Document 5Lv24qyX1QQQ2pRBzL6dwMadN

.*' V;' 1 < -TV1' V:\. SM : 'fy > v 'V ' SV*- i Vi*.f*i*7*,'. i. ^P^b SSSS# i:---,..,,. s-^3WTWleV!<*H*ix,,",r*^f*io'Wani2s>^1*10r'j",s'5^5' *^^Msto/grtT sDua,t'' SoI toST'",K'"1* 'j"WsOOsD, asa And*;, ^sSser-?8 SS&BSgg ilsSSS&ws ssrsEs*^b?as*r**s*f,`2sr"b<--*ftuec*k ~i?3S5SaSr?ft: "***fo. ." ^1 ww ^,lon *0 <t< KvU-^P^^ saws 3 * fc&sjE?Afttr ii| J*L**^11 fro*"i *<(*M*,",nA. W*, >1.. ^ / F** k*fl'>aw M^T:v,r^K*i\*V .1*\' * ***" *. . *i xNV' .t . * %r\ NLI 003312 lORmums in p ic t *n - FOR REPAINTING EXTERIOR FIRST COAT mWMTIHf, UNSEED 01^ k w h it e Z l eap^ k ^2 k l^ DRIER: If raw linseed oil la us drier to each gallon of paint linseed oil requires no drier. t,-. AN OLD Chinese proverb has it that "a picture is worth ten thous form see translate and words". That's a lot of words esthe custo pecially for the celestial who warns us, tirely of "No tiklcee, no shirtee!" but that's be This side the point. The point is, have you mulation ever seen "pictures" of the usual white- with tho lead paint mixing formulas? ing for Well, here they are---"illustrated" but need directions for mixing white-lead paint paint, ar for repainting outside woodwork. For smaller b some reason or other (the publishers lons of f of the papular picture magazines could gals, of l explain) mixing directions in this new gals.) of IN L 0 0 3 3 1 3 O HIS customers, the contract Ting painter is a man who takes contracts for painting and deeprating, a man who mixes, tints and spreads protective and decorative materials. To his dealers, a painting contractor is a man who is a good credit risk, or a poor credit risk, or an uncertain credit risk. The home-owner sees one side of the painter, the dealer sees the other. Because a man is a good painter, it does not necessarily follow that he is a good business man. But, generally speaking, a contractor who "knows his way around" on a painting job also knows all the other angles of his busi ness. He knows how to estimate jobs, how to schedule them, how to buy his materials, how to keep books and how to collect his bills. There is a more than accidental re lationship between good jobs and good credit. The painter who enjoys a good credit rating gets the goods he asks for, the goods he wants, the goods he needs to do good jobs. The painter who is looked u|>on as a poor risk or an uncer tain risk may have to effect some com promise with quality in his materials; hence cannot do high-quality work. In short "beggars can't be choosers". The dealer's definition of a good credit risk is short and sweet: "A man who pays his bills promptly". And the before that gentleman gets through dealer knows why the man classed as saying, "Well, the old place certainly good credit pays promptly. looks a lot better 1" For one thing, the prompt-paying Any number of jobs are turned over painter collects for his jobs promptly. to painters with verbal instructions on He makes his final brush strokes, cleans what to do and only oral agreements as up the premises, collects his equipment to price and terms of payment. In the and has his bill in the owner's hands absence of other provisions, no payment 32 is due until the work is done and the home-owner can take his time settling up. It is, of course, generally under stood that the bill is to be sent imme diately on completion of the job so that the owner will know what he has to pay before he has time to hunt up ex cuses for not paying promptly. When the painter puts off the billing, the home-ow contract workmen pays the probably dealer ha materials repeated rally pu risk and One o who are they are signed co tract ma after fir body coa pletion o full paym are adjus parties. papers ar Anoth payment plan. Un and his payment assumed It is per that, if a easy pay question never ari have to roll. There rectly af factor o figured $100 mi body's p Dutch Boi| IViiivier. M, one can guarantee the correctness of any estimate, of course, but one can take all reasonable precautions against making errors. Using an estimating form that not only provides blanks for the desired figures but one that also lists all details of the job, thus prevent' ing oversights, is certainly the best way to estimate a job's costs in advance. The mention of "job costs" brings up still another factor that ultimately influences a painting contractor's credit standing. Job costs can only be known by keeping accurate records of jobs in work and jobs completed. This means using time cards, job records and, very important, a properly designed book keeping system. Only by using these things can a painter get at his labor and materials costs and at those other costs lumped under the term "overhead ex O pense". As a matter of fact, it is entire O ly conceivable that a poor credit rating CO can be attributed in many instances to CO ignorance of overhead. Because under H* his overhead expenses a painter must 4* include not merely his truck costs, his telephone, advertising, taxes, rent, de preciation and so on but he must also include uncollectable bills. These items make a sizable figure and unless each job pays a proportionate part of that figure, aside from profit, it won't be long before the painter will have to ask his dealer to "stand him off a little longer" for the materials he has bought. We have outlined in the foregoing paragraphs some of the factors that 34 uffect the painting contractor's credit standing. We have also tried to show that good credit ratings and good paint jobs go together. But that's not the whole story. The painfer who has a reputation for paying promptly can usually buy to better advantage. He can take advantage of turns in the mar ket and can get prompt deliveries. He can get the lowest figures consistent with the quantities of materials he buys. Finally, the painting contractor's credit position plays an important part in the structure of the entire industry. He is a link in the long chain of credit and when he meets his obligations promptly, the dealer and the jobber can meet theirs promptly, the manufac turer can pay the suppliers of raw ma terials and the cycle can go on unin terruptedly until it gets back to the very same home-owners whose houses need the services of "the man with the paint brush--your services. How's your credit? , lr i l the ye wh rip ur ag ple HEN a man or, for that matter, to Wa magazine, begins to take long Be and frequent looks back to the good tool days, it's a sure sign old Father Time in has him, or it, firmly in hand. Or so Dutclt Bot| Painter. de rigueur for merchants of the i88o's. Done in red on a gold background, the busy little harvesters were favorite characters in the gas-light era, even as the little Dutch Boy is your favorite trade character today. This card was used by Henry C. Weden when he operated a painting and wallpaper business in Milwaukee, Wisconsin. Mr. Weden came to Amer ica in i860 at the age of eleven. He shortly was taken on as an apprentice in Civil War days by the Milwaukee painting firm of P. Peterson and Son. In 1865, still a mere youth, Weden opened a shop of his own at 601 Jack son Street, now 1137 N. Jackson, be cause of street renumbering. One of the pictures shows the store in 1882, the other cut shows the store today after three remodellings. Mr. Weden worked hard and soon built up a painting and decorating busi ness that for many years was rated as Milwaukee's largest. He employed from forty to seventy-five men and his services were in constant demand by the leading families of the city. He was an advocate and user of pure whitelead, making his purchases of Carter or Red Seal (now Dutch Boy) in car lots. Three of Mr. Weden's boys, of a family of four boys and seven girls, took over their father's business at his death in 1912. Fred T. Weden, the sur viving owner, now runs the business and, as may be seen from inspecting the sign on the store front, operates under the name of H. Weden's Son Co. 34 NL I 003315 AG AND Not lo Marshall church tr with read that the p some dou 436 decid members equipmen painted t would h quickly e ladies of handing at freque THE OF M say that D ing powe add, "Du favorite Dutch Bo pher, Clin Franklin sota, whe at the cu lined them This s Dutch B Dutch Bo the interi well plea a ie e o o T NI FANNIN COUNTY COURTHOUSE BONHAM, TEXAS As even a casual observer.might conclude, the only valid reason for painting this sturdy and well-nigh weatherproof struc ture would be for the sake of appearance. Not that stone, concrete, brick and mortar are unattractive but because, following a lire several years ago, it was necessary to rebuild parts of this courthouse. Someliow the various materials didn't "jell" Into a uniform, harmonious appearance. So it was decided to paint the entire exterior with Dutch Boy materials, mixed and applied under the supervision of Claud English, Bonham painting contractor. Harry Boiline, 38 Dutch Boy field man in northern Texas, sent us the picture of the courthouse and of Mr. English and his son who, quite logi cally, is also a "Dutch Boy Painter". tOUIIT FOR SU hi Ma r t in P. Wal s h , St. L HE first consideration on any Tpainting job is, of course, the safety swing ancho of tltc men doing the work, of tile Or tenants or occupants of the building prone and of the general public. And safety portu measures become even more important when the job requires scaffolding or swing stag ing. The painting con tractor who is set up to handle large jobs is al ways on the lookout for devices and equipment that will make his work safer and at the same time, that will add some thing to the efficiency of his working crews. Among the numerous items that come under the watchful and anxious eyes of the contractor or foreman arc the outrig gers and counterweights that make swing stages practicable on many jobs. It is impossible, of course, to use cornice hooks in some instances and it is also often impractical to anchor the ropes to roof structu res ---chimneys, pent houses, water tank supports, etc. In these cases it is customary to iie e o o I I N Dulcli Boi| Paintcr. i 40 'Si SyjMIfSiwIAfaii'iitifai