steel Protected with Sherwin-Williams Meta! Protective Paints Page forty-two PROTECTIVE PAINTS FOR METAL SURFACES to minimize the effect of the electrolytic action, which appears to have a pronounced effect in producing metal corrosion. The use of ferro-chromes in the manufac- ture of steel used for stainless steel cutlery is an excellent example of what chromates can ac- complish in preventing corrosion. The princi- ple in the employment of Kromik Structural Steel Primer is very sim- ilar. Instead of using chromes in the manu- facture of steel, lead chromate is applied to the surface of the steel as one of the important pigments in Kromik Structural Steel Primer with similar effective re- sults. In order to demon- strate how chrome com- pounds, more particu- larly basic lead chrom- ate, even in great dilu- tion, can prevent the corrosion of steel, a spe- cial experiment was con ducted by our Depart- ment of Architectural Service with two steel safety razor blades. Each razor blade was placed in a small jar, and both jars were filled with hydrant water. Into one jar, a small quantity of a solution of a chromate was poured, giving the hydrant water a light amber color. Both jars were then sealed with a metal cap and the entire top of the jar dipped into hot paraffin to seal the jar against any possible penetration of air. It was not long before the razor blade in the jar containing the clear hydrant water began to show signs of corrosion, while the blade in the other jar, containing the chromate solution, remained spotless and shiny. At the end of eighteen months, there was little left of the razor blade in the ordinary hydrant water except a deposit of rust in the bottom of the jar, while the other razor blade showed not the slightest sign of cor- rosion. Photographs of the two jars and their contents appear on page 44 of this bulletin. The Sherwin-Williams Com- pany certifies to their authenticity. Mr. Henry A. Gard- ner of The Educational Bureau of The Paint Manufacturers Associa- tion of the U. S., in a paper read before The American Electro- Chemical Society in April, 1921, said "It is apparent that paints for priming steel should pre- ferably be made of a substantial amount of one or more basic or chromate pigments and that these paints should be covered with water- resisting finishing coats of carbon or iron oxide paint." In another section of this paper, Mr. Gardner warns against the use of graphite or carbon paints for priming coals, by stating "Substances that form a galvanic cou- ple with steel in the presence of moisture cause rapid corrosion. Pigments which act in this fashion (graphite, carbon black, lamp black) are used only as the constituents of the fin- ishing coats on steel surfaces, when first in- sulated from the metal hy a coat of a basic or chromate pigment paint.” ^ ! f HE importance of the careful selection on the part of architects and engin- eers of the proper types of paint for the protection of iron and steel surfaces can- not be over emphasized . Every year, thousands of gal- lons of cheap so-called metal protective paints, without protective value are used in this country. Specifications for the painting of metal work should be very carefully worded to make the use of improper material impossi- ble. It costs no more for labor to apply the right qual- ity of metal protective paint than to apply paint which will soon perish. The differ- ence in the cost of insuring metal protection on a large structure against the use of very ordinary paint may be no greater than $500. Is not that slight additional invest- ment worth while? Page forty-three PROTECTIVE PAINTS FOR METAL SURFACES Red Lead Compared with Kromik Structural Steel Primer While red lead, which is a basic pigment, pos- sesses many of the fine characteristics of Kromik Structural Steel Primer, it has many disadvan- tages. The greatest drawback of a red lead paint is the ten- dency to decompose rapidly in the presence of sulphurous gasses to be found in the atmosphere of any community of any size. This feature is highly undesirable in a paint to be used for a shop coat. If metal primed with red lead paint can immediately be painted over with protective coatings of graphite or carbon paints, the results will be quite as satisfac- tory as where Kromik Structural Steel Primer is used. Architects and en- gineers will undoubtedly recall numerous