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tt=0M Bo o k ) VI- I $35-1938 N17382 NL I 001861 In te rio r Piaster  >** . % DUTCH BOY LINE WMtTC'lCAO ^tn(' *<hri namt" Ulrmrnl r #frt nwi' in nr(rrn IkMtrli IfciM abitt *W4 But it K h h y iHntr >u*l k;an Lflunlh *1 rqynw* lh rijfirn. *| mailrt bn*e afifilml Ifetrfti Ma afaitr Imd mi nuint i Imn imiw I* mi hnmn and nMnMrrricI Mmrtufr* nH tun* umti-Wal tKatrb Vm f*lhrr ri)Hurv . , . *?ka %ra* *f MU Ibalt fci* . lif* aid arne In blwinai. If i haw nr>rr anal Nlii Ini *Hilp4rnfJ aw rialti I kin lima <! < Wnwf*nMHf ` laUfMMm UJ-rtmflW *#'1 PhMI ( fin w. It in tW iMmlatlM n( K lut I. 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TKrlaUrfi<.a^ut)MM4ait ifmallt Irpatnl ImImp , lla am |Urn impnnid am) bjniai analilif* In alntr-lrad |mI>I. lad *7 Iim Dutrli In* wilt MW in MKUlJk CJ>M WMA*fen latir LEAO MIXING Oil .............. ... |,.j iliving ! 1mm tt*l atmilwf "t^w<ial till " |t * dnnannl |h i a drlinHr |iur|NiM> to Ml mat* |a* knjrn trim in thwt nmrt far*ft- |Jt with ill* >lml and that Iralt. prttlr* ta attrl brawti* ir* |a*ni* tr(*>r nlr|Hrr (Wi In |dattrr. all lawrd, awt. frlr. krai a* lir ru tnlrraw w ri<ran. Ihilili Him t+rnti Mitini IM. uwd with w|itr* (**!. ha* rtmlWnt walina qualttiri . . rm rt nil anti la *rl wit fr* m Iiib Ii tfrraduic ral* ami }irsaliir a add duraiir willi Ml ll nunnrm COLORS IN OIL 1* a rr*ult mi qualm amalrrtalt and tiilUf manufw tum llairli Hu taaltar* tit wl an aUat* trur ant ItMtr at aril at kql> in Hnittui ntra-aigth iKilrit Mitt nalnrt dti ant iar la tar tlnnnrd irfun mii| I bn t ramr in WI pntlr i1 anti11 raw k )wM rqlit lw nmmi t&arrrtl% iota tWa pah i . TMrrr a* aa hi|NN at atiraltnc . m tna mi tintiaag timr. t r tirw imfwanad ruiun ahtlrdrwl Ittr) fMnr m laUtrain, lit ant *<il. Atrlw.. atth llutrli (at ldr rant* mi tq* ran# and in LIQUIO DRIER 1 ant an'l lr |amt rarrfill alMii driri. Ilrrr that a*l ! r|wttt mat aim tkin-drunf and rn>Ut<i If il aurkt itat ti>U, dif< anti dual ndlrtl. diwviurmt liar fd ^a(i inanl mir paonI jul atlli a dr piidahir irirr . . . Ilwlrh Matt laquitl tltwr . . madr m+urUll) lam nw atilt iHilt h Hat ahitr* lrn*l. ft* artiai in nrtthn two fant nwr I tar. nlam. It ait anuatall* ntraan* atrut mf th brat Itama tt itMttfaaiimn prwprrit bniawrd tin trrnf ilnaii rMn trnt drrtng. TWa nmlrnt* taf rtrrt tanlainrr arr nat t)> lltr umr. nm* farm rn t(rrnftli atwl uniform in rrmtll* prm dwrral II aall twit rwnllr twr 4inan4aar thr point. k? * > !7 L I 002029 N17382.01 & Jji HI(Ilf J]:y t| ^ pfillip 111 m'.i ,fJWitaljffi1, x mi m 0) Qi y l:a.`* m pH Nlul 002032 Bo y Wh it e -Le a d and L e a d M ix in ---------------- - *- NL J02034 002035 saRWte*s*s-!'" Dutch Boy Whif*Uod Dutdi Boy mft p*$t* bm-M pure carbonate of lead (iawd mi Imctd oil and then re-ground in turpentine to form a toft pane which mites quietly and easily wieh lin seed oil foe outside paint and nidi Lead Mixing Oil or turpentine for dat or eggshell wall paint. All-purpose soft paste white-lead contains Wfr carbonate of lead, 9'"< pure refined linseed oil and 2? r pure turpentine. Dutch Boy beery pwi/r shite-lead b pure car bonate of lead that is ground in linseed oil only. As is the case with all-purpose soft paste, this grind also mixes readily ith linseed oil arid with Lead Mixing Oil or turpentine. Heavy paste white-lead contains 91'i carbonate of lead and 9* i pure refined linseed oil. Dutch Boy white-lead is sinually concentrated paint. It is easy to thin, tint and spread. It is called "the Painter's Paint" because it enables painters to mix their paint to suit the needs of each individual job, both as to the type of paint required and the color wanted by the customer. Dutch Boy white-lead paint, properly mixed and applied to a surface fit to receive it. may be depended upon to last long and look well and to wear down stubbornly, giving a perfect repainting surface when repainting eventually becomes neccssars. Dutch Boy white-lead is marketed in 'tec-1 pack ages in the following sires: I Oil lb. kegs, 50. J5 and 121' lb. Heel pails. KSSS N17382.02 002000 NLI wm 37 our civilized communities of today we Itwk at paint most of the liime. Lift your glance from this page and somewhere before you is a painted surface. All sorts of things are painted ... all types of surfaces receive their color and texture from paint. Just as there are many types of painted surface, there are many tvpes of paint to paint them. So much so, the buying and specifying of this widely used material has become complicated when it might be simple; confusing when it can be clear and direct. Therefore this discussion, in tended as a contribution toward clarifying an already overburdened subject, is to be limited to one type-of surface . . . that of interiorwalls , . . and one type of paint . . , Dutch Boy white-lead and Lead Mixing Oil. In the selection of paint for this one type of surface there are but two angles to consider. Without doubt, the first of these is appearance . . . the things we see in a painted surface . . finish or texture and color. Next comes economy . . . real economy . . . concerning itself not so much with the price per gallon in the bucket as with the cost per gallon on the wall, which is quite a different thing. And, as a part of both appearance and economy are those twin factors of wear and maintenance. This booklet, therefore, will deal with the consideration of appear ance and of economy, as they relate to white-lead and lead Mixing Oil paint, with the hope, of course, that the reader, if not already a user, will become one and that the present user will find his judgment and his ex perience amply confirmed. NLI 002008 No interior paint is worth consider ing unless it produces a satisfactory appearance. That's an obvious and simple truth. Not so simple, however, is determining what