Document 9yaaaKNOMxQ3LpO38VL3J7qD

Sh e r w in -Wil l ia m s Table of Contents Page ACID STAINS. Color Card........................................ 127 FLO-LAC. Color Card..................................... ALUMINUM PAINT. Discussion............................... 156 FLOOR ENAMEL. Color Card....................................... 157 ANTYDAMP. Discussion............. . ,................. 146 GALVANIZED IRON PRIMER. Discussion.................. 159 AUTO PAINTS AND ENAMELS: Auto Enamel. Discussion and Color Card................ 144 GLAZING LIQUID. Discussion................................. 97 Auto Seat Dressing. Discussion.............................. 145 HANDCRAFT STAINS..................................................... 123 Auto Top Dressing. Discussion ............................... Touch-Up Black. Discussion................................... 145 164 IMPLEMENT PAINT........................................................ 165 BARN PAINTS: Commonwealth Paint. Discussion and Color Card BRUSHING LACQUER: Rogers Brushing Lacquer. Discussion and Color CARBOL1C-OL SHINGLE STAIN. Color Card COMMONWEALTH PAINT. Discussion and Color Card.......................................................................... CONCRETE AND CEMENT HARDENER. Discussion CONCRETE WALL FINISH. Color Card...................... DAMP PROOFING: Antydamp. Discussion............................................ Plaster Bond. Discussion........................................ EBONOL. Discussion . . EBONOL REDUCER. Discussion............................... 155 133 155 156 43 146 146 162 162 INTERIOR DECORATIVE SUGGESTIONS. Colored Plates: An Informal Sun Parlor........................................ The Breakfast Room................... .............'.......... '., A Living-Room in Old Ivory, Blue and Mulberry .. A Homey Living-Room............................................. A Charming Living-Room in Gray and Green....... A Dining-Room in Gray............................................ Dining-Koom in the Spirit of Colonial Days.......... A Cheerful Dining-Room in Modem Treatment ... A Man's Room........................................................... The Bedroom ... .j*..................................... A Colonial Bedroom.................................................. A Kitchen in Sunshine Yellow................................. A Cool Blue Kitchen................................................ A Delightful Gray Kitchen........................................ A Dainty Bathroom in Dove Gray and Pink........... The Refreshing Green Bathroom.............................. A Lovely Bathroom in Orchid and Gray................. 45 47 49 51 53 55 57 59 61 63 65 67 69 71 73 75 77 ELASTIC ROOF CEMENT. Discussion 162 KROMIK METAL PRIMER. Discussion...................... 159 ENAMELS: LIQUID GOLD. Discussion............................................ 156 Brighten Up About the Home with Enameloid LIQUID ROOF CEMENT. Discussion. ..................... 162 Color Plate.......................... 136 Old Dutch Enamel. Color Card.............................. 137 MAR-NOT VARNISH. Discussion.................................. 110 Painting Odd Pieces of Furniture. Color Plate . 138 METALAST1C. Discussion.............................................. 161 Enameloid. Discussion..................... Painting Children's Toys. Color Plate................. 139 140 METAL PAINTS AND PRIMERS: Enameloid. Color Card........................................... 141 Aluminum Paint. Discussion..................................... 156 Enameloid Three-Coat System for Furniture and Woodwork............................................................. Enameloid Color Mixtures. Color Card................. 142 143 Ebonol. Discussion....................................................... 162 Ebonol Reducer. Discussion....................................... 162 Galvanized Iron Primer. Discussion.............................. 159 Auto Enamel. Discussion......... 144 Kromik Metal Primer. Discussion.......................... 159 Auto Enamel. Color Card........ . 145 FIRST QUALITY COLORS IN OIL. OiSciiaSitin srui Color Card ............................................................... 28 31 Metalastic. Discussion................................................ 161 Non-Corrodiblc Graphite Paint. Discussion......... 159 Quick Drying Ebonol. Discussion . Roof and Bridge Paint. Discussion............................ 161 FLAT-RITE ENAMEL UNDERCOATER. Discussion FLAT-TONE: 158 Screen Enamel. Discussion................................... Touch-Up Black. Discussion................................. 164 164 Three Ways of Finishing Interior Walls....................... 81 NON-CORRODIBLE GRAPHITE PAINT. Discussion 159 Helpful Suggestions for Using Flat-Tone.................... Flat-Tone G>lor Card..................................................... Use of Flat-Tone Multi-Color Stipple Effects........ 