Figurt 3 Figure 2 hard rain, causing, at the very least, a lot of inconvenience. It was to over come these troubles, and potentially hazardous situations, that Mr. Joseph Ganz of the J. Ganz Painting Com pany of St. Louis, Missouri, set about designing a type of swing stage anchor that would not only be safer than sand bags but would also have other advan tages such as portability and adapt ability. Mr. Ganz had cast at a foundry, a set of counterweights or anchors, each weighing 90 lbs. and measuring 12" x 12" X 8", with center openings 4" x 4" for inserting the 4x4 outriggers. Fig- __________________________ ______ ure 1 shows one of the anchors in use. Note also the hole in the block through which a bolt can be dropped to keep the anchor from slipping. Figure 2 shows the roof of a building an which a stage is swung, with outriggers supported on horses. It will be noted that these sup ports arc needed in this instance be cause of the height of the parapet. The counterweights shown are much more compact and businesslike than the sand bags formerly employed. Another use for these weights is indi cated in Figure 2. The two blocks placed close to the parapet are being used as anchors for the painter's life line, since the roof itself offered no suit able object or support for this rope. Figure 3 shows the front of the building on the roof of which the rig ging and counterweights pictured in Figure 2 are located. It is on jobs like this that Mr. Ganz* cast iron anchors prove their utility. They are also used on structures several stories higher, al though certain ob vious allowances must be made as regards the length of the outriggers and the weight of the counter weights. For ex ample, while a 2c/ xa8" stage, with guard 200 lb materi a big d suppo feasibl definit positio equipm one de tion. T suspen be kep ing be this en weigh import ment o it rests details safety are, th N L I 003318 1. F, when we printed the pictures of a I couple of new-fangled paint pot hooks in previous issues of this maga zine, we thought we had exhausted the possibilities inherent in a short piece of bent wire, we were sadly mistaken. No doubt the old-time S-shaped hook is still a long way from becoming a collec tor's item--but we wouldn't guarantee it on the basis of recent contributions from numerous painter friends. In the short span of a couple of III HIM Iiy weeks following the mailing of the last 1938 number of the Dutch Boy Painter magazine we received several ingenious hooks of unorthodox shape. Three of This hook was devised by F. S. these pot hangers are shown here. In Mason of BoinJsvUle, Mass. It was the event that you, more or less gentle formed by bending a double wire to reader, have an urge to send us a gadget form the usuarrhng! loop, then bending that you think others of the craft might the handle em{l in smalt opposing wish to copy, we suggest that these hooks. Mr. Matopj who is 81 years of hooks be studied carefully to make sure age, claims that ^it hjuok "takes up little that yours is different. Otherwise, it is room and, becaipe tpe pail handle is se conceivable that many of our readers curely caught in thf double end, will might wish to cancel their subscrip not fall into the ipainf bucket, an occur tions, feeling that they must look for rence that ahvaj^^pis forth consider ward to a steady diet of pot hooks. able profanity." 42 This hook way tubmjtted by R. H. Anklam of Mipg^ppIA. As may be seen in the iliutfimtioiiL^liis specimen is rather longc%tnan prat hooks. It has the conventional jupfg loop at one end and an unconventional pig-tail twist at the pot end. Ioutlie middle is a finger loop the effect Wc pfjjytich was not ex plained in llflvAMIcRun's letter. 2. .1 No. warded Arkansa carries sion. Th sists of tread lin links b hooks. hooks, th carry an good wo National Lead Company's staff ofpracticalpaint men willhelp you solve yourpainting problems without charge. Address your letter to National Lead Co., Room 2020, sit Broadway, New York, N. Y. Please state your problemfully and be sure to place your name and address on your letter. Our reply will reach you promptly by mail. The problems discussed below are printed here because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled 2! f1 1***^ O o CO CO Colorless Finish for Wallboard Question: What sort of finish can 1 ap ply to a fibre wallboard ceiling that will not change the original color of the surjaceT If there is nothing practical for this, and / have to use faint, what siting should 1 uset Answer: Shellac might be used, but even the palest shellac probably would slightly change the appearance, if not the color, of the wallboard because the fibre board finish is dull and flat and shellac dries with a gloss. On some types of wallboard which are not exces sively absorbent, it is possible to use a very weak glue size, followed by a thin coat of water-white varnish. You might try both the above suggestions. If they do not work and you are forced to use paint in order to make the surface washable, you can get a Hat fin ish that you can tint to about the color of the original bare wallboard. In this event, first prime the surface with Dutch Boy wall primer tinted slightly with raw Italian sienna. This primer will cover about 200 square feet per gallon on most types of absorbent wallboard. For the second coat (and any additional coats) mix equal amounts of Dutch Boy white-lead and Dutch Boy flatting oil, tinted with raw Italian sienna to the original wallboard color. A straight brush finish might be all right but a stippled finish should be even better. , Ini Stains on Marble Question: I have some ink spots to dean off a marble slab and have tried several re movers without success. Can you tell me how to get the stains off? Answer: If the ink on the marble is of the usual blue-black writing variety, we believe you can clean off the spots with a liberal application of regular ink eradicator, sold by nearly all stationery stores. If the ink is of the carbon type, however, it will be more difficult to re move. Prepare a mixture of soft soap (soap chips softened with hot water will do), pumice stone and household ammonia. Make a thin paste of this, 44 ........ spread it over the spots and allow it to stand a half hour or so. Then, with a stiff brush and hot water, scrub the paste well into the discoloration. Rinse well, and if the spots are not entirely gone, repeat the treatment. Should some of the gloss of the marble surface be removed, your local monument ' dealer should be able to tell you how to restore it. Loosening Hard Putty Question: In reglazing window sash 1 usually have difficulty in cleaning out the old hard putty. Is there a special tool made for this workt Answer: If your regular putty knives or chisels don't get the putty out, try one of the triangular-headed gad gets used for opening beer cans. Many painters of our acquaintance find this tool perfectly suited to putty stripping. T canv plac ing pain thro broa vas rolle dry N 100 lead turp mak shou 700 is dr a co pajn Painting Canvas Deck Question: What is the best way to paint a new canvas outside porch floor deckt This floor is over a varnished pine ceiling and must be watertight. Answer: In order to insure a water tight deck, you must, of course, start with the floor on which the canvas is laid. If tlie floor Is new wood, give it a priming coat based on 100 lbs. Dutch Boy soft paste white-lead, 4 gals, raw linseed oil, I % gals, turpentine and 1 pt, drier. After this primer has dried hard, apply a heavy white-lead paint based on 100 lbs. of white-lead and 2x/i gals, boiled linseed oil. While this paint coat is still wet the canvas may be laid. Qu an in wall tome place a blu have areas place this any A equ ther thos ly if prec kno chan Dutch Bo|f Pointer.. J&* causes darkening. If ypur customer does not want the interior repainted at this time, ask her or him to leave the pictures off the walls for a while, say a month or six weeks, and we believe you will find that the formerly unexposed areas will have returned to about the shade of the surrounding walls. Generally speaking, the flatter the finish on interior walls, the less notice able will be the changes in color that you observed. Also, such changes are less discernible on medium buffs than they are on greens, blues, pinks and grays. To help head off complaints of this nature in the future, use flat paint made by mixing Dutch Boy white-lead and Dutch Boy Lead Mixing Oil and suggest colors that arc not apt to darken much if used in dark places.________ __ Oil Colors or Japan Colors 2 tr1 Question: IVhat is the diffrrtnte between cotors-in-oit and (olors-in-japant Answer: Oil colors are tinting pig ments that are ground in pure raw lin seed oil alone or in pure raw linseed oil with a little turpentine added, japan colors are ground in japan drier. Oil colors are generally used by painters for o all ordinary house painting purposes. o Japan colors dry faster than oil colors; CO hence are usually employed when a CO straight color finish is wanted--as in to sign painting, lettering on glass, etc. o japan colors are also frequently used in tinting enamels because the japan vehicle is more compatible with the ve hicle that is ordinarily used in enamels. 46 MAGAZINE N LI 003321 do in apinch.* N Li 003322 WITCH BOV PBiiiTER Volume 32 1939 Published bi-monthly by Nurionn! Lead Company, Room a N.Y. , in the interest of better painting. Mailed without cha Sa f et y p in s , painters' caps and raw potatoes may take the places of buttons, strainers and corks--on occasion. But when it comes to paint, nothing can take the place of whitelead. For brushing ease, breadth of spread, durability and all-around usefulness, white-lead is in a class by itself. And there's no need to look for substi tutes for Dutch Boy white-lead. Wherever there are painters who know good paint *-- and that's just about everywhere -- you'll find this package of paint value Mid LEADS D SINCE the organization of the Fed eral Housing Administration its Mod (FHA) under the National Housing T Act (NHA) of 1934, thousands of item home owners have modernized their est i homes. Practically all branches of the vari building trades have benefited--they nish did the work. Practically all dealers in ful building materials have benefited--they be a sold the goods. Practically all manu stor facturers of building materials have dea benefited--they made the goods. (3) Modernization means bringing up- crea to-date. And since paint plays a promi (4) nent part in many modernization proj pap ects, painting con tractors and paint dealers have felt the influence of the FHA's Better Housing Cam paign right from its beginning. Now the FHA has launched a s u m m c r -1 o n g drive to stimulate home moderniza tion. This revival of tlie earlier cum-, FMR mMMoSrftwlOHrPMHim:m;..