constitutes "satis factory appearance." To a great extent this depends upon the use or purpose of the interior which is painted. If we are permitted to gen eralize for the moment, it may be set down that practically all interiors are painted to better the conditions under which we live, play or work. Paint accomplishes this through providing better light, pleasing color and clean surroundings. Suppose we think first of better light. Most of us spend the greater portion of our waking hours within four walls. S<> the more pleasantly these interiors are lighted, the more comfortable we are. Inadequate light connotes mental depression and strain, (dare brings acute discomfort, lather extreme is to be shunned. This is the objective of the current Better LightBetter Sight campaign and in the para graphs that follow we hope to show how great an influence is exerted along this line by a paint's appearance. Finish or texture, as one of the important elements in appearance, has a very definite effect. There are many degrees of finish, ranging from N LI 002009 > - * ----- Ut >rs and IT. tts- Mch :cn- sct are ulcr tint hng van tier Jter :hin itly *>re ;gh: am. : her the ;Ktira- !KW this the nee. are dm 5tfc; . mvW,. dead flat to high gloss, from rough plastic to porcelain smoothness. Vhitelead, itself, can be mixed to produce any texture within this wide range but. first, the paint user must determine which finish best carries out the real function of the paint. A flat paint finish presents a roughened or pebbly surface, broken up into many little peaks and vallevs, as against the almost even surface pre sented by a glov. or enarriei finish. A ray of light striking the former~is' broken up and reflected back in all directions while the same ray is reflect ed back from the gloss surface as one beam. Actually this is why the one aurface looks flat and the other glossy, but it has more significance than this. Ah interior covered with a high gloss paint will have highlights, whether the light source be natural or artificial. That is, portions of the surface will reflect an almost perfect image of the light source and will appear brighter than others. If the light source is increased in intensity NL I 002010 jllliliSilllli# &* these highlights also increase and at some point the resulting glare be comes unbearable. But even before this point is reached the human eye will become fatigued, if exposed for any length of time in a room where such sharp light and dark contrasts are present. On the other hand, a glossless wall surface diffuses the light reach ing it, so that, while variations in light intensity on the surface may be visible, they are not so pronounced nor arc they tiring to the eye. The result is that such an interior is a more efficient place to work or a much more pleasant place to live. In fact, complaints about poor light in certain interiors have been traced not to a lack or "loss" of artificial and natural light but to its uneven and faulty distribution. Glossy paint surfaces were reflecting the light in such a spotty manner that there was over-illumination in some portions of the room and under-illumination in others. The resulting impression on the eye was one of gen eral low illumination. As a general thing, therefore, a so-called flat finish is the more effi-' cient and more acceptable for painted interiors. To most people, however, an absolutely "dead" or chalky flat is not as pleasing as one with a little, but very little, sheen ... the type of surface, for example, that is produced with Dutch Boy white-lead and Lead Mixing Oil. Although, as we said before, white-lead itself is so versatile a pig- " ***** * 'xosasporr U NTT0200 I 1' *"Ic" >1_ [ >/- r (, mom that b\ 'arsing the vehicle from turpentine to Ukliod'oil vnu can get a dead flat paint or an enamel a' well as gradation' in between. with Dutch Boy lead Mixing Oil it makes a white-lead paint that best metis the need'of the average interior a< to finish and texture. It has abo .1 look of depth and qualits which, from the appearance standpoint, accounts for white-lead'' traditional reputation a' a paint for tine interior'. Moreo'er. a' will he shown later, the "Better I lght-Better Sight" advantage' of thi' finish can be secured without sacrifice of washabilits even where condition' demand the frequent cleaning of the wall surfaces. A white-lead and I ead Mixing Oil surface i' one that not onlv hm>k\ clean when new but one that h clean and can be k> pt clean. fit ' Wf&J ,,I Nil 002012  ' -1' Another phase of appearance is color and, here again, we encounter a close relationship with light conditions. We all know that light affects color. lust how much can be seen in the accompanying chart where certain colors are compared both under artificial and under natural light. It may be surprising, however, to learn how much color affects light. For example, how much more light is required to establish a proper light level in a deep gray room than is nec essary in a similar room with cream or ivory walls. This is clearly shown by the following experiment. The walls and ceiling of a large unfurnished room were successively painted in four different color treatments. After each painting the quantity of electricity required to maintain a light level of ten foot candles at a working plane 5 I inches from the floor was carefully meas ured. The results are as follows: Colors --Dark Grav Ceiling " Sidewalls --White Ceiling Dark Gray Sidewalls !--White Ceiling Light Gray Sidewalls 1--White Ceiling Cream Sidewalls Reflection Factor 10'"' 10'i 81^ 105* 81 r'< ' 26" 8 if' Wattage 1550 990 900 49f Jit ,t V f- m -! d iitHy 'nit-rii*.Tut * '** . j *J i m..` Jtmi.'r jreiet fnf't `iff* -ar it :n:**;*%. BEFORE AFTER ' / i i. r "f > |j> Mp Mur -4*-,' ,T How Light Affects Color Lm A UB Lsmf kmC Am},/** 0<*. Tty: tU .4*m m * *. rv.