occasions where structural steel has been shipped from the shop to the building site and there has lain for months protected only by a shop coat of red lead. When the time arrived to erect the steel, severe corrosion had set in, due to the fact that the red lead shop coat had almost entirely disintegrated. Kromik Structural Steel Primer, however, is very nearly as resistant to the exterior corroding agents as are the finishing protective coats of graphite or carbon paints. For this reason, this primer is the ideal shop coat. Kromik Structural Steel Primer is orange- brown in color. (See sample on page 49). It has a covering capacity of 800 square feet, one coat, to the gallon. It bonds perfectly with the proteccive coatings which are applied over it. Kromik Structural Steel Primer is put up in one and five-gallon cans and fifty-gallon barrels. The small jar shown above graphically tells the story of the corrosion of the bright new razor blade, placed in the jar full of ordinary hydrant water, after having been left in the sealed jar for a period of eight- een months. (See text page 43 Finishing Coats In designing Sherwin-Williams Metalastic Paint, which is recommended for the finishing coats to be used on iron or steel which must undergo atmospheric exposure, the following requirements were borne in mind: First: The paint should result in a film im- permeable to air and water. Second: It must be firm drying and resistant to abrasion. Third: It must possess sufficient elasticity to withstand ordinary expansion and contraction of metals. Fourth: It should be chemically neutral and possess no tendency toward chemical reaction. Years of experimenting by our Research De- partment with various combinations of pigments oils and gums to determine what paint or paints would give the best service and best satisfaction as a paint to be used for the finishing coats on exposed metal work, leads us to the definite recommendation of She rwi n-Wi 1 1 i a m s Metalastic for this purpose. Metalastic is a paint of the graphite type, the pigment varying slightly with the color, the black containing a certain percentage of carbon black, while in the case of the brown, ferric oxide is com- bined with the graphite instead of carbon black, so as to produce a brownish color. These pigments are mixed with the vehicle according to scientific formulae. The fine grind- ing and the resultant uniform incorporation of Photograph of a new steel razor blade of exactly the same type as was used in the other jar shown on this page. Into the hydrant water in which this blade was dropped, was added a slight quantity of a chromate solution. This photo- graph was taken after eighteen months, at the same time that the photograph of the other jar was taken. A startling proof of the power of chrome compounds to arrest corrosion. Pa^e forty -four PROTECTIVE PAINTS FOR METAL SURFACES the pigment with the vehicle is one of the most essential elements in the manufacture of any suitable Metal Protective Paint. The linseed oil used in the manufacture of Metalastic is specially treated so as to render it chemically neutral, making it more resistant to atmospheric influences. Inasmuch as linseed oil supplies the life or endurance quality of the paint, the import- ance of the aging, treating and manipulation of this important ingredient cannot be minimized. (Covering Capacity of Metalastic Metalastic, in addition to black, is made in 800 square feet, one coat, to the gallon and is the colors of Brown, Gray and Green (see sam- put up in one and five-gallon cans and fifty- pies on page 49). It has a covering capacity of gallon barrels. Specifications Iron or Steel Surfaces lindergoing Exterior Exposure (.Such as Bridges, .Steel .Structures for Buildings, Tanks, Fire Escapes, t'entilators. Metal Blinds, Etc.) General: Before applying priming or shop the surface to be painted. No painting shall be coat, all rust, mill scale, grease or foreign matter done in wet or freezing weather, nor shall paint of any kind shall be completely removed from be applied to any wet or damp surface. Maynicke 6 g Franke. Architects. Bethlehem Steel Company, Steel Fabricators Post &. McCord. Steel Erectors. New York City Bethlehem, Pa. New York City Heckscher Foundation Building. Fifth Avenue, New York City. Structural Steel Protected with Sherwin-Williams Metal Protective Paints Pa fie fortv -five PROTECTIVE PAINTS FOR METAL SURFACES Paint shall be used in the consistency received from the manufacturer. No thinner shall be added without the written approval of architect or engineer. Priming coat (or shop coat): Sherwin- Williams Kromik Structural Steel Primer. All riveted and bolted connections as well, as parts inaccessible after erection, shall receive two coats of Kromik Structural Steel Primer. Second coat (first field coat): Sherwin- Williams Metalastic Brown. Any portions of the surface which are abrased in transit shall be “spotted” with Kromik Structural Steel Primer, prior to the application of second coat (first field coat). Third coat: Full coat of Sherwin-Williams Metalastic Black. Iron or Steel Surfaces Exposed to Acid Fumes General: Before applying priming or shop coat, all rust, mill scale, grease or similar foreign matter shall be completely removed from the surface of the steel. No painting shall be done in wet or freezing weather, nor shall paint be applied to any wet or damp surface. All paint shall be applied in the consistency supplied by the manufacturer unless written approval for reduction first be secured from the architect. Priming coat: Sherwin-Williams Kromik Structural Steel Primer. Second coat: Sherwin-Williams Non-Cor- rodible Acid-Resisting Paint Black. Third coat: Sherwin-Williams Non-Corrod- ible Acid-Resisting Paint Black. Hot Surfaces (Stacks, Flues, Pipes, etc.) General: Before applying paint, all rust, dirt and grease shall be thoroughly cleaned off the surface to be painted. Paint shall be applied as it comes from the package. Priming coat: Sherwin-Williams Salamander Smoke Stack Black. Second coat: Sherwin-Williams Salamander Smoke Stack Black. Painting Galvanized Iron Prior to the painting of galvanized iron which is to undergo either interior or exterior exposure one full coat of Sherwin-Williams Galvanized Iron Primer shall be applied in the consistency supplied by the manufacturer. Any dirt, dust or grease shall be removed before painting. When dry, finishing coats of the type of paint selected shall then be applied. Exterior Ornamental Iron Work (Flat Black Finish) General: Before applying the priming coat, all rust, mill scale, grease or other foreign matter shall be completely removed from the surface No painting shall be done in wet or freezing weather, nor shall paint be applied to any wet or damp surfaces. First two coats shall be ap- plied in consistency supplied by manufacturer. Priming coat: Sherwin-Williams Kromik Structural Steel Primer. Second coat: Sherwin-Williams Metalastic Black. Before applying the second coat, any surface where the priming coat was abrased in transit or erection shall receive a “spotting” coat of Kromik Structural Steel Primer. Third coat: Sherwin-Williams Quick Drying Color, Black, thinned with turpentine, and when thoroughly mixed, add raw linseed oil. The mixture to be in proportion, two parts black by bulk to one part of turpentine and one part linseed oil by bulk. Pa^e forty-six VICTORIA JUBILEE BRIDGE AT MONTREAL The Victoria Jubilee Bridge spans the St. [^wrence River at Montreal, Queb--c. It is owned by The Grand Trunk Railway System. This bridge has a total length of 6,592 feet, which is approximately one and one-quarter miles. The bridge consists of twenty-five spans, having a length of 154 feet each and a center span of 340 feet. The width of the structure is 66 feet 8 inches. The total weight of the steel employed is 44,000.000 pounds Steel Work Protected with Sherwiii-WHIiams Metatastic Black. COLU^l^:/. Page forty-eight PROTECTIVE PAINTS FOR METAL SURFACES Interior Ornamental Iron Work (Flat Black Finish) General: Before applying the priming coat, all rust, mill scale, grease or other foreign matter shall be completely removed from the surface. Priming coat: Sherwin-Williams Kromik Structural Steel Primer (except where galvan- ized iron is to be finished, in which case specify Sherwin-Williams Galvanized Iron Primer). Second coat: Sherwin-Williams Flat Black No. 42. One coat of this material will cover solidly, with a dense, fiat black finish, under nor- mal conditions. However, in case the surface should not be covered solidly by the first coat of Flat Black, a second coat of the same material should be applied. Verde Antique Finish on Interior and E.xterior Metal Work (See sample below) General: Before applying any