- ... KfmMiwmuLf~tfu:........... , AttAIMir fKtttHI-HHiul JiritttVt fHR tniUMIfMrit UdaKiU'tWSHHUU fcSHfl mWil lARnS'RiWrtRWIS'RfrtttRMlMRSl pnign is using lor Dealer Il'inUmu Sign-- JN L 1 003323 7 "Miracles of Modernization", is being released to motion picture houses. Spe cial posters are being supplied to the io,tx lending agencies that are co operating with the FHA. The painting contractor who has an FHA insured partial payment plan to offer his customers is in position to se cure many jobs that would not come his way otherwise. The Dutch Boy Easy Payment Plan, in which the financing is done by the First Bancredit Corporation, is recommended to all users of Dutch Boy white-lead. Fea tures of the Dutch Boy Plan are: Pay ment in full on completion of the job; low interest rates; no down payment; repayment periods ranging up to 36 months; no charge for credit reports on accepted jobs. And because the First Bancredit Corporation has numerous branch offices, loan applications are handled promptly. To refresh the memories of those whp may have forgotten some of the facts, it will be recalled that, under the National Housing Act, the FHA was given the job of stimulating employ ment in the construction industry through a Better Housing Campaign, a movement to encourage owners of residential, business and other proper ties to build, rebuild and modernize. The encouragement was based chief ly on bringing to the construction field a merchandising device that heretofore had been used successfully in other lines--the installment payment idea. The FHA devised a plan for insuring loans made by accredited private tend- ing companies. It is this loan insurance feature that has made possible the flow of capital into the construction field necessary for partial payment financing on a large scale. UnderTitle I of the National Hous ing Act, the FHA makes no loans--it insures loans made for modernization purposes by private lending agencies. This insurance is limited by law to 20% of the total sum loaned by any one agency for modernization purposes. Looking back over the past five years, nearly everyone agrees that the FHA has, by popularizing the pay-outof-income idea in the building field, brought together thousands of buyers and sellers who, under a spot-cash sys tem, would have been unable to do any business at all. Naturally those paint ing contractors and paint dealers who have cooperated closely with the Better Housing Campaign have shared propor tionately in the business thus developed. With this new summer campaign get ting under way in earnest, painting con tractors and paint dealers should need no urging to tie up with it promptly. Painters who want the facts about the Dutch Boy Easy Payment Plan can get then) by writing the editor of this mag azine. Dealers who will use the win dow display pieces and leaflets de scribed above should send their requests right away to FHA, 1001 Vermont Avenue, N.W., Washington, D. C,, or to the nearest FHA field office. Just ask for "FHA free dealer helps mciitinned in the Dutch Boy Painter maga zine", stating size of store window. 52 TRADING UP* a WITH ^STENCILS grew before. Of course, it's all in the know-how. The merchant we men- tinned didn't grab the customer by the NY properly estimated and ef A ficiently done paint job will net seat of his pants and hoist him over to the higher priced goods. Nosiree! He the painter a profit. That's truesuggested to the customer that the one whether the job consists of painting the dollar article was all right for some pur back fence for the town tight-Wad or of poses and that he had customers who decorating a mansion for the man who insisted on paying only that amount, just struck oil. But it takes a lot of "But," the salesman continued, "let me "back fence" or plain painting jobs to show you a much better value. Just equal the profit that can be expected on step over to this counter, please. Now a job that allows the painter to use his here's a garment that is guaranteed not head as well as his hands. to shrink, no matter how often it's Once a painter settles into the rut of washed. It won't fade. The buttons strictly competitive-price jobs, it's a are sewed on to stay on. The collar and pretty tough proposition to get out. cuffs need no starching and they won't And often the rut gets so deep, the wilt. At only two dollars, this shirt is painter has to reach up to touch bottom. a real value." And so on. The way to get out of the rut i$ to If this merchant were selling paint "trade up". That's a term often used jobs, he'd use just about the same tactics by retail merchants. When a man when he called on Mrs. Home Owner comes into the store and starts to look to see about "doing over a couple of for a dollar shirt, the merchant gently rooms.'' That is, the merchant would eases him over to the dollar-and-a-half use the same trading up tactics if he or two-dollar counter--and proceeds to could offer the lady a job of decorating sell the customer a higher grade, and that, even though it cost him little more higher priced article. to produce, would look like a lot more Now, when it comes to painting, it when completed. isn't especially difficult to make two Assuming that the ambitious painter dollars of profit grow where but one wants to turn his back on the type of 54 jobs that develop into "I'll do it for less them pr than he does" scrambles, what is a difficult simple procedure? The answer is: Sug of wha gest stencils. Do it by showing shop- stencil d made sample panels. Demonstrate to Proo the housewife precisely what you can proof be do, to turn a "so-so" room into one that ers' mee friends will admire--and want to copy. men. T It's in selling like this, trading up cent ye like this, that the real profits lie. It's most en no trick at all to get good prices for decorati jobs that really give the customer some stencil d thing more than she or he visualized represen before the painter arrived. Make 'em of stenc want something more than everyday onstratio wall work and they'll pay for it. the effec Stencils, admittedly, are old stuff. featured But so are paint, paper and calcimine. It was The stencil method of wall decoration easy to h probably is as old as the painting trade, adapted but it has enjoyed popularity in the tion trea past, it enjoys its present vogue, and it may be will enjoy popularity in the future, for The i several reasons. One reason is the clearly adaptability of stencils, both as to de easily p sign and placement on wall surfaces. Figure I Another reason is that stencils Figure 1 cost little and are available everywhere, Still another reason is that no especialskiil is needed to use Figure a r 1 tern, as in some of the others, the variations are obtained merely by reversing the stencil. Figure 3 illustrates what can be done with Figure 4 alternate re versals of the stencil, using light and dark colors. A novel use of the leaf design is shown in Figure 4. This "palm tree" effect, which may be used in cocktail lounges, restaurants, taverns, etc., is secured by rc|>catcdly transferring the stencil in light and dark tints of one o color, to form the crown of a palm tree. 0 The tree "trunk'' is painted on the wall free-hand. Figure 5 shows a treatment CO CO obtained in somewhat the same manner as the "palm tree" but used along the to 01 base of a wall or at the top of a dado. Figure 6 offers a suggestion for in- Figurt $ a VM dividualizing a decorative treatment. This monogram design--initials and leaves--is particularly appropriate for use as a center wall motif in a bath room niche, or it may be used in a smaller size over towel racks. To show further the versatility of the leaf design, note the four effects in dicated in Figure 7. The pattern in the lower right corner was transferred full strength with a stencil brush in the usual manner. The pattern above it was also applied in thecustomarywaybut,before the paint set, parts of the design were wiped lightly with a rag, giving a shaded appearance to the leaf. The pattern at the lower left shows a deep tint at the base of the leaf design, grow ing lighter toward the small end. Above this is shown a fourth method of handling the stencil color. In this in stance, the stencil brush was lightly tapped on the design, thus transferring only a small amount of color. ' On a previous page it was said that stencilling required no particular skill. And that's true. However, it does take some practice--in the shop on wall board samples, preferably -- to get clean, sharp outlines. The stencils themselves must have been carefully cut by the manufacturer, the paint must be of the right consistency and ingredients, the stencil must be attached or held firmly to the wall, the stencil brush must be of suitable shape and quality, the brush should carry a minimum of paint and should be used with a tamp ing stroke, and the stencil must be lifted off the wall carefully without its " 1 * 'tl| 88 S-39 Bottle* fii Glawe* C-39 Star & Rope Bonier B-39 Leaf Design sliding over the wet transferred design. And, in reversing the pattern, the sten cil must be wiped clean before the next transfer. For ground coats on stencil jobs, and for all interior wall work for that mat ter, there is nothing better than Dutch Roy white-lead mixed with an equal volume of Dutch Boy Lead Mixing Oil. This paint, which may be easily tinted with Dutch Boy colors in oil, works nicely under the brush, covers well and spreads far. It sets up at a rate that makes it easy to avoid laps, while taking sufficient care to brush out the paint properly. The film dries with a practically glossless finish and one that can be washed repeatedly by the housewife without damage to the finish. Stencil colors properly applied to this white-lead ground coat get a good anchorage and do not sag and run. For the stencil paint, merely add to any given quantity of Dutch Boy color, half as much Dutch Boy Lead Mixing Oil or flatting oil by volume. If the straight color is too dark or strong, add, Dutch Boy white-lead until the right tint is reached. This may require slight ly more Lead Mixing Oil or flatting oil to compensate for the added white pigment. So far as brushes are concerned, most paint dealers handle the two or three types that are generally used for stencil work. The regular short-bristle stencil brush and the hog bristle glue brush are the most popular types. To hold the stencil against the wall, some painters use push-pins or thumb Figu tack tape mea pape that out low sten A artic stoo does As frien tere sten tion page for Nat 111 Figu !