*-r> ;m t v*W mm f*p; ti^, |dtMr t.aTgffe* i*T* *.W*m. m ffcr** .*>* Jt#*.ifr** <f*yn M*. in< u*<tpmf^&NV f^trm i f 4r<' #pMp*ijr^mmt u 'rw/egunWy * 0*i*+t* i^mf 7*r imtiam *vm R* r <** i ri* mm* tf* . rJ* *fpt* mmJt* mm .! .** From this it is quite apparent that' when walls are painted with colors that "turn back" a large percentage of the light received, a mini mum of lamps and wattage.will be needed to establish proper light levc'v. Moreover, daylight will be utilised to better advantage and lights will not be turned on so early in the afternoon or so frequently on dull days. On the chart reproduced on the following1 page have been indicated the "Reflection Factors" of some commonly used colors. By this is meant the percentage of light reflected or thrown back by surfaces painted with these colors. Whether the surface is gloss or flat does not affect this quantity although the finish does, as we have shown, affect the quslity of the reflected light. The light absorbed by interior surfaces is a definite light 1ms. Some times this loss may represent the difference between bright, pleasant room' j 002014, and poorly lighted, oiu-s . . . between light levels which arc suffi cient for clear, comfortable vi>i<m and those which strain the evov and lower efficiency. To cite an actual case:'7'he light level in a certain office -- l f\30\f 0` --was found to be 2 f foot candles at a desk near a ten foot window on the afternoon of a clear day. Thirty feet away, at the other side of the room, the light level was only .' foot candles, too dark for proper work. Just the ceiling was then repainted in a light color and at the same hour on a comparable day the respective light levels were found to be 40 and 9 foot candles, ample for efficient work in any part of the room. The natural conclusion of all this is that careful attention to the ffVtjgn of color for interior surfaces can pay dividends in a more effi cient use of artificial and natural light, better sight conditions and more desirable living quarters or offices. Of course, the aesthetic or decorative side of color selection cannot be ^ regarded. In many types of rooms, this may be an even more important consideration than the light reflection angle. But always there can be a compromise between the laws of color harmony and the laws of light reflection that will meet the matter of personal preference. This is especially true of white-lead paint because it is a custom-made paint and therefore a custom-tinted paint. A competent painter, from a group of twenty' odd colors-in-oil, can produce every' desirable grada tion of tint and shade of color with white-lead so the probabilities of failure to reconcile the aesthetic with the efficient is remote indeed. The same painter can also, if the occasion demands, add design to white-lead painted walls. This design may take the form of a simple stencil pattern, quickly and easily applied, or it may go as far as die elab orate and ornate decoration frequently seen in the public rooms of hotels, apartment houses or governmental buildings. In other words, white-lead is ideally versatile in everything to do with the appearance of a paint--finish . . . color ... design. No matter what the interior may demand, Dutch Boy can meet the specifications to the letter. NL I 002016 Although it may come first, appearance isn't all that should be con sidered in the purchase of paint. A paint must look well but it should also meet the standards of true economy. Webster defines economize as "to be prudent m expenditure" and it is in this best sense that it should be hooked up with paint. It has been said many times, but as a truth will always bear repeating, that you may buy paint in the container but you pay for it an the walL To express it another way--the cost of application plus the cost of future mainte nance are the real factors in paint costs. The cost of application includes both the cost of the material actually spread and the cost of the labor to spread it. The cost of labor on any given job is the same per hour or per day no matter what paint is used. Therefore, it becomes elemental that the most economical paint to use from the labor standpoint is the one which goes on with the least effort, so that the painter can cover more surface per hour and thereby reduce the labor cost of the job. Just how does white-lead and Lead Mixing Oil stack up on this score? In the first place, white-lead paint has a long established reputation among painters as an easy spreading paint. "Goes an like butter," they say. But this is not very definite, so let us describe a test recently made. Three different commercial flat paints were selected to compare with Dutch Boy white-lead and Lead Mixing Oil. The same painter, an exper ienced and capable man, applied each paint to comparable room surfaces large enough to insure accuracy and free from obstructions which would slow up brushwork. The containers were unmarked so that the man doing the painting could not be prejudiced. An accurate record was kept of the time required to spread the different paints. The results are given on the opposite page. From them it will be seen that because white-lead and Lead Mixing Oil is an easy spreading paint, very definite savings on labor costs can be shown. That's something to consider as real economy. The other factor in the cost of application . . . spread or coverage . . . was also tested on this job at the same time as the labor. Accurate H Wi: 35,*1 if >T::: -' <iM tfg4sy*-,*p rcw>%& S s, s Although it may come first, appearance isn't all that should be con sidered in the purchase of paint. A paint must look welt but it should also mett the standards of true economy. Webster defines economize as "/o be prudent in expenditure" and it is in this best sense that it should be hooked up with paint. It has been said