paint, all rust, grease, resin, dirt, etc., shall be removed from the surface of the metal. No painting shall be done during wet or freezing weather, nor shall paint be applied to any wet or damp surface. First coat: Sherwin-Williams Kromik Struc- tural Steel Primer to be applied in the consis- tency supplied by the manufacturer. Second coat: SWP (Sherwin-Williams Paint Prepared) Shade No. 393. Third coat: Brush-stipple coat, SWP No. 355 tinted with Sherwin-Williams First Quality Oil Color Paris Green to the shade desired by the architect. Kromik Structural Steel Primer Metalastic (;reen Galvanized Iron Primer Non-Corrodible Acid- Resisting Paint m.ACK RROWN \’erde Antique Effect Fade forxv-nine PROTECTIVE PAINTS FOR METAL SURFACES Geo. B. Post & Sons, Architects. New York City Geo. F. Watts Corp.. Steel Erectors, Boston, Mass. New Hotel Statler, Buffalo, New York Structure] Steel Protected with Shetwin-WilliBms I\4eta} Protective Paints. Pa^e fifty A .ft>'AVAVAVAV.»!4>!4\ PROTECTIVE PAINTS FOR METAL SURFACES Painting of Radiators The Relation of Paint Colors to Heat Radiation In bulletin number three, in discussing Sher- win-Williams Flat-Tone Wall Finish, it was shown that some colors have much higher light reflecting value than others, with the result that it is possible to make important savings in the cost of illumination of large buildings through the proper selection of color. Not many years ago, aluminum paint was used on the underside of metal electric lamp re- flectors on account of the impression that was generally held that aluminum has high light re- flecting powers. It was later definitely demon- strated that by painting the underside of the lamp reflectors white, the efficiency of light re- flection was materially increased. Now The American Society of Heating and Ventilating Engineers tells us that paint made from aluminum and gold bronzes, which has been so generally used for painting radiators and steam pipes, is quite as much of a hin- drance to efficient heat radiation as aluminum paint was to light reflection. The late John R. Allen, Professor of Mechanic- al Engineering of the University of Michigan, conducted extensive laboratory tests on the re- lation of colors and finishes used on radiators to the transmission of heat, and according to his findings, the use of aluminum paint on radiators retarded the radiation of heat 26 ^’, ! In a paper by Prof. Allen, recorded on page 274, volume 24, Journal of American Society of Heating and Ventilating Engineers, the following statement is made. “If a radiator is painted with any kind of flake metal pigment such as aluminum, gold or bronze its efficiency is reduced approximately 25 per cent. If it is painted right over the aluminum with an enamel, the heat transmission is the same as the bare iron. I have made these ex- periments with 14 coats of paint on the radiator and the effect of the last coat and the first coat was practically the same. “This shows that the heat transmission of the radiator depends upon the ability of the surface to dispose of the heat and not upon the conduc- tivity of the material of which the radiator is composed. That is, under the conditions existing in a radiator, the heat is transmitted much more rapidly through the metal of the radiator than the surface of the radiator can dissipate the heat. It is possible that we may find some coating which can be placed upon a radiator that will increase its conductivity beyond that of the bare iron. I do not know that any attempts have ever been made to do this, but it is one possible means of increasing radiator efficiency.” In later experiments. Prof. Allen actually did find a coating which could be placed on a radiator which increased its conductivity over that of bare iron. One was a damar enamel of the type of Sherwin-Williams Snow White Enamel, and the other was a zinc oxide paint, both of which re- sulted in an increase in conductivity of 1 per cent. The published results of Prof. Allen’s experi- ments with the use of various colors on radiators in round figures are as follows: per cent gain over bare metal Snow White Enamel 1 Zinc Oxide I’aint 1 Bare Metal 0 Terra Cotta I’aint 0 Bronze Green Enamel 0 per cent loss White I’aint 1 Light Green I’aint 1 Light Brown Varnish 2 Dark Brown Varnish 2 Silver Gray Enamel 3 Terra Cotta Enamel 4 Green Enamel 4 Copper Bronze 24 Aluminum Bronze 