&**&*&* asiSSjj X'Z <&* *', * y&sF&y** 'iS>3.^ v > tS*&S * ,, cw '" p<6s r s ^ <v.n'oV-I* %V':,r'S"^``' 'wc 'Q'"'f10',t +5&c&i' N L 1 003327 t'"* C"**` **,**.* v*o 4' ^4V*;vc^* IT y. /., ** 1--I-r +ks& 003328 2; t-1 r I NHERE are lots of trailers on the i highways these days but it's a pretty safe bet that you won't run into many, literally or figuratively, like the one built and operated by Harvey Rechnitzer, enterprising painting con tractor of Escondido, California, The photo below shows Mr, Rechnitzer and his portable paint shop. Note especially the streamlined construction'--even the ladder brackets on top of the trailer are streamlined, And, of course, you notice the Dutch Boy trade-mark signs prom inently displayed. Just additional evi dence that the paint that was most popular in the slow-movingox-cart days retains its popularity in tin's stream lined, high speed era. The other photograph gives you an idea of the arrangement and carrying capacity of the paint shop on wheels. This is really the business end of the trailer. The shelf with the brush on it slides in and out, as necessary, provid ing a table on which mixing and tint ing are done. A set of three drawers is suspended from the shelf, the picture showing the top (brush) drawer open. Ordinarily all unopened packages, case goods, drop cloths, etc,, are carried m the front end of the trailer, which also serves as a dressing room for Mr. Rechnitzer. The entrance door to the dressing room is located in the right (curb) side of the trailer. All in all, this job is a dandy. As a matter of fact, it won a prize in last fall's Grape Day Parade, sponsored by the City of Escondido. Mr. Rechnitzer uses what little spare time he has in woodworking. From ironwood found in the nearby desert, he makes nut bowls, cookie jars and other pieces that are useful as well as orna mental. For the picture] and de scription of this news worthy outfit, we are in debted I Irwin, li, d, IV. Kii/tjs Coast Urumh ma LYNCHBURG, VI JT IS difficult indeed, to conceive a higher purpose for paint than that of beautifying, protecting and preserving institutions devoted to the treatment and rehabilitation of humankind. In a man ner of speaking, paint does for the hospi tal what the hospital does for humanity --adds life to its years and years to its life. And it is with a special pride that Dutch Hoy looks at its record of long and faithful service on many of the country's outstanding hospitals. A job of particular interest is the Vir ginia Baptist Hospital, Lynchburg, Vir ginia. The architect, Mr. Stanhope Johnson, and the painting contractor, Mr. W, T. Hancock (photo at right), knowing that top performance comes only from top quality merchandise, se lected Dutch Boy materials for the re painting of the hospital. The work required about a ton of Dutch Boy white-lead, furnished by the BarkerJennings Hardware Co. of Lynchburg. It effo F of J Phil Com data been year do w Dom NLI IT'S a mighty comforting feeling to know that in showing you r prefer ence for a certain product you have the assurance that comes from experience in its use and also the backing offered by the entire industry that makes the product. That's why white-lead paint ers and white-lead dealers have always shown so much interest in the long sus tained Dutch Boy national advertising and are showing increasing interest in the Lead Industries white-lead cam paign that began just a short time ago. For reasons too numerous to men tion, white-lead has been the Number One paint material ever since house painting became a recognized trade. This isn't to say that white-lead today is the same as it was in the early days, however. Then the painter had to mix the dry white-lead with oil and spend laborious hours getting his paint ready. Now his white-lead comes to him in a soft paste form that, having been,thor oughly mixed with oil in powerful mills .......... --- at the factory, needs merely to be thinned with more oil to make it paint. Thus today's painters and paint dealers have even more reason than their fore bears to use and to sell white-lead, what with a vastly improved product and the support of strong, consistent national advertising. In practically every issue of this magazine for a good many years, the current Dutch Boy national magazine page, necessarily in reduced size, has appeared. Here, at the left of this ''spread'', are shown, in greatly reduced size, two recent page "ads" in the Lead Industries campaign. American painters and paint dealers will also be interested in what's being done in other parts of the world to con firm the faith of those who buy, sell, use an nation headq for so licizin Throu circul Asia, whitetongue under bility produ being In and m distrib signs vertis of the part Ahead You with a voic 64 START II? UDGING by fashion notes, illus be the first time such things have hap J trations and "ads" in recent news pened. Perhaps you will recall the papers, magazines and show windows, Camel cigarette advertisements of six the country has gone Dutch Boy in no or seven years ago. The attractive uncertain style (pun). To trace any young lady who appeared in the "ads" fad or fashion right back to its source wore a very fetching chapeau (that's is, of course, about as hard as trying to o find out who ate the first oyster. But o the Dutch Boy's home folks, tossing "h,at" to youse guys who forgot all the French you learned twenty-odd years ago from Madelon), and before long OJ aside all modesty, like to harbor a faint all the milliners from Helena to Hali c*3 suspicion that perhaps the widespread oCO Dutch Boy advertising put some bees in the bonnets of the designing profes fax were busy selling "Camel Hats''. So, no matter whether you credit our Dutch Boy with starting the ball roll sion. The style-setters couldn't have ing or merely giving it a nudge with his selected a more popular motif or model. wooden shoes, look at the above repro Dutch Boy has set the pace in home ductions of a few typical "ads" that ap decoration and house preservation for peared in the newspapers--then hide fo, these many years. this magazine so the little lady won't And should some fashion Sherlock Holmes discover that Dutch Boy ad vertising was, in a measure, responsible see this page. Otherwise she'll think we've started a series of fashion articles and you'll be lucky to get your hands for the Dutch Boy vogue, it would not on future copies. 66 MmM THERE'S -nOTH linDER TH p HOTOGRAPHS of Dutch Boy jobs are nothing new. We get hundreds every year. And we're glad to have them. But when a recent day's mail brought the photos shown on this page, we got out a mental blue pencil and cor rected the statement that every editor believes without reservation. There is something new under the sun---a painting contractor who has a flying photographer take aerial photos of his Dutch Boy jobs. The air-minded contractor is Clair Eckman of Strasburg, Pa. The jobs shown are groups of farm buildings located near Strasburg and owned by (A) Emanuel Ranck, (B) Mrs. John C. Rohrer, and (C) Milton Rohrer. These jobs required about four and a half tons of Dutch Boy white-lead. M rura num job, of pict man from silos etc., is w Hal got T is so Joh our &B National Lead Company's staff ofpracticalpaint men will help you solve yourpainting problems without charge. Address your letter to National Lead Co., Room 2020, til Broadway, New York, N. Y. Please state your problem fully and he sure to place your name and address on your letter. Our reply Will reach you promptly by mail The problems discussed below are printed here because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled t"*1 o o CO CO CO juaJk Finish for Red Cedar Woodwork Question; What is a good method of fin ishing red cedar interior woodwork so that the wood will show its natural grain and colort Answer: One way to get the sort of finish you want is to apply a good quality pale paste wood filler to the work, allow it to partly set, then rub across the grain with rags or burlap to remove the excess filler from the woodwork. Then, after the filler has completely dried, apply a coat of very thin shellac. After the shellac has hardened the woodwork may be waxed and rubbed as per directions on the paste wax container. Another popular finish is produced as follows: Use pale paste filler on the cedar, and rub off the excess, as ex plained above. When the filler is dry and hard, give the work a coat of good furniture varnish. After drying, sand down with double O sandpaper and wipe clean. Then put on a coat of high 68 grade rubbing varnish. This coat, when dry, should be rubbed with fine pow dered pumice stone made into a paste with water. Do the rubbing with a pad of cheesecloth. After rinsing the work and allowing it to dry thoroughly, ap ply a finishing coat of the same rubbing varnish and rub down with powdered