many times, but as a truth will always bear repeating, that you may buy paint in the container but you pay for it on the wall. To express it another way--the cost of application plus the cost of future mainte nance are the real factors in paint costs. The cost of application includes both the cost of the material actually spread and the cost of the labor to spread it. The cost of labor on any given job is the same per hour or per day no matter what paint is used. Therefore, it becomes elemental that the most economical paint to use from the labor standpoint is the one which goes on with the least effort, so that the painter can cover more surface per hour and thereby reduce the labor cost of the job. Just how does white-lead and Lead Mixing Oil stack upon this score? In the first place, white-lead paint has a long established reputation among painters is an easy spreading paint. "Goes on like butter," they say But this is not very definite, so let us describe a test recently made. Three different commercial flat paints were selected to compare with Dutch Boy white-lead and Lead Mixing Oil. The same painter, an exper ienced and capable man, applied each paint to comparable room surfaces large enough to insure accuracy and free from obstructions which would slow up brushwork. The containers were Unmarked so that the man doing the painting could not be prejudiced. An accurate record was kept of the time required to spread the different paints. The results are given on the opposite page. From them it will be seen that because white-lead and Lead Mixing Oil is an easv spreading paint. Yen definite savings ,m labor costs can be shown. That's something to consider as real evomwns. The other factor in the cost of application . . . spread or os crage was also tested on this at the 'amr time as the lahr Ac,urate 00 ii 142 C| ir 7k>, rM U T a h rfi*r * r **> \\ htte-Le.iii Reduce \ Ljhot (,o.\t of Pjtutiu^ .** ! . *<- *,*.. * , . Tk* --am U*r* p* '.-i '* l< . p* ;v- . . , ,, , %, t k t- . .4 .,l.4*w-<*r t|.: , t,, I**.;* ^ To <k***.iruic: r :fc*ir J.-c'c U*^ M >&* (> Tfc* <v r .* x OfcMtjrti to inwiT Ail thr pa*'-t * i t-PT ffv> - j ' f* ir.w .*: i)-u ' K- r..{< * ' * <* Pf i v* fw*h e r*>.x wrJ*.r. .Aigt .si'.r . * A .. * ) UJ- hru*f -*k 1 IK um. -4. r<> Aaoraett;-- Icf* to detrr ut i:.< r*u *r mk,..u ra*>, . r\* p*.::. *. Th* Bait* duamt , i& term* rf .#*- p* r*r*.' Nm* d*>. pr< *.> :** .e if.4f 4 fa.pu t ju.rt* (mm vttb rtilr-tp*J A M'.Pf lv* >. t`* .*h* w.nt fa r.t.r.f AREA COVERED PER EIGHT HOUR UAV V .' f y-- \^*v - --1 .1 X A White-Lead Reduces Quantity of Paint Needed Rk --a ok--pitaH punt boa a twgfe tfrv*i.r. rat*, a gaJuaa *!! emtt a large? area of iifai ikm mem* mkm flat pamu Tk -- am tk< fccr giimm at paim wt)l k wyirwi b chr 1-- bgiWi akm. an acaaratr mord * alc kept at tfct mri*g capacit* ai thr tear pmoti --Ar CO--Arenae TW ftwaJn ihowc trio*. ip trr-- ai m nmmdpm *; pnr, pox tfcac arfciar Wed, * aiditior ao tpcaiiog Murf and thm **mg lahn c u mi, abo afrie*4 tar and ih Leap --lai mqmm---- ar a --tu--a* AREA COVERED PER GALLON OF PAINT OCTTH BOV PA1V7 A if PA1V7 B --SilMl NL I 002019 measure was made of the covering capacity of each paint used. Again the results speak for themselves and show that Dutch Boy white-lead and Lead Mixing Oil not only spreads cisily but it spreads far. Of course, as part of labor, too, is the time in getting paint ready for the brush--thinning, mixing, tinting. On this point, the ease and speed with which white-lead thins down to paint is a real advantage. The chart on the bottom of this page shows the time needed by the average painter to mix and tint white-lead and Lead Mixing Oil paint. As may be seen, white-lead thins to paint ready for application at an average rate of more than a gallon a minute which we suggest is as fast as or faster than any other paint can be properly mixed. The cost facts given on these pages simplv confirm what white-lead users know* from their own experience. They are figures that have been duplicated on many jobs under many conditions in actual practice over a long period of years. Furthermore, these tests are of such a simple na ture that any paint buyer can conduct similar ones to convince himself that white-lead and Lead Mixing Oil leads the field for economy in cost of application, particularly when coupled with fine appearance. Rttrstn Iss; -*nJ h.jJ .f ; P':T:nt* \> hit*-1.* ! ; >nrrirc hju'h until \ c*'ii - j l-t-dsf Mivi*; ; whitvK.iJ. oil inJ Oil k fm::'* | v>! *fv jr-.* thor- . | iK.ithU * MINI TFS j i*. MJMTES IV RciJ\ f**r rh,,- hru-h* Si* t *c\in \it mLfh.w1 '*jt pu-m mi ,i t.rJ *r 6.M1MTES S&jS**- m** .i {*, Nil 002020 Thi* consideration bring* u* to the other fa*tor *>* economical pain: buying --how- dory 1/or how u;li it ij :; Initial .line appearance . i* one thing you must base. I ontmu.-d tine appearance ts.one thing you should have. Here the bright Ixo m the third row volunteer*: " I hi* sort of service is line economs. too " Ami. ot course, it i*. It sou paint your wall* lor better appearamc. the longer the' retain that better. appearamc the fewer painting* thes will need. Since all painting co*t* money. lesser painting* will co*t le** inmvev. ^ hue-lead paint ha* been long noted tor durability under weather exposure. The vers same paint we are di*cu**ing . . . Dutch Kos white lead and lead Mixing Oil . . . i* u*eJ to w aterproot anil wcather-proot such nutuJt surface* a* stucco, brick, concrete,, mo ik and canvas. It actually stands up under exterior exposure to sun . . . storm . . . tempera ture change* ... all the element* that night and das are continual! s w-orking to destroy paint. Vt'e can state thi* so definite!s because there arc years of service record* to attest this paint's satisfactors performance unhid,. This is the paint we are recommending lor u*e on sour