82 83 84 OOP WHITE LEAD. Discussion............................... Reduction Recommendations for ODP................... 27 26 Mixtures in Equal Parts. Color Card : ............. 85 OIL STAINS. Color Card............................................... Multi-Color Effects. Sampled Pages and Specifica tions . ........ . 86-93 OLD DUTCH ENAMEL. Color Card............................ 129 137 Complete List of Flat-Tone Multi-Color Effects. . 94 l 0 0 0 7-SW P-000008524 0 0 0 7 -SW P-000008525 tw'. . v 'V <2 A ) o o Table of Contents -- Continued OUTSIDE HOUSE PAINTS: Concrete Wall Finish (For Stucco Houses).............. OOP White Lead. Discussion.................. Porch and Deck Paint. Color Card....................... Shingle Stains. Discussion.................................... SWP. Color Card.................................................. OUTSIDE PAINTING COLOR PLATES: The Porch................. A Happy Treatment for the Dutch Colonial House A Little Gray Cottage................................................ A Home in Colonial Yellow...................................... A Neighborhood of Homes........................................ A Colorful Residence a la Eapagnol......................... A Spanish Patio from California M .......................... A Thatched Stucco Cottage................ A Small English Stucco Residence.......................... PAINT AND VARNISH REMOVER (TAXITE).......... PLASTER BOND. Discussion.................................... PORCH AND DECK PAINT. Color Card.............. PRESERVATIVE SHINGLE STAIN. Discussion QUICK DRYING EBONOL. Discussion................... REXPAR VARNISH. Discussion.......................... ROGERS BRUSHING LACQUER. Discussion Color Card of Regular Colors................................. Color Suggestions...................................................... Color Mixtures. Color Card........................................ Vogue Finish and Exterior Colors. Color Card........ ROOF PAINTS: Carbolic-ol Shingle Stain. Discussion................... Ebonol. Discussion................................... . . . Ebonof Reducer. Discussion.......................... Elastic Roof Cement. Discussion..................... Liquid Roof Cement. Discussion................ Preservative Shingle Stain. Discussion Quick Drying Ebonol. Discussion............ Roof and Bridge Paint. Discussion..................... Roof Repairing Guide. Discussion ,................... ROOF AND BRIDGE PAINT. Color Card........ ROOF REPAIRING GUIDE............................. SAVEL1TE INDUSTRIAL WHITE WALL FINISHES Discussion........................................... SCAR-NOT VARNISH..................................... SCREEN ENAMEL. Discussion................ SEMI-LUSTRE. Color Card........................................ 43 27 25 133 13 1 3 5 7 9 33 35 39 . 41 165 146 25 133 162 118 148 149 150 151 153 133 162 162 162 162 133 162 161 163 161 163 164 114 164 79 , SHINGLE STAINS: Carbolic-ol Shingle Stain. Color Card.. Preservative.Shingle Stain. Color Card. STAINS. (See Wood Stains). STENCIL PATTERNS. Illustrations....... STUCCO HOUSES. Color Plates............... SWP: A Few Things to Know About Outside I lo Don't Be Fooled by Cheap Paint.............. SWP Color Card.................. ............,..... `Directions for Using SWP......................... SWP Latest Approved Color Combina Specifications......................................... Outside Painting Color Plates................ TAXITE.......................................................... TEXTURED TIFFANY EFFECTS............... Panel Illustrations of Various Textures.. Use of Glazing Liquid in Producing Tex fany Work............................................... Textured Tiffany Panels and Specificatio Complete List of Textured Tiffany Speci TOUCH-UP BLACK. Description............ UNDERCOATER. Flat-Rite....................... VARNISHES: Discussion................................................. The Simple Explanation of .S-W Varnish Mar-Not Varnith....................................... Mar-Not Varnish for Floors.................. Some Necessary Things to Do to Obtain ful Floor. . . ......................................... Schedule of Operations for Varnishing Scar-Not Varnith....................................... Chart of Quantities and Helpful Sugge Velvet Finish No. 1044. Discussion.... Woodwork and Furniture.'........ .'......... Some Things to Do to Get Beautiful Woodwork... j.... .j,.......................... Directions for Varnishing Woodwork a ture with Scar-Not Varnish.............. Rexpar Varnith. Discussion.................... Surfaces Exposed to the Weather and to Require Rexpar Varnish............ Industrial Use for Rexpar Varnish...... WAGON AND IMPLEMENT PAINT......... WALLS: Antydamp. For Damp-Proofing .......... Concrete Wall Finish. Description......... Table of Contents -- Continued WALLS- Continued: Enametoid................................................... Flat-Tone. Color Card............................. Plaster Bond. Description....................... Semi-Lustre. Color Card......................... Save-Lite Industrial White Wall Finishes Page 139 83 146 79 164 WHITE LEAD: ODP White Lead....................................... Zilo.............................................................. 27 27 WOOD STAINS.............................................................. 