pumice stone mixed with crude oil or some other non-drying oil, using a felt pad for the rubbing. A final polish with rotten stone and crude oil should leave the woodwork with a thoroughly satisfactory finish. Paint for Lavatory Question; One of my store owner cus tomers wants me to paint the walls of the store lavatory with some kind of finish that will he hard to write on. Can you suggest somethingt Answer; Lavatory artists and poets, if they really are determined to prove the old saying, "Fools' pictures and traces arc often found in public places", will find a way to mark on any surface. However, a "sand-finish" is often used on toilet and washroom walls, the sand having been blown or sprayed on the wet finish coat. An even more effective drawing deterrent is ground cork, which is applied to the tacky finish coat in the same manner as sand. Cork will break pencil points faster than authors and artists can sharpen them. Mixing a Dark Brown Paint Question; A year ago l painted a frame dwelling a dark brown. Now the color is a very deep gray To obtain the brown color I mixed red-lead with lampblack. It looks to me at though the red has entirely "faded'' out, leaving just the black. The owner now wants the place painted again and he wants it dark brown--a color that will not act like the other one did. Should I mix the paint with a white-lead basef Answer; The "fading" or changing of color of the brown paint apparently was due, not to the quality of the ma terials used but was, instead, due to their characteristics. Red-lead is not a tinting pigment. 11 is primarily a primer and body coater for metal work because of its rust preventive qualities. A prop erly tinted white-lead paint is used over the red-lead, chiefly for the sake of ap pearance, because a straight red-lead finish coat, exposed to the action of sun light and weathering, gradually loses its red color and assumes a grayish cast. In other words, the surface of the red-lead (oxide) gradually changes to white-lead (carbonate). This loss of color does not, however, mean any loss in protective ability. In your case, the lampbl lead d . Whe quired base. mixtur and la brown burnt red an deep b change Pant Ques modele trim th The old bad con sanded gave th specifie job, I 0wner s another other pa will hav claims t cial oil All this your op Ans why th satisfa on wha trouble descrip method you fo painter never guimvood, cither new work or old work that, as in your case, was properly cleaned and sanded, required an "oil treatment" before paint was applied. If your paint was mixed according to the recommended formulas, both as to kind and quantity of ingredients, if the paint was properly applied and if suf ficient time elapsed between coats, we don't know what else you could have done to satisfy the owner. r4 o o CO CO CO to Outside Flat Paint Question: I am about to start work on a frame house en which the old paint is track ing and peeling. The owner wants a white fob and wants it to have a fat finish. Ifhat are your suggestionst AnswerIn the first place, we as sume that you are going to burn and scrape off all the old failing paint. This will give you a bare wood surface to work on. For the first coat mix your paint as follows: io o lbs. Dutch Boy white-lead 4 gals. Dutch Boy raw linseed oil \Ys gals, pure turpentine pt. Dutch Boy liquid drier After this primer is dry and hard, put on a body coat consisting of too lbs. Dutch Boy white-lead i'/i gals, Dutch Boy raw Unseed oil i}4 gals, pure turpentine i pt. Dutch Boy liquid drier The finish coat should consist, of equal volumes of Dutch Hoy whitelead and Dutch Boy Lead Mixing Oil -- ioo lbs. of white-lead and 314 gals, of Lead Mixing Oil. This will give you a practically glossless finish that should wear as well as the usual final gloss coat and one that will be easy to paint over when it comes time for re painting. gfSp.jwiWi, b rw * ft|-8a:swa',ffi a3* Sj jt l?a*; 14 *Jb8Ta*-- 6pq-m* ln<N'iItWw *sa l DUTCH BOY "LEAD" vwtooml & _ ss __ _ W.,,,a r* ?; r --: santis"'., 2 IMfSljgtssuggswtaimpi HITS NEW HIGH V IN PAINT VALUE wr n. rnmmili I j;s ! ! - - 3 Recent Improvements Make Dutch Boy Better Than Ever The big news in the paint line these days centers on Dutch Boy WhiteDead. This time-honored paint pigmerit is now whiter than ever, has more body than ever, hides better than ever. Dutch Boy White-Lead has always been considered tops in quality, brushability, adaptability and economy. Now, with its stepped-up Whiteness, Body and Hiding, Dutch Boy clearly is a bigger paint value than ever. It's "preferred stock" In paint shops. 0- A**-- H.#*W SiSsRS, ^j r .* 'z ^s'm *nU .i IH l1a*4 |i fM-WSWag IIS- s iU** ! k t t *rw 5iiiaiiiu'rt !S jKifl;; pV-L . i * ifi & w'J' 2y*-S*4 K* F* HWir i3$ M*t JWS^.SirHMMlTcWiW * a' AiZttr* ... 4} J*u---ajn.v a *g IT* & JUi * - JRT . t * ,!,t * is >B J-- S a<omf*en wtyinMSM3i* It m .*l iarCn,tMn.luMMSI i>k.ii*i*iis* yt Wau 1 -- ' Ihw1 Jr4m 1: DUTCH PWEiTEIS Volume 32 1939 Published bi-monthly by National Lead Company, Room 202 N, X,, in the interest o/better painting. Mailed without charge 20/tot Do T/ou Kno mo is t u r e m ... fi&youtsta& DUTCH BOY ATER is undoubtedly a very trouble Wfine article to build bridges over, jobs-- to sail boats bn and to catch fish in, but it's a mighty poor material to build a work paintfilm on, in or over. In speaking of and co water Sve mean, of course, moisture in ence t both the liquid and vapor forms. most c A glance at the table of contents of blister practically any paint magazine, any the siz where, any time, would reveal articles large headed something like this--"Moisture and w --Paint Enemy No. 1" or "Paint and The Water Don't Mix." A study of the forma mail received regularly by our Tcchni- vapor cal Paint Service would prove that the The s greatest single cause of paint troubles is "airsid H .O, in one form or another. The jobs the mo studied by our field men, in running --be i down paint difficulties, indicate that since moisture is the culprit in the majority ready of cases. agains So paint vs moisture is an old, yet film, l always new, story. And painters gen- ward. erally, though they know that moisture All causes many of their headaches, are fre- to und quently at a loss as to the methods of not be identifying and eliminating the source sons fo of the moisture that brings on their the pa 003335 painter's detective abilities come into play. On new work the commonest moisture source is wet plaster inside the structure or damp sidewalls forming the building. Here, of course, there can be no paint-blister evidence of moisture because no paint has yet been applied. It is in cases of this type--new work-- as well as in many other instances, that the "moisture meter" or "moisture gauge" can be of real help both in con vincing the home owner that the build ing isn't ready for paint and in justify* ing the painter's stand in asking a post ponement of the job. These "moisture detectors," some types of which are shown on these pages, indicate the presence of moisture in the surface tested and also show the percentage of moisture at the time and in the area of the test. In other Words, these instruments act much as does a fever thermometer which will show whether the patient has a "tempera ture" and, if so, how many degrees it is 76 above normal. The gauges or meters operate on the general principle that a wet "short" between the meter ter minals will offer less resistance to the passage of electric current than will a d ry connection. Easily read dials on the instruments give the investigator the information he is after. It isn't to be expected that every painter equip himself with a moisture detector. These gauges are not as cheap as good brushes. The least expensive model that we've used sells for around $20 and other types range up to triple that figure. It is conceivable, however, that an investment of this sort would pay dividends to many a large contrac tor. In tlie eyes of a disgruntled prop erty owner, there is something mighty convincing and businesslike about the Use of this instrument when it is em ployed on a job that has failed or is like ly to fail because of moisture-trouble. The difference between new jobs on which moisture difficulties may occur after painting and old jobs on which blistering has appeared is one that is all in the next painter's favor. That is, he lias some factual evidence to work on, in order to trace the trouble. He may find that the blistering is localized, which would indicate a leak above or near the areas where the paint failed. A close inspection of joints and flash ings will usually reveal the cracks through which moisture gains admit tance. If these openings are closed and the affected areas cleaned of paint and allowed to dry out thoroughly, future blistering may be avoided. Moisture that gets behind the paint film and that cannot be blamed on de fective building construction, is gener ally harder to trace to its source. Where there is no apparent reason to suspect exterior leaks, the moisture may be due to vapors manufactured within the rooms of the structure or within the air spaces in the walls themselves. Some of the factors which may lead to moisture condensation behind the paint film are: (a) The greater absorbency or por osity of some modern plaster bases and sheathing materials as compared with older materials that were less absorbent. ( hum for wea ( con wea whic per orat high circ plan to o mer ( desi ffii'-maij/ufi ,*< (l Dulcli BotjPumler. h-, r and basement space, hall ways, and even partial or complete elimination of base ments, thereby cutting down the cubic content per person and bringing about higher humidification by the evapora tion due to occupancy. (e) More general use of shower baths and a more plentiful supply of hot water, so that the evaporation per occu pant has probably increased. Now, all of these factors are, in themselves, desirable things so far as the home owner is concerned-. But they do add to the moisture problem and may put an impossible burden on the painting contractor who, unsuspectingly, prom ises the owner a good, lasting paint job. The above factors affecting humidity are described in some detail so that the painter, who certainly cannot alter the living habits of his patrons, can at least offer some plausible reasons when asked to explain blistering that cannot be traced to leaks or faulty construction. The solution to the problem of keep ing moisture due to excess humidity within the house, out of the hollow spaces in the exterior walls is not sim ple. It consists of installing moisture barriers in the air spaces in the walls and providing sufficient ventilation to permit evaporation of the pent-up mois ture before it can condense behind the paint coating. If the painter suspects that moisture in the sidewalls is the cause of paint troubles, he will do well to suggest to the home owner that pieces of siding be 003336 BERKELEY'S WESTERN WEEK To celebrate Berkeley`s M'eitern Week, as a prelude to the opening of the Golden Gate International Exposition, the Dutch Boy Painter and his folks went native in no uncertain fashion. The spirit of the occasion extended even to window dis plays. This one shows a mammoth sombrero ringed round with Dutch Boys whose hats were made for bigger, though not wiser, heads. The other photo gives you an idea of how the personnel of Dutch Boy's San Francisco branch dressed for the occasion, IV ..