wall* tn\id,. D>i sou doubt that it will wear . . that it wifi easily withstand periodic hashing without noticeable damage to it* original attractive finish? It'* an oversize" paint lor sour wall*. I ike *tructure* built by engineer* it ha* ample margin lor *tre** and *train. It mu*t have or it wouldn't 002021 NLI ______ .....I w n 'W U . " lf f -A:'? $4. >oV* *-< iv c ,*- "ukc" the kind of treatment it gets on the outside. Just to prove that we couldn't be mis taken, this paint was put through a special gruelling test. Instead of painting it on a wall we used a square of wallboard that could be walked on. For a full week, lying on the.floor in a busy doorway, this paint was tramped upon bv hundreds of feet. Back and forth . . heel and toe . . . grind and crush went these feet until the original white had become a dirty . . . very dirty . . . gray. Tven this wasn't all. Vails aren't walked on hut many'of them arc soiled with such things as grease, lipstick, iodine, shochlacking, ink and pencil marks. So all of these were streaked on this already mistreated painted surface. Then it was washed. A sponge, water and washing powder were used to take that dirty, greasy, gritty mess off so slick that this cleaned paint looked practically new again. This, we respectfully submit, is f<jntt .ini'.'. . the'kitrd of wear that sou should get from the flat paint you use ... or e!<e sou are not getting every thing from iour paint dollar. S tar we base discussed the econ- ont\ which mas he experienced in * ha: mich: tv c a ent 'am: 'C ac 002022 NLI of equal importance anJ that i' the selection t a pain: which alwjxs make' a safe foundation lor succeeding mate no matter how mans nor oxer how long a period they max he applied . , in other word', the economy .of future painting. There are many paint users *ho haxe dis-oxcrcd that the paint thex selected ir. good faith today didn't show it\ true color' tor cexera! subse quent repainting'. lor example, in a certain New York apartment house recently. the paint began peeling off in large irregular area'. An tn'fwc tion showed that the trouble started not with the la't repainting but ttxe sear' previously with a paint that lacked the "'tuk-to it" qualitx that whitelead alwaxs has The onlx rentedx in this case wa' stripping tlu wall' dow n to the plaster. Sush an expense max nexer happen to xou Hut with white lead available there is no need to ri'k it. U e can say this hex a un* white lead paint has a background ol successful use extending oxei generations There are plenty of buildings w hose x*. all . luxe lwen w hite lead painted for twenty, thirty, fortx and more years. < oat alter coat has Iven put >n with perfect xalety. Their owners do not need to guess what mil happen. They know what /w> happened. It's a nutter of xpcrieiKc and not one of prophesy. So far wc haven't taken up the question "Vhat d*ws this paint cost per gallon.'" This has been lett to the last Ivcause in buying the most economical paint, price per gallon in In lar the least important thing to consider.Once the paint has been selected which.best meets the stand- NLI 002023 lift 5F v -i'"- -p; f-FZ ards we have so far discussed, the fact that it happens to be a few cents higher or lower in price per gallon shouldn't affect the choice. Because the price per gallon is always secondary to these other advantages of fine appearance and economy of spread, application and wear. That is the essential thing to learn about wise paint buying. But what does Dutch Boy cost per gallon? There's no need to guess because the price charts below give alt the facts. If it's a two-coat job, new or on previously painted walls, use Chart A. If it's a three-coat job on new walls, use Chart B. At the intersection of the price you pay per "hundred" of white-lead and per gallon of Lead Mixing Oil is the cost per gallon averaged for the two coats or the three coats. For example say the white-leat? is $ 11.?0 per hundred and the oil $1.20 per gallon, the paint will cost $2.42 per gallon for two coats or $2.36 per gallon for three coats. .------------------------------------------------------- ------------------------------------- , i Avenge Cost per Gallon of White-lead and Lead Mixing Oil Paint { 10.**.,.. i-u 1.2*...... < HART A TVkO < OST iSSIDfc JOS 'if.* ( ->af 1 A1 IS. U . ir 1.*.! Vj Led Miner tV t *.l M-e j> :ir; TH*H. CMHUATR`TIXS*infc /n r Ir. (CI >4t I * `H * Hue M.-> <Vl W '.Mt 4Mj t .h*. IK >j' vj 1**4 M.ii.ru IV! 1" M -.a? vJ-seav v*v J Lead Mtsina Oil Price per Gallon 90 1.00 1.10 1.20 ISO 1.10 1 1 i>2 : n ;i. ; :a ; : ) : :w : :v : : Led Miiififf Oil--Phc* p*t CftlUm .90 1 00 MO t.2* 1*0 T. $l> 1 Ml 1 47 : : 7 14 : w : : i) ! * : i: : i- : n : N .* w : V; :.. 7 i\ ; : i: ; t. : : n : u : :% 7 h w : n ; r : :\ * * U 7a 7 i> : :i : > : 7 W : *s : i * : :a ; : ^ 7 *1 4* * \ * ::: .* > ; u 7 7 * *> : v > * * 7 *} ' W 7 4 * V` * ' i' * IT : v ' : y\ * i. ; ,\ ?> 1" ' i : - ^ * 4 > V *V Nit 002024 %'Vthcr thi i' l*"- X I*. : '.4i %.>; arv p.. .X !) it . an t. price for in honot pa.nt a pa.i.t :* at Li- x ttL.ii. tt!. appear aiwr, low final cost. wa'hai-.i dutabinn. an,! sa',:..: p-.it . j pamt that gives equal hcautv ir j:. n;:in,.- Mitij.i' p'u'i..:. w.>JworK or Dgrul. Vhv not check tin tlat paint \.