26 P a fit f V -one PROTECTIVE PAINTS FOR METAL SURFACES In a later paper by Prof. Allen, recorded on page 109, Journal 26, of The American Society of Heating and Ventilating Engineers, the follow- ing statement is made: “The effect of painting was originally deter- mined by experiments made with a cast iron rectangle, and in applying these to radiators of standard type, corrections must be made to allow for the difference between the area of the radiating and convecting surfaces. The effect of painting is to change the radiation constant of the radiating surface and has practically no effect upon the heat lost by convection. It is, therefore a surface effect and it makes no difference what paints are placed on the radia- Ded notions and Tests made by the Educational Bureau of the Paint Manufacturer’s Association of the U. S., indicate that there is also a difference in the radiation efficiency of flat and gloss paint and the indications are usually in favor of the flat paint. Inasmuch as a flat paint film is generally con- sidered slightly more porous than a gloss paint film, this may have some bearing upon the matter. The results of the various investigations cited, suggest the use of light tints of Sherwin- Williams Flat-Tone Wall Finish. This paint tends to bake to a firm film on radiator surfaces, and practical tests made by the Paint Manufac- tor as a priming coat, the results are always de- pendent upon the last coat of paint put upon the radiator. In radiators having a large pro- portion of radiating surface such as pipe coils or wall coils, the effect of painting will be more marked than in four-column radiators having a comparatively small radiating surface in proportion to convecting surface. All finely ground materials have about the same radiat- ion constant. Therefore all paints having finely ground pigments will give about the same effect. Metals have a poor radiating effect, so that any paint involving flake metal, such as the bronze, will have a low radiating constant.’’ Recommendations turers’ Association of the U. S. with paints of a similar type upon radiators in their laboratories, indicate that such a finish has life of as high as nine or ten years, without showing defects. Regardless of what types of paint are used in painting radiators, aside from aluminum and metal bronzes, there is bound to be a slight change in color. White damar enamels will yellow slightly, while Flat-Tone and colored enamels will likewise change color slightly. This is a condition for which a remedy has not been found up to the present, but the results, all in all, are highly satisfactory. Specifications Before applying paint, clean off dust, dirt and rust by wire brushing. Also remove any grease which may be present. Radiators must not be painted while they are hot. Allow paint to dry thoroughly before turning on heat. Where a white finish is desired on radiators, specify two coats of Sherwin-Williams Flat- Tone and one coat of Sherwin-Williams Snow White Enamel. For a colored enamel finish on radiators, speci- fy two coats of Sherwin-Williams Flat-Tone and one coat of S-W Enameloid in color selected. For a flat finish on radiators, specify two coats of Sherwin-Williams Flat-Tone in color selected. i;4U C23 586 Page fifty-two PROFESSIONAL BULLE'FIN For Architects and Fngineers On the Subject of Painting and Finishing ISSUED BY DEPARTMENT OF ARCHITECTURAL SERVICE The Sherwin-Williams Co. CLEVELAND, OHIO NO. 5 EDITED HV A. H. HTnT VOL. 1 Finishing of Interior Floors “Flies walk on doors - but people walk on floors.” This is a slogan which has been popular with the represen- tatives of The Sherwin- Williams Company for a number of years, on account of the fact that it very aptly states a truth which many are prone to overlook. Floors in a building, re- gardless of whether it be a residence, a school, an office building or a church, are the main traffic aven- ues of wear. No other surface in the building is called upon to withstand the extreme test of wear that floors are called upon to withstand. For this reason the im- portance of the proper selection of finishing ma- terials for floors, when writing painting and fin- ishing specifications, is of utmost importance to the architect. Few things can mar a beautiful interior more than poorly finished or scratched and worn floors. It is for this reason that this bulletin on the