-... removed in the affected areas. With the siding removed, actual water or water stains may be found on the inside of the siding and on the sheathing paper. Here, too, a moisture gauge can well be used, to prove that the excess moisture in the wood caused the blistering of the paint; Normally dry wood contains 10 to 15% of moisture. Wood that con tains 20 to 30% of moisture generally carries cracked and blistering paint as evidence of its large moisture content. So far as the paint itself is con cerned, there is no practical paint mix ture or method of application that will prevent blistering, should moisture con ditions reach the point of causing a paint failure. Paint mixed with a high ratio of pigment to linseed oil is more resistant to blistering and, if it does blis ter, forms fewer though larger blisters than a p centage o Forest P that the sistant to and linse consisten properly normal m All in job these sinecure think it i painter to he really by demo applying the tunny fall heir will blam doesn't k PHIHT THE RAD HEN you were young the W chances are you were often re out its wa though th minded by grown-ups that "little btohyes heat's should be seen and not heard." And also why it sh when you were young, the chances are spicuous-- that the radiators in your house and Themo in your neighbor's homes were treated as integra as though they should be seen, ns well against w as "felt." which the A radiator is a mighty handy article the walls on a cold, wintry day and the family are often is perfectly willing to overlook its awk be painted wardness and prominence as it sends tainly is a #^'jL... , inpy his radiator is "gone"--it must 11` hurt metal before refimshintj 5? co CO CO >1 merely in providing the materials for an interior job but it also simplifies the decorative scheme. Instead of try ing to visualize the effect that would be produced if the radiators were done one Way and the Walls another, all the painter and the housewife need agree on is the all-over wall color or treat ment, because the radiators are to be in cluded in it. In treating radiators in the modern manner, that is, painting them, the same paint that is used on the walls may be employed, This assumes, of course, that the wall paint is a high grade article such as that produced by mixing Dutch Boy white-lead with an equal volume of Dutch Boy Lead Mix ing Oil and tinting to suit with Dutch Boy colors-in-oil. Paints for use on radiators should carry some linseed oil, 80 enough to give good adherence and elasticity. The amount of linseed oil ground into Dutch Boy soft paste white-lead is sufficient for most radia tor painting. Thus, when this lead is reduced with Lead Mixing Oil, you have a paint that stays put and that matches the wall paint both in color and in finish. As to the effect of heat on a paint of the type described above, much de pends both on the color of the paint and on the time given the paint to dry out before the heat is turned on. White dr very light-tinted paints tend to darken somewhat on exposure to heat. Thus, if the interior scheme calls for a very light wall color, the radiator paint may be tinted a couple of shades lighter, to allow for the slight deepening of the tint later on. The medium shades of .gray, buff, green, etc., that are used on walls these days, should hold their color on the radiators as well as on the walls. The tinting pigments used in the paint have some effect, too. Generally speaking the earth pigments, such as the umbers and siennas and ochres, stand heat better than do the chemical ly-produced colors---chrome yellows and chrome greens, blues, etc. Insufficient drying time, for the job as a whole and between coats, can be a real cause of trouble in painting radia tors. If each coat is not given time to dry properly (and by drying properly we mean not just the surface of the paint but clear through the body of the film) and if the job is not allowed to stand for a sufficiently long time before the heat is turned on, blistering and eventual cracking and peeling are al most sure to occur. The first step in painting radiators, tis in painting anything else to stay painted, is to get the surface in shape to take and hold paint. On many old radiators this means complete removal of the old finish, right down to bare, dean metal. Radiators on which tile previous coating is sound, though dirty, require merely a good cleaning. Where the old finish has been re moved by chipping, scraping, wirebrushing or with steel wool, a final cleaning with benzine, or some other solvent, may not be necessary but it is desirable. If the old finish has been taken off with a paint remover of some kind, a thorough scrubbing with ben zine is necessary before painting. Dutch Boy quick-drying red-lead is just what the doctor ordered for prim ing radiators, once the metal has been prepared. This first-coater gets a bull dog grip on the metal, flows out smoothly and forms the type of film that affords proper anchorage for the coats that are applied oil top of it. These coats, a body and a finishing coat, can be the regular white-lead-Lcad Mixing Oil paint that is used on the walls or woodwork adjacent to the radiator, Assuming that the radiator's old coating is sound and has been cleaned properly, and that the reason for paint ing is chiefly one of decoration, no primer i (sometim lead-Lea There of late of radia gold bro good w ago, a were de this hea tests we vertical were co enamels The when ra grade w off than with th 003338 Producing a plain, antique finish. Right section show ivory-tinted white-lead ground coat, center portion shows raw umber glaxe coat being wiped to highlight coil edges, leaving fairly deep color in the, hollows. Completed section of job at left shown that the final coat on the radia tor was the one that increased or re duced heat transmission. It is pretty generally agreed that light tints of high grade Hat or semi-fiat wall paints pro vide the most efficient heating surfaces on radiators. This is an additional rea son to give to home owners when you suggest that, the next time they redeco rate, their radiators ought to be painted. II TRIBUTE TO Du t c h bo y coiora-h-oii made for house-painting pur poses. And, used as tinting pigments for colored paint or straight for solid color work, they give the painter everything he expects to find in top grade colors-in-oil--high tinting strength, true color tone, convenience and economy. Perhaps it is not strange, then, to learn that Dutch Hoy colors are used by outstanding artists in the execution of some of their important works. Nevertheless, we invariably feel a par donable glow of pride when examples of this unexpected use of Dutch Hoy colors are brought to our attention. A case in point is the work of 82 qURIITV Frank Nuderscher Mr. Frank Nuderscher in the banking rooms of the Hoatmen's Hank of St. Louis. Mr. Nuderscher, who is a member of the National Society of Mu ral Decorators, was commissioned to paint three murals, each 9 feet by 10 feet, for the bank. This work was com pleted some time ago and has occa sioned much favorable comment. One of the murals depicts the found ing of St. Louis in 1764 by Pierre La clede and Chouteau. The other two show the St. Louis river front as it ap pears today and as it looked in 1847. The pictures on this page give a gen eral view of the group of murals as it appears in the banking room and also a close-up of the painting that shows the fo colors Mr. mura colors suited recom which Right: Close-up of the left-hand mural, "Founding of St. Louis", in the group shown in the general view (below) of the banking room of Roalmen's Rank F our memory serves, Wyoming is I the state in which originates, so the old cow-hands say, Powder River--the stream that is a mile wide, a foot deep 1 and that runs uphill. Few sections of i the country can point to so interesting, if actual, a phenomenon as famed !. Powder River. And few sections can '1' boast of as complete and as well-ordered HI JJ It a paint store as the one pictured on Jill? these pages--the Wyoming Paint'& Glass Company, in the city of Casper, j TTi. T This business, formerly known as ''HjlO, the Casper Glass & Paint Company, 1 j'*'' Kr i`T' was purchased in 1929 by Messrs. N. J. Ivetk and R. H. Hawley. Howard J. Leik entered the business in 1930 and his brother T. N. Leik came in a year later. 