*u ar i now u'lifg vir am pain \ ou nut Jgiin't tluv Umt ApptW" Has it that solid hcautv whisk add' a' mmh attractiveness to a small office as it does to a big ballroom* V'nh it, *.an you produce ahx tint or thode of color the conditions demand r ^ i! 1 it provide. the decree of tlat- nes hen for ideal lighting? I' it versatile enough to prosidc mubi-color design a' well a' one-color simplicity ? Hi l*u Coit Does this paint give teal low cost1 b it so easy to spread that the painter can work to your best advantage bs covering more surface per dav? |s it so easy to mix that minimum time o consumed in preparing the paint for the job? Does it cover so well that the painter can spread more surface per gallon and thus use less material for a given surface' b it a paint that will be "safe" live years or ten years or twenty live years from now? Is it low in cost per gallon on the wall? HH K'atbakU DurahiltIy Can its original "new paint" look bs1 restored by washing* Vidt it stand up under even careless scrubbing and harsh soap ponders? Vi "hen conditions demand a high standard of cleanliness through frequent wash ings, can this paint "take it"? b it * durable that it docs or could w ith- stand outside exposure? m Staling Pbu rr Does this paint possess sealing qualities to hide such blemishes as tire- cracks and porous plaster spots? (an it he- used for all coats and for all surfaces inside? Paint made with Dutch Bos white-lead and Dutch Boy l.ead Mixing Oil can answer all these points in the affirmative. The paint that you buy must also answer all these points affirmatively or you are not buying paint to your best advantage. NL I 2025 While we have confined our discussion so far to the subject outlined in the opening paragraphs--namely, interior painting and flat paint made with Dutch Boy white-lead and Lead Mixing Oil, there still remains the probability that you, as a paint user, also on occasion have exterior painting to be dune. If this is true, you should also know what Dutch Boy can do in this regard. White-lead is also an exterior paint--one that has an enviable record of performance behind it. Its qualities can be accurately gauged by thou sands upon thousands of successful paintings and repaintings covering a period dating back to Colonial times. Perhaps, the phrase that white-lead is a safe paint expresses as well as possible the degree of reliability that users have placed upon it as a protective, long-lasting decorative coating i for exterior surfaces . . . one that docs not crack and scale but wears down by a gradual chalking process presenting the ideal surface for re painting. To make a gloss paint Dutch Bj v white-lead is mixed with linseed oil and liquid drier, both of which arc items in the Dutch Boy line. It is tinted, just as is flat paint, with Dutch Boy colors in oil. NL I 002026 .-I. lor surfaces that arc of a porom nature. >uJi a' brick. stucco. ami concrete, the came paint c have Iven di'ciis'iiu; a' an. interior flat. Dutch hn white-lead and I ead Mixim; Oil. o iteiurallv u h \.I V>; only dm-' this paint improve tin ap;varaiue *! 'in h surtasi"' luit it ah > wal' up the pnmcitv ami pretent' tin ab'orpt mr. of ram and moisture There n another '|Ve 1.1! value att-ulnd to pamirnc exterior surface-' when thee lupjvn to form the wall' o? li^lit well', ni'iele eourts or area wa\' 1 hi' is the matter ot tatter hitht. w hn h in sonn instance-'has Iven incrcasc-J a' niueli a' twentv time' m inteno!' tjeitu; are'.t' that have tain painted white. Vihite-lead i' partnularlv suited for tho t\(v ot pamtmi; Iwaviee on exterior exposure, while it wears clown wrv slowlv. it d'H' so hv a process of gradual surtaee chalk met. niakmi; it to a certain extent "sell cleaning" and thus present' throughout its hie a.surtace approximatuu; the original bright tie J he sul>|ee t of pamtiiiit outside- surface' mii't necC"arilv melude metal as there are few huildmit'' that have no exjvo'ed metal work to Ice kept frev from not. Dutch lh>\ reel lead Ini' taconn a 'tandard for 002027 NL I protecting metal surfaces of all kinds. Not only does it stick so tight that it becomes almost a part of the surface it covers but, like whitelead, is a long-lasting, durable paint ... a true member of the Dutch Boy line. Up to this point we have not mentioned a real "plus" that you get with the Dutch Boy line of paint products. To all of the other time saving, labor-saving, money-saving qualities of Dutch Boy white-lead and the companion Dutch Boy products can be added one more advan tage--avoiding waste. The seven products in the Dutch Boy line--white-lead. Lead Mixing Oil, linseed oil, liquid drier, wall primer, colors in oil and red-lead-- enable you to standardize on Dutch Boy for ail your painting work-- outside or inside--for all surfaces--wood, concrete, stucco, brick, metal, wall board, plaster, canvas--and for all coats. Doing this, you cut out odds and ends of paint--half-used, half-dried buckets of "special" this and "special" that. Everything in your paint shop can be used up. No worry about having too little paint to do the job. It's easy to mix more just like it. No worry about having too much paint for the job. It's just white-lead paint or red-lead paint as the case may be and can safely be put right in with the next batch. Standardizing on Dutch Boy cuts down your inventory too. Just seven items--plus turpentine--give you everything you require for al most any job. Furthermore, you don't need to stock a large supply because there's always a Dutch Boy dealer or distributor within easy call. NL I 002028 ' 4 7- **i< `v-jrr.r;-.