finishing of floors is being issued, and it is hoped that members of the architectural profession will find its contents helpful in selecting the most suitable finish for each type of floor. In view of the fact that The Sherwin - Williams Company manufactures all types of finishes that are used on floors, it has no reason to be biased in any of its recommendations, so that this bulletin will en- deavor to set forth the ad- vantages and disadvant- ages of each type of finish, as well as treat the prob- lems presented by various types of floors, individually. Types of Finishes Floor finishes can be generally classified under the following types: The varnished floor The shellacked floor The waxed floor The painted floor In new construction, about the only time a paint is used on floors is where they are of concrete or softwood. In view of the general use of hardwood floors in the better class of B. Stanley Simmons 8& Chas. S. Hollaway, Architects Medicpl Science Building. Washington, D. C. S-W Concrete Floor Paint Used To be filed in binder provided for purpose Copyright, 1923, The Sherwin-Williams Company Paf^e fif ty-t hree FINISHING OF INTERIOR FLOORS C O CO sandpaper to a smooth surface). Three coats of Sherwin- Williams Mar-not Floor Varnish shall then be New Hardwood Floors ()pen-(iri The floors shall be perfectly smooth before any finish shall be applied. Floors shall be thoroughly cleaned of all dust, stains, etc. A first coat consisting of Sherwin-Williams Paste Filler, in the color selected by the architect, shall be applied, which before becoming hard shall be wiped off clean across the grain with excelsior or burlap. Allow forty-eight hours for drying. Three coats of Sherwin-Williams Mar- not Varnish shall then be applied. The first New Hardwood Floors Close-' The floors shall be perfectly smooth before any finish is applied and shall be thoroughly cleaned of all dust, stains, etc. One coat of Sherwin- Williams Oil Stain in the color selected by the architect shall then be applied. After twenty- four hours has been allowed for the stain to dry three coats of Sherwin-Williams Mar-not Var- nish shall be applied, the first coat of which shall be thinned in proportion of one pint of applied. The first coat shall be thinned in pro- portion of one pint of pure turpentine to one gallon of Mar-not. The second and third coats shall be applied as the varnish comes from the original container, allowing sufficient time for hardening and sanding lightly with No. 00 sand- paper between coats. (For dull finish, include the following sentence in specification : The last coat, after sufficient time has been allowed for hardening, shall be rubbed to a dull finish with powdered pumice-stone and oil). in Wood Stained and ^'arnished coat shall be reduced in the proportion of one pint of pure turpentine to one gallon of Mar-not. The two subsequent coats shall be applied as the varnish comes from the original container, allowing sufficient time for drying, and sanding lightly with No. 00 sandpaper between coats. (For a dull finish, include the following sentence in specification: The last coat shall be rubbed, when sufficiently hard, with pumice-stone and oil to a dull finish.) irain Stained and \ arnished pure turpentine to one gallon of Mar-not. The second and third coats of Mar-not shall be applied in the consistency supplied by the manufacturer, allowing sufficient time for dry- ing, and sanding lightly with No. 00 sandpaper between coats. For a dull finish: The last coat, after allowing sufficient time for hard drying, shall be rubbed to a dull finish with powdered pumice-stone and oil. Pa4je Ffty’nme FINISHING OF INTERIOR FLOORS Marsh & Peter, Architects Washington, D. C. James Linskey & Sons, Painting Contractors Washington. D. C. (New) Evening Star Building, Washington, D. C. Floors of press rooms finished with Sherwin-Williams Floor -Seal -Oil. Office floors finished with Sherwin-Williams Mar not Varnish Page sixty FINISHING OF INTERIOR FLOORS La Brodge & Bullard. Architects New Bedford, Mass. Charles S. Oakes. Painting Contractor Providence, R. I. Mount Pleasant School, New Bedford, Mass. Floors finished with Sherwin-Williams Floor-Seal-Oil Waxed Finish for New Floors (Natural) The floors shall be perfectly smooth before any finish shall be applied and shall be cleaned of all dust, stains, etc. (Where the floors are of open-grain