111 March, 1939 the firm adopted its present name and a new corporation was formed with Howard J. lank as President and Treasurer; A. E. Win ter as Vice-president; and N. J. Leik as Secretary. The firm specializes in glass store fronts and, if plans work out, intends to expand its sphere of opera tions to include the entire state. Top: A window for Dutch hoy, cash register co /in Expert in I aa npELL a man something often A enough and he begins to believe it --unless there is evidence to support an opposite view. We've all heard the statement that graining and marbling are lost arts, that they are things of the past. We've heard this statement so ^ often that we are inclined to take some O stock in it. Hut we won't accept it at CO face value so long as men like Thomas J Scott of Philadelphia are around. !* First, last and always a true crafts man, Mr, Scott has devoted a large share of his time and talent in recent years to the development of a training course that would allow him to pass along to the coming generation of craftsmen the things he has learned about painted reproductions of natural woods and marbles. While Mr. Scott has established classes in which lie personally teaches his graining and marbling methods, he has felt that his efforts were too largely localized, that throughout the country there were numbers of up-and-coming 86 young craftsmen who would welcome a chance to learn how to do the type of work that has gained him recognition. To enlarge his sphere of action, Mr, Scott developed a system of instruction that includes charts and leaflets, to gether with actual full-color illustra tions of each of several types of grain ing and marbling. The color plates, size 18 x 12 inches show, for example, Sienna Marble, Vert Antique (green marble, which is shown on the opposite page), American Walnut, Knotty Pine, Mahogany, Chestnut and so on through the list of woods commonly reproduced by graining methods. We mention Mr. Scott's activity in his chosen field because our Technical Paint Service is continually getting in quiries from readers of this magazine asking about graining and marbling, requesting samples of the work and oc casionally asking for information on trade schools where graining and mar bling are taught. Aiiy one with a real interest in this work can get complete information by dropping a line to Mr, Thomas Scott, 4904 Griscom Street, Philadelphia, Pa. It is, perhaps, proper to add that in the Dutch Hoy line, Mr, Scott finds most of the materials he needs in doing the type of graining and inarbling that has repeatedly carried off top honors at exhibitions around the country. i. ....... v sum , . . .,,-no.--4d SIEGEL'S "DOUBLE-DUTY" TRUCK as : ; Trucks are rated according to their weight - carrying capacity -- half ton, ton, five ton, and so on. But no truck it ever overloaded if its owner calls on it to carry a welt-known trade-mark too, ni matter how much "weight" said trade mark may carry. Here we show the truck of Henry Siegel, painters' supply whole saler, ty$t Amsterdam Ave,, New York, which not only delivers the goods but alto delivers good impressions en route O o 00 CO on f-v YEAR AFTER YEAR . , Among the many ityai Dutch Moy dtstributors who, year after year (and often twice a year) feature Dutch Boy in their windows, is Hockenjos, large painting supply concern that operates stores in the New Jersey cities of Bast Orange, Elizabeth, Irvington, Mont clair, Morristown, Newark and Paterson, The photo below shows the Dutch Boy dis play in the East Orange store DUTCH BOY--LEFT TO R|HT, TOP TO BOTTOM . . . that's the sort of window Chas. Yorr of Price Hill Paint & Glass .Com pany, Cincinnati, puts in to show fsersby what he thinks of Dutch Boy paint materials. If a painter can't ft what he wants in this window, he's just plumb unreasonable. The Ptitiill people also show their regard for the Dutch Boy Line by including it their listing in the Cincinnati ctassfo fied Utepbe directory . v This photog of The Pai not simply b ` also because ing dozens o pencil many ' to receive o , is practicall , \ clean, crisp you can be noses again n'1 I aiu s' The DuHtoffolks who make and market your favorite paint materialsSto produce top grade tend pipe, sheet lead, solder, braying mis--in fart, just about everything in the lead and - trait-allayne. The photograph shows a recent exhibit in the showroomf N. (). Nelson Company, important St. Louis jobber of Dutch k lead f/oot/s. The Nelson Cowpuny also has hramhes at tious points in the south, southwest and west mo t o r is t : I drive by here often... been watching this job. You the boss? ' c o n t r ac t o r : Yes sirl My name's Goode. Glad you noticed the job. Not die only one around here, though. One right across the street. Mo t o r is t : Guess this one caught my eye because of that sign. Looks pretty businesslike. c o n t r ac t o r : Well, I figured that if contractors in Other lines find it good business to sign their jobs, I'd try the same thing. Mo t o r is t : Say, you act like an up-to-date painter. Gives me an idea. My place needs painting. Hop in--we'll drive over and you can give me a figure. MORAL: H you're a good painter, a "Dutch Boy" user, don't he bash ful. Get a couple of these Metal fob Signs and tell the world. i 2 sighs.......... $2 S 4 signs...... 3 " a 6 signs.......... 4 10 or more Signs, 50c ea. Signs shipped . m prepaid. Above prices include imprinting of %n painter's name, address and phone. If no im printing is de sired, deduct 25% from the above prices. If signs ordered f are wanted with different im prints, add 50 cents for each change desired. No C. O. D. or ders, please. FIRST NATIONAL BANK COUPLE of years ago, an ener getic young printing salesman breezed into our office with a rough dummy of an educational leaflet that he claimed would sell lots of white-lead and oil paint. On looking over the il lustrations we promptly discovered that the young man's enthusiasm greatly outweighed his paint knowledge. For, while he showed a lead mine as the source of white-lead, he had an oil well derrick to show the source of linseed oil. This printing salesman should have spent some time in Midland, Texas. There he would have found plenty of people who know their, oil and their paint equally well. Midland is located in th distr conc Basi M Nati air-c a ye justi done maim The Fort cons into for t ing M. T. Hutchmann,`Midland contractor. Below: Bunking room, Fiat National Bank of Midland ORDER BLAN K ' NATIONAL LEAD CO. Room 2020, 111 Broadway, New York, N. Y. Date........................................ ' Please ship .............. Dutch Boy 24" x 36" Metal Job Signs, for which is enclosed $ in cash, check, money order, to: s Name........... Full Address Put this imprint on the signs--) NLl 003352 (Pointer1i Mom* or Nam* of Firm) (Phono Numbor and Stroot Addrmi) IN L 003353 DulcliBoi}Poinlcr................-- .................. . ... cording to the Dutch Hoy Interior Painting System can be depended upon foTreafwiishaWIrty, as Well.as "for goad appearance and durability, used these materials on the job -- 3400 lbs. of Dutch Hoy white-lead and 100 gallons each of Dutch Hoy wall primer and Dutch Hoy Lead Mixing Oil. SPRTTER FIIIISH FOR FLOORS RUMOR has it that the first spatter - finish job was enti rely unpremedi some soft wood, such as white pine, poplar or hemlock, prime them with tated. A painter was doing some multipaint mixed as follows: color wall work on rough plaster and 100 lbs. Dutch Hoy soft paste white-lead using brushes that were entirely too ` stiff for the purpose. As he progressed 3 gals. Dutch Hoy raw linseed oil a gals, pure turpentine ' t pt. Dutch Hoy liquid drier around the room he left behind him on If boiled linseed oil is used, the drier the edge of the floor a beautiful trail of may be omitted. T his mix makes about freckles of various hues. (This was in gals, of paint that will cover from the days before drop cloths were in 600 sq. ft. to 700 sq. ft. per gallon. vented, by the way.) When the cus If, however, the floors are of some tomer, a colonial lady with an eye for hard wood -- oak, maple, ash, yellow new ideas in interior decoration, came . pine, etc.--*prime with paint mixed as in and spied the nifty border around the indicated above but use only 2 '/z gals, floor, she exclaimed, "Well at last I've of linseed oil. found a painter with ingenuity enough Hrush this priming coat out well--a to figure out a new type of decoration common cause of sticky floors is flowing and gumption enough to go ahead and the paint on so thick that it fails to dry do it!" properly, then hurrying too much with Now, as we said at the outset, this is the other coats. merely a rumor, like the one about roast When the priming coat has dried pork having been discovered when a thoroughly, fill all cracks, holes and hog-house burned down. Hut, rumor dents with white-lead putty, firmly or no, the spatter finish did start some pressed in place and leveled out Hush where and it is still popular in colonial- with the floor surface. When the putty type homes. And the reason for this is dry, rub it smooth with sandpaper article is the number of inquiries that and wipe up the dust. lately have come in asking just how the For the body or second coat on new spatter finish is executed. floors, no matter whether the wood is In the first place, the floors should be of the soft or the hard variety, use paint clean, dry and smooth. If they are of mixed as follows and tinted to suit: 112 1 A. 100 lbs, Dutch Hoy soft paste white-lead Zi teal. Dutch Hoy ruw linseed oil cals, pure turpentine Vi pt. Dutch Hoy liquid drier If boiled linseed oil is used, the drier may be omitted. This mix makes about 6 gals, of paint that covers about 700 sq. ft. to the gallon. When the above coat has dried hard, put on the finishing coat, the paint hav ing been mixed as follows and tinted to suit: , too lbs. Dutch Hoy soft paste white-lead 'A gal. Dutch Hoy raw linseed oil H Kal- pure turpentine 1 gal. Hour varnish Vi pt, Dutch Boy liquid drier If boiled linseed oil is used, the drier may be omitted. This mix makes about 5 XA gals, of paint that will cover about 700 sq. ft. to the gallon. If the floors you are to paint are not new but have previously been painted and the old paint is still in fair shape, you need not apply the priming coat suggested above. The spatter colors may be based on the same formula used for the finishing JPAT Ltf |I 003354 