^'T. T.Y*_ mi M & Here's an actual case showingwhy Dutch Boy is a reputationbuilder... and why paint of uncertain quality can turn out to be a reputation-wrecker. The job is a duplex house. One half was painted with question-mark paint. The other half was white-leaded with Dutch Boy. Both jobs were done at the same time--two years ago. What a difference in result! Can you afford to take the cracking-and-scaling risk that quest ionable paint--"cheap" paint--involves? Of course you can't ... not if you're interested in building up your reputation. NLI 001945 ^t^^yproteclsyo w M^T R 0f tbere's and SvaIg is lreputatin h stanri h ^ 5 wean that *. . ' ^cocr.,,- , Cll,et. JUs# USl^ i lt,a* if js * . , we>i2ed a* , "ecaric n osf ^iij/es cotran, , ** n ****** 1 %ure o CHART SHOWING AVERAGE COST PER GALLON of DUTCH BOY WHITE-LEAD PAINT (Prices given are based on a threeoat job on outside wood and include the cost of turpentine and drier used.) LinttrJ Oil U HITK.LEAD COST PER 100 POCNDS GWW 9.00 (9.25 19.30 09.73 $10.00 $10.25 $10.30 $10.73 $11.00 $11.23 $11.50 $11.75 $1100 $1215 $1210 10.90 134 138 1.91 1.95 1.90 2.01 103 109 2.12 2.16 Z20 213 217 210 134 1.00 138 1.92 1.93 1.99 2.02 106 2.09 113 116 120 214 217 ' 211 214 138 1.10 1.92 1.96 1.99 2.03 106 110 113 117 220 124 128 211 215 138 142 110 1.96 2.00 2.03 2.07 2.10 114 117 221 124 128 132 215 139 142 146 IJ0 2.00 2.0 2.07 2.11 114 2.10 121 125 123 132 136 139 143 146 210 1.00 2.04 2.00 211 2.15 112 122 225 129 132 136 140 143 147 150 1S4 110 2.00 2.12 2.15 119 122 126 129 133 136 140 144 147 151 154 158 r IffALITY TALKMUHi mdini up r usiiitii Si. is<* Dutch doCS not aelualh figure out to onl\ about *2.20 j mt gallon. (See chart below for \our exact cost.) Dutch Do\ asks no premium for <pialit\! Remember, loo. that the ceononn of Dutch Ro\ doesn't stop with the paint pot. This pure white-lead paint brushes easily, hides well ami spreads far. 'OMLTABOIJT ,, i-'- VA ' .?> \ FERCA&LOH v. -''>1 NLI 001947 8^6100 wHiTim ti| l*u -X #<<" rfrm pnv trl :-Sn-*-*s 'n-**w'.riwP-."*sl..".n..o..*"nsu"*ns *U$ f) " *t'>i't*"-r"nS >`"`s1 l !*! I V ***Jvo *! M<( >"* oo* p*"ll ->S VII VM "!> 111 avalIVdHOD 1VMOUVN t -qauq P* 030,1* `^u h io j mu|i> 9on)nay fat juyooJcLu|* jag <x|t pjfHuimiMxuy igoyim put JJ)*t|<I MltJDMp V* ||M .H S*tp in ity at1TM'*H *Jjqinp h j a iJ--p(J jggae pva'j put gpoq-wiqjk ^H|ik k > iog iptng qx Atfl ^|I<| JJ I|a --t t>MOiuai\i a, A BUCKETFUL of IHllll HII tV 9K.se Pl.it USPOSWGE PAID REMIT Ml |4p^ ' ^ 001343 NLI ^"7 v^t, t 'V > '<fp .especially when Dutch Boy, a paint *.>r- of proved X:| T" quality is so low In price. .Si' NLI 001951 THE! THAT Being a builder, you 4isold" the high qual You knoiv that whitestandard among pain unequalled durabili .., that it never lets cracking and scaling Yet, with all its carries a remarkably E HIGH HAT CAN TALK PRICE VI 1 K builder, you don't have to be u* high quality of Dutch Boy. thatwhite-lead is the accepted among paints ... that it gives *d durability and protection [ never lets the user down by and scaling. ith all its merit, Dutch Boy remarkably low price tag. To day, in most localities, it actually costs only about $2.20 per gallon. (See chart below.) Yes, quality can talk price.And, what's even more important, there's no paint on the market that gives you more for your money than Dutch Boy. 001953 Not onl\ ran Dutch H<\ talk . prici----urn/ lull* \l con vincingly-- lull it can al>o lalk ease of mixing. H\ actual tune chock, as illu-tratod helow. >oil paMe 'while-lead can he brought to hrushin<r..consistency al the rate of a gallon, of |>aint a minute. All paints require some preparation. No paint can he made read\ more quickly thaji I)ut<*h Hoy! fThisUhow"cheap" paint (ontopieces in a short time. Compare tills cracking and scaling film with the Dutch Boy photo above. The "cheap*' paint is only eighteen months old while the DutchBoyjobi*foot yearsold.You can "paint areputation".withJDutdhJBoj! CHART SHOWING AVERAGE*OST PER CALI of DUTCH BOY WHITE-LEAD PAINT ' (frit giwPlte based on a tbree-coat job on outside ^include the cost of turpentine and drier need.) WHITE-LEAD COST PER 100 POINDS ' 1*9.00 *953 *950 09.75 110.00 *10.23 *10.50 *10.75 *11.00 *11.25 *11.50 *11.75 *12.00 *12.25 *1250 tl.90 154 158 1.91 1.95 1.98 201 205 209* 212 216 220 223 227 230 234 1.00 158 1.92 1.95 1.99 202 2.06 209 213 216 220 224 227 231 234 258 1.10 1.92 1.96 1.99 2.03 206 210 213 217 220 224 228 231 235 238 242 120 1.96 2-00 2.03 2,07 210 214 217 221 224 228 232 f %% 239 242 246 150 2.00 2.04 2.07 211 214 218 221 225 228 232 236 289 2L43 246 281 1.40 IM 200 211 215 218 222 225 229 282 236 240 243 247 250 254 150 2.00 2.12 21S ..*..1..*K,, 222 226 229 233 y,yf 240 244 247 851 254 258 QiMjM4>ek deuwA. At the right i a typical scaling paint job and below, the three costs of a "cheap" paint job . .. the original paint* ing... the scraping off of the scaling paint... the extra coat or new priming coat to bring the surface back to the normal condition for repainting. THE lit COST THE 2nd COST 9^ -,>/ 'r/t ` ,/ 3rd *a 001957 xfy. Aott x&m&L X)M HENEVER and wherever you see a painted surface like the Wone at the left you can know two things . . . somebody has paid good money for a poor paint job... and somebody is going to pay more good money before that surface can be properly painted again. Because paint that is scaling like this will keep on scaling even after new paint is put over it. There's only one remedy to stop the trouble . . . scraping off all the old paint right down to the bare sur face ... a pretty costly labor job. And then that bare surface must have an extra coat... a new- priming coat... before the real repaint, ing starts. So you see, somebody always pays and pays well for experimenting with "cheap" paint. Don*t let that "Somebody" be YOU J UHfwyM NLI 001958 4. ace. WHITE-LEAD PAINT f o r WOOD structure. that arr left unpainled mmiii brpn to deteriorate. The eventual n*ull. of eoiirr. is complete rrpiarrninil. In the fare of this cost, painting is simply an insurance investment, to present loss and like all inmiranee should he bought a ith an eye to the Lest and most complete protection for your money. When it eomes to this. Dutch Boy shite-lead has many advantages that especially fit it for long life on wood surfaces. Wood, for example, is not all alike. There are hard, close-grained woods, as well as soft, porous species. There are non-resinous varieties and those filled with pitch. All these woods are used in building and therlr is no one mixture of paint that will fit all these conditions of surface with equal.efficiency., WOOD REQUIRES CUSTOM PAINT Dutch Boy is custom-made and it