wood, use the following: One coat of Sherwin-Williams Paste Filler, Transparent, shall be applied, which before becoming set shall be wiped off clean across the grain with burlap or excelsior. Allow forty-eight hours for drying. ) One coat of Sherwin-Williams Floor- Seal-Oil shall then be applied. When dry sand lightly with No. Yl sandpaper and apply two coats of Sherwin-Williams Prepared Wax, pol- ishing both coats to a hard, polished finish with a weighted polishing brush or polishing machine. New Hardwood Floors — Open-Grain Wood Stained and Waxed Finish Floors shall be perfectly smooth before any finish shall be applied, and shall be thoroughly cleaned of all dust, stains, etc. A first coat consisting of Sherwin-Williams Paste Filler, in the color selected by the architect, shall be applied, which before becoming set shall be wiped off across the grain with burlap or excel- sior. After allowing forty-eight hours for filler New Hardwood Floors Close-Grain Floors shall be perfectly smooth before any finish shall be applied, and shall be thoroughly cleaned of all dust, stains, etc. A first coat con- sisting of Sherwin-Williams Oil Stain, in the to harden thoroughly, a coat of Sherwin-Williams Floor-Seal-Oil shall be applied, as it comes from the package, which when dry, shall be lightly sanded with No. Yl sandpaper. Two coats of Sherwin-Williams Prepared Wax shall then be applied, polishing each coat to a hard, polished finish with a weighted polishing brush or polishing machine. Wood Stained and Waxed Finish color selected by the architect, shall then be applied. After allowing the stain a few minutes to set up, wipe surface of the wood with soft cloth. Allow stain twenty-four hours to dry. sixty-one FINISHING OF INTERIOR FLOORS Apply one coat of Sherwin-Williams Floor-Seal- Oil; when dry sand lightly with No. 3^ sand- paper. Apply two coats of Sherwin-Williams Prepared Wax, polishing both coats to a hard, polished surface with a weighted polishing brush or polishing machine. New Softwood Floors —Stained and Varnished Finish The floors shall be perfectly smooth before any finish is applied and shall be thoroughly cleaned of all dust, stains, etc. One coat of Sherwin-Williams Floorlac (varnish stain) in the color selected by the architect, thinned with one pint of pure turpentine to each gallon of Floorlac, shall be applied. The second and third coats, consisting of Sherwin-Williams Mar-not Floor Varnish, shall then be applied as it comes from the package. Sufficient time shall be allowed for drying and the surface shall be lightly sanded with No. 00 sandpaper between coats. New Softwood Floors Painted Finish See page 63 for color samples. Inside Floor Paint is made in same colors as Concrete Floor Paint The floors shall be thoroughly dry and cleaned of all dust, dirt, grease, etc., before any paint shall be applied. Three coats of Sherwin- Williams Inside Floor Paint shall be applied. The first coat shall be thinned with pure tur- pentine in the proportion of one pint of turpen- tine to the gallon of paint. Second and third coats shall be applied without thinning. New Cement Floors -Painted Finish See color samples on page 63 The contractor shall make sure that all cement floors to be painted are thoroughly dry and free from dust, dirt and grease, before be- ginning work. Three coats of Sherwin-Williams Concrete Floor Paint in the color selected by the architect shall be applied, the first coat being thinned in proportion of one pint of pure turpen- tine to the gallon of paint. The second and third coats shall be applied in the consistency supplied in original container. Where economy is consideration, satisfactory job can be secured with two coats but three coats will wear better. New Cement Floors— -To Harden and Seal Discussion Where cement floors are to undergo heavy wear, the floors can be materially hardened, dust- proofed and sealed by three applications of Sherwin-Williams Concrete and Cement Hard- ener. One gallon of Concrete and Cement Hard- ener will treat from 60 to 100 square feet of ce- ment surface, three applications, varying with the porosity of the surface. However, in esti- mating the quantity of this material required, it is recommended that 70 square feet be taken as basis for estimate. Sherwin-Williams Concrete and Cement Hard- ener is a colorless liquid and will not change the color or texture