coat paint but, of course, you will want several colors. So take a gallon or so of Unfiiited finishing coat paint, spiff ft up into four quarts and tint each of the four quarts a different color, choosing tints that go well with each other and with the floor ground coat color. Also, have a separate brush for each of the four colors. As to the actual spattering, take in, In one stretch, only a workable area of the floor at a time. Hold a straight edge, or other straight piece of wood, in the left hand, dip the brush lightly into one of the colors, then draw the bristles briskly downward across the edge of the straightedge. This deposits the color on the floor in a fine spray. After spattering a'couple of square yards of floor with the first color, re peat with the second color, using a clean brush and drawing it across a fresh edge on the straightedge. Continue as above with the other colors. Then move on to the next stretch and repeat the spatter process, taking care not to get the paint pots and brushes mixed up and reserving the same section of the straightedge for the successive spatterings of the proper colors. Another way to spatter the paint on the floor is to simply strike the paintfilled brush against the straightedge, palm of hand, or some other object al lowing the droplets of paint to spray on the floor. To decide which method gives you results that the house owner likes, try out both on cardboard or wallboard sheets laid on the shop floor. ...OF ST. LOUIS IK you're from Missouri, you've been in St. Louis. And, if you've been in St. Louis, it's probable that you've heard of the Reineke Wallpaper & Paint Company. This up-and-comingconcern operates two stores in St. Louis, one at 5149 Easton Avenue and the other at 335 > Gravois Avenue. Both are important Dutch Boy outlets, as may be sensed by 114 glancing at these pictures of recent Dutch Boy windows. Fred W. Reineke took over, in 190a, the contracting business started by his father in St. Louis in 1865. After some ten years at contracting, Mr. Reineke became associated with another concern with whom he remained for about twenty years. In 1934 he opened a store in south St. Louis. The business grew so rapidly that a new store was opened in north St. Louis the follow ing year. The new south side store, recently put into operation, has 8000 square feet of Hoor space devoted exclusively to the service of painters and decorators. It embodies all modern improvements, in cluding air-conditioned offices. Fred W. Reineke is the treasurer of the con cern and his sons--Ted, Russell and Du at in H vic E vi N IN L 003355 * National Lead Company's staff of practical paint men will help you sohe your painting problems without charge, address your letter to National Lead Co., Room 2020, /// Broadway, New York, N. Y, Please stale your problem fully and be sure to place your name and address on your letter. Our reply will reach you promptly by mail. The problems discussed below are printed here because they appear to be of genera! interest. Space limitations permit the printing of only a few of the problems handled Cleaning Smoked Brick with a*wire brush to get off as much Question: IPhat do you recommend for use in cleaning red brickwork that lias been badly smudged by smoke from a nearby firef loose dust and soot as possible. Then, using a fibre wall brush, spread the soap mjxture evenly over the affected area. Answer: A satisfactory brick-cleaning job can usually be done with a liquid composed of equal parts of muriatic acid and water. This liquid is washed over ffie bricks with an old broom or a Let this work on the smoked surface fin a half hour or so, then scrub briskly with a stiff brush, working the paste well into the brickwork. Finally, rinse it all off with clear water, hosed on if fibre brush, care being taken not to spatter it on the hands, factor clothing, or on adjacent painted areas. Inlinediately after the muriatic wash is appjied, it should be rinsed off thoroughly with clear water. Prompt removal of the acid is advised because it reacts with and may be harmful to the mortar in which the bricks are set. If for some reason, the above procedure doesn't get the smudge off the brick, try this; Soften laundry soap possible. This procedure nearly always proves effective, not only for cleaning stains off brick, but also in tidying up stone sills, cement steps, statuary and other items that, over the course of time or through accident, acquire a coating of dirt, grime or other discoloration. ... ...... ................................ .... Oil Colors or Japan Colors Question: IPhat is the difference between colors in oil tind colors in japan/ Answer: Oil colors are tinting pig- chips in sufficient water to make about a gallon of soft soap. Stir into this soft soap a pint of household ammonia and 2 lbs. of powdered pumice stone. Clive ments that are ground in pure raw lin* seed oil alone or in pure raw linseed oil with a little turpentine added. Japan colors are ground in japan drier. Oil the smoky brick a preliminary brushing colors are generally used by painters for 116 &_______________ all ordinary house painting purposes. Japan colors dry faster than oil colors; hence are usually employed when a straight color finish is wanted--as in sign painting, lettering on glass, etc. Japan colors are also frequently used in tinting enamels because the japan vehicle is more compatible with the vehicle used in enamels. Filling Cracks tn Rough Plaster Question: IPe don't have any trouble fill ing cracks in smooth plaster walls, but do have difficulty with them in rough plaster, ifow should cracks be piled when working on rough plaster walls/ A newer: After cutting out the cracks in the usual manner--wider next to the lath than at the wall surface--wet the edges and fill tightly with patching plaster. Before the patch sets hard, rough up the surface with a small wire brush. You can, with a little practice, make the patch match the roughness of the rest of the wall very closely. After the patches have dried out hard, spotpaint them With Dutch Boy wall primer. When these touched-up areas have dried thoroughly, go ahead with the painting in the usual way. Lettering on Overalls Question: I tried to do a neat job of let tering our firm's name on the backs of our white jackets but the work looked pretty messy, The paint was hard to get into the cloth and the edges of the letters were rag ged. How can I do clean-cut lettering/ Answer: Your trouble probably was due to using ordinary linseed oil paint. We suggest that you get some good ' Dutch Bot| Painter... &.......--...- _______________________________,_______ nent green, use I'/i pints Dutch Hoy medium chrome green; for a golden brown, use / pint Dutch Hoy raw Italian sienna and % pint Dutch Hoy burnt turkey umber ; for a seal brown, use i pint Dutch Hoy raw turkey umber. There is nothing in the liquids or colors named that will bleed when the shin gles are painted later on. The stain, which should be very thoroughly mixed to incorporate the tinting colors with the liquid, should be brushed well in to the shingles. Be . cause the surface i$ very absorbent, the area covered by a gallon of the stain will probably be not more than two hundred square feet. Lightening Dart-Stained Pine Panelling Question; / would like your advice as to the best method of removing a dark oak-colored stain and wax finish from the yellow (line wall panelling of a room. The old finish must come off to the bare wood, and the panels refinished lighter with a sort of silver gray effect. ' I have experimented on a small panel by using a strong solution of floor bleach ing compound, used hot and strong enough to remove varnish and shellac. After rins ing, l applied a hot saturated oxalic acid solution and let set for /5 minutes before rinsing. Even so, the wood still has a yellowish or raw sienna color which I would like to bleach out. t would appreci ate your advice as to the best method of removing the old finish entirety and refin ishing as indicated. Answer: We assume that the treat ment you gave the dark oak-colored panels was effective in removing all of the old wax. The yellowish or raw sienna color may be simply the natural yellow of the pine itself, and since this yellowish tone is due partly to resin, which it would be practically impos sible to remove, we believe that you have already succeeded in getting the wood as light a color as possible. You might, however, obtain a little ordinary hypo solution such as photog raphers use, and apply this on the area that you have already tested. On some types of wood, the hypo solution works a little better than the oxalic acid. If you do not succeed in bleaching the color any further, the best suggestion we can make is that you try out the silver gray filler on the test panel to determine whether or not the effect meets your customer's requirements. The silver gray filler is composed of three parts, hy weight, Dutch Hoy soft paste white-lead and two parts, by weight, fine silica.. Reduce this pigment to a thin paint by adding a thinner composed of equal parts of pure turpentine and good coach japan. Brush this paint on the panel and al low it to set. Before it has hardened, rub the panji cross-grain with stiff felt, or some other suitable fabric, to force the filler into the grain of the wood and at the same time removing all filler that can't be taken up by the wood. The filler may be colored slightly tp provide a grayish cast, by adding to it a small amount of Prus sian blue or lamp black. When the filler has dried hard, the test panel can be finished with an oil rub or with wax, and then shown to your customer. 118 site., SURE as shootin', you're go ing to want to look up some item that has appeared in the Dutch Boy P'ainter maga zine. Maybe it is an article on painting asbestos shingles ... or a solution to a paint problem ... or a story on styl ing with paint. Whatever it is, you'll want it. But you won't find it if the youngsters have cut up that copy or the oldsters have used it to shim up the short table leg. N L I 003356