becomes simply a matter of adjust ing the formulation so that no matter what the Wood may be the paint fits the surface. This makes for long life of the paint job. Wood. loo. has another well-known characteristic. It expands and con tracts. All wood even the hardest varieties is filled -with minute cells so that it absorbs and gives off moisture as atmospheric conditions dictate. Hus causes the wood to expand or contract and. as the tension is never equal throughout the section of wood, there is considerable variation in the surface changes. Even wood that i* painted is subject to these same influences and paint, to withstand this hack and forth action, must be elast ic, Dutch Boy Is just that. It conform* to the give and take of the surface beneath. Consequently, it does not erark and scale, and when repainting time comet around there is a smooth, even ratface of old paint to act as foundation for the new. N17382.04 NLl 001968 WHITE-LEAD PAINT FOR CONCRETE AND STUCCO Paint thrr *urfarr? Itrrati-r unpainlrd thry i ImiHi moiturr. Trur. thrrr i> no dir*; intultrd. but ihrrr t* damapr brraur rtriilually moi-turr rrark- will drtrlop. tlxi. imlnldt^l nirlal may ru-l. and hr arruinulalrd ru-l will in turn ran-r tin- >turni nr ronrrrtr In chip off. In addition. alMirlrd moi-turr i> likrli to nwult in damp''interior* and unhealthy miinf condition*. Thrrr i alwt the niattrr of appraranrr. t'npainlrd nmrrrlr and ntumi arc noloriti dirt rolledor-. Proper painlinp. btmnrr. not only initially iinprmr* thr ap|iraranre but offer* a surface more impervious to dirt. ,(!>> SBll t mill llll ' > Kill Thr paint that i ued should, thrrrforr. br a paint that water* proof). a> aril a- decorate*. It should br a paint that penetrate* thr sur face sufficiently for pood anchorapr and at thr same time seal* thr surface with a aolid film of protrrtion. Surh a paint will not only protrrt and branlifv hot it will laat. Sorb a paint i* Dutch Boy while-lead and l^rad Mixing Oil. 4m mrdinmty mmpmimtrd ham* kmUdimg trtil mktrtrk m tmmrk ma ZjfiOO ptmmda ' mf wwtmr l m rmimr i^4. NL 001969 In the firl plwr. thi- paint bt- all I hr traditional durability of whilelead ... resistance to storm and Min that ha- madr white-lead the slandsrd for paint r. In addition. this paint lun> all thr sealing and waterproofing qualities of Lead Mixing: Oil- a aprrial vrhirlr for nkitrlrad to do jost thr thin|!> that must lx- donr in painting an; porous surface. oatsidr or inside. Thr combination of thr too is a paint that brushes easily. cover* plrnty of surface prr gallon. seal* completely and give* REAL rronooiy in prirr prr gallon aril a prirr prr yrar. WHITE-LEAD PAINT f o r BRICK Brick ii> frequently painted--not for protrrlion but for improved appear ance. More and more. also, it is lieing |iainlrd to provide better natural light for interion* faring brirk wall!*. Thr natural dark redbrieheolor absorb* a great deal of tbr light thrown upon it. but painted white or a light color, thii* light i reflected into thr window* opposite, increasing thr natural illumination of that interior. Sometime* the increase i* a* high a* 300 per rent. Thi* mean* greater ellirieucy for worker* and lowered consumption of current for artificial light. Dutch Boy white-lead and Lead Mixing Oil i* alui the combination for painting brick surface* for the W.r*SSi&^^ *** for any pomu* surface . . . durabililv . . sealing . . . ease of application and low cost per gallon. In addition, it gives the type of film that resists soiling from atmospheric dust and dirt and. therefore, retains high reflec tion value for the maximum period without repainting. jimi PAINTING FOP 1ITTIR LIGHT NLI 001970 WHITE-LEAD PAINT f o r PLASTER Pbatrr tariafru are i Iiih k I ili}> painlni. ritber for decoration. for drtnliaro, or both. Floor wall- and ceiling* dbould al-o br painted for greater IlfcKt efficiency airlhrr the light lie natural or artificial. The two photograph. beliia allow what can br donctodhange tbr lipfalinf: of an intrrior with nothing more than a mat of paint. In*tead of requiring a atrong dirrrt lifdbt that may partially blind tbr worker. pro|irr painting diatribate* the light evenly -o that the machine operator can work more eomfortahly and more efficiently. If yon have condition- like the former in your plant or factory: it will pay you to examine the po--ibilitie- offered by painting w-ith the projier color and the proper fini-h. Plaster is not always an tn; surface to paint ulirfartorili. however. There k frequently a condition of uwvrn absorption to contend with. This Kay be due to fine cracks, repaired spots, variations in the degree of troweling. and in the planter mixture itself. But whatever the cause, unless the paint is properly formulated to take care of these conditions the result will hr unsightly and unsatisfactory. Dutch Boy white-lead and Lead Mixing Oil. however, makes it possible to overcome these possibilities of plaster painting troubles. The sealing qualities of Lead Mixing Oil combine with the solid hiding of white4rad to produce the type of finish you need to secure good light diffusion. It produces a "eleanable" surface, as well--one that can be scrubbed as frequent]) as necessary to keep it in efficient condition. The fact that while-lead and Lead Mixing Oil is used to protect exteriors is ample proof of its waterproof durability. WE CAVE THIS PAINT 'THE WORKS' then smeared up with everything that ordinarily soils walls . . . pencil marks, grease smudges, shoe blacking, mereuroehrome and ink. Then this dirty, defaced, mistreated surface was washed with a sponge, washing powder and cold water. The middle and right panels show the result. Yon can expect the tame "washableDess" on every job done with Dutch Boy white-lead and Lead Mixing Oil paint. 001972 NL I SPECIFICATIONS COVERING THE USE OF DUTCH BOY PRODUCTS