of the cement floor. Specification Cement Floors not to be painted shall be treated with three applications of Sherwin- Williams Concrete and Cement Hardener. The first application shall be reduced in proportion of one part of Hardener to two parts of water. The second application shall consist of equal parts of Hardener and water. The third appli- cation shall be in proportion of two parts of Hardener to one part of water. Apply by flushing on surface and brushing out. Pa^e sixty-two FINISHING OF INTERIOR FLOORS Finishing of School Room and (iymnasiiim Floors Also wood doors of public buildings, subjected to on obnorrnol oniount of we;ir There is such a thing as a wood floor being subjected to so much wear that it is not practical to finish it with a paint or varnish. School room floors are an excellent example of this type of surface. The scuffing of the children's feet rapid- ly wears the paint or varnish in the aisles and under the desks, with the result that the floor soon takes on a mottled appearance. For this reason many architects have in the past resorted to the use of hot boiled linseed oil and turpentine, feeling that even though it is not possible to give the floors an attractive finish they may at least be preserved. However, it has been found that the treatment of the floors in this manner is not sanitary. The linseed oil tends to collect and hold dust, dirt and germs; it discolors the floors and makes them difficult to clean properly. The Sherwin-Williams Company has devel- oped a special product for treating floors of this nature, which is highly popular and for which the demand is growing in leaps and bounds as more people become familiar with the i)roduct. This product is known as Floor-Seal-Oil. Floor-Seal-Oil is a special varnish oil. Two coats are recommended for treating new wood. The first coat penetrates into the jiores of the wood and almost disappears. The second coat completes the work of penetration and fills the pores of the wood to the surface, drying with a varnish sheen on the surface of the wood. Floor-Seal-Oil not only seals and preserves the wood, but also hardens it and makes it resistant to wear. Renewal of the treatment once every year will preserve the floor for an indefinite period. The finish on the surface of the floor soon disappears, but long after all sign of the finish is lost to the eye, Floor-Seal-Oil goes on protecting the floor against wear and penetra- tion of dirt and moisture. Specification All wood floors to be treated with preservative Floor-Seal-Oil shall be made in the consistency shall be smooth, clean and free from all grease, supplied by the manufacturer. Allow sufficient stains, etc. Two applications of Sherwin-Williams time for drying between coats. Sherwin-Williams Concrete Floor Paint ( )r;iniio Dust (,ulur Yellow M aroon Pb^q hree m FINISHING OF INTERIOR FLOORS Hawaiian Electric Power Plant, Honolulu, Hawaii Sherwin-Williams Concrete Cement Hardener used; also Sherwin-Williams Concrete Floor Paint Exterior Walls painted with Sherwin-Williams Concrete Wall Finish Finishing of Ballroom Floors Ballroom floors present a special problem in floor finishing. Here is a floor on which neither a varnished finish nor a shellacked finish is suit- able. The finish must be thoroughly tough and elastic, yet must be slippery to enable dancing with ease. For this purpose Sherwin-Williams Floor-Seal-Oil is recommended as a foundation for two finishing coats of Prepared Paste Wax. This finish in itself however, would not wear in- definitely unless Dancing Floor Wax be sprinkled over the surface each time before the floor is used. This renews the finish and keeps the floor in excellent condition. (See photograph of ball- room on page 58, finished in this manner). Specification The ballroom floor shall be surfaced perfectly smooth before any finish shall be applied and shall be thoroughly cleaned of all dust, dirt, grease, stains, etc. A first coat consisting of Sherwin-Williams Floor-Seal-Oil shall be applied by brush with reasonable liberality. When dry sand lightly. Two coats of Sherwin-Williams Prepared Wax (Paste) shall then be applied and rubbed to a hard, polished surface with a polishing brush or polishing machine. (Prior to using the floor for dancing, sprinkle Sherwin- Williams Dancing Floor Wax over the surface.) IDOUi - ^ - rn! W L. - Pa^e sixty~four S1924E D23 749