121 Wood Stain. Discussion ........................................... 122 Handcraft Stain. Color Card....................................123-125 WOOD STAINS--Continued Handcraft Stain. Discussion................................... Handcraft Stains System Effects. Color Card....... Acid Stains. Color Card.......................................... Oil Stains. Color Card............................................. Grained Wood Effects Produced with Flo-Lac and Graining Colors in Oil........................................... Flo-Lac. Color Card................................................ The Beauty of Stained Shingle Effects................... Preservative Shingle Stain. Color Card......... Carbotic-ol Shingle Stain. Color Card................... ZILO. Description....................................................... Reduction Recommendations of Zilo....................... Page 124 127 127 129 130 131 132 133 133 27 26 0 0 0 7 -S W P -0 0 0 0 0 8 5 2 6 h m 0 0 0 7-SW P-000008527 o> o o The Por The porch is the out-of-d Dainty frocks are in real da railings, window sills, and are not easy to wash up cl win-Williams House Paint) and smiling with a bath o For the chairs and fu Enameloid or Rexpar Varni As long as a chair is sa shape and style and fairly s first-class candidate for , brush and will make an a I: ance on the porch. Do not do just the easies ' chairs all ``porch furnitu "Paint Headquarters" he some of the inspiring po such as you have been adm , niture store or in the favori * trations. Color will do it-- ! which you probably have i j now. ' The porch floor is the ! porch. S-W Porch and Dec give you the wear along w ; appearance that will mak viting. A screened-in porch mea turbed for the warm s Screen Enamel will make i utility" and render them l cause it banishes rust spots CHAIR - Enamdoid llluc . TRIM COI.OR -- Enameioid (.'hfaKK Red. Pt)K< H I I.OOK Porch and IVk Paint No. SO. 0 0 0 7 -SW P-000008528 ) J ROOF--Preservative Shingle Stain B-41 Sienna Brown. BLINDS--SWP Apple Green A Happy Tre the Dutch Co Are you interested in chitecture ? There are fo ion which can be em wood shingle, textured There is a correct paintin WOOD SIDING-- Adhere to light colors and Greens are not adv may be in a darker colo While it is true that t effective in dark colore of the brick texture. SUGGESTED COLOR SCHE Bright or Warm Effe Roof: B-41 Prese Red-Bro Body Color: SWP 4% Iv SWP 387 C SWP 37S C Trim (Blinds) SWP 460 A Cool or Neutral Effe Roof: C-72 Preser Green. Body Color: SWP 3S7 S SWP 360 C . BUnds: SWP 408 M Trim Color; SWP 4% Iv recomm WOOD SHINGLE: Light colors are recomm Greens may be used for the SUGGESTED COLOR SCHE Roof: Body Color: C-72 Prese Green. C-82 Prese Gray. STUCCO; Bright or Warm Roof: Body Color: Blinds: Trim Color; B-41 Prese Brown. Concrete W SWP 461 W SWP 496 I STUCCO; Cool or Neutra Roof: C-72 Prese Green. Body Color: Concrete Gray. BUnda: SWP 362 F Trim Color: SWP 496 I BRICK--The trim color shou ing color. For dark red and b 496 Ivory or 360 Cream Gr brick, trim with 388 Modem BODY COLOR -- SWP Ivory No. 4%. ' PORCH FLOOR - Porch *nd Deck No. SO. The Little Gra In spite of the durability and other good qualities of able manufactured shingle today, the old-fashioned ce popular for its charming, ro Shingle construction is struction and if one uses s take care to make the mo which distinguishes them. S-W Preservative Shingl hide up the grain as does It simply fills the wood w and dyes it with color whi ture of the wood to remain Systematic re-staining of because when they become they discolor and usually choice but to use paint to re A coat of "Clear" Shingle S two years will prevent wea ) New shingles should alw coat. This affords protectio prevents the shingles from t from the back under drivin tVood Shingles d be finished in a preserves their indi 0 0 0 7 -SW P-000008529 j ) A Home in Colonial Yellow The charm of our Colonial architecture lies in its apparent simplicity. The appearance of bareness is avoided only through the most careful attention to detail, such as doorways, cornice, spacing of windows, etc. It is advisable, therefore, in planning the Colonial home to place your re quirements in the hands of one of the dependable makers of high grade millwork. Like prepared paint, standardized mflkork is more dependable and more likely to be correct than your builder can turn out himself- and not so costly. HOOF--Preservative Shingle Stein Ml. Sienne Brown. fRIMlOIOR SWPOu,side filing White. BODY COLOH SWP Colo. niI Yellow No. iji. . BLINDS SWP Mo m No 4YH. 0 0 0 7 -SW P-000008530 ) H< H )F Preservative Shins** Stain U-41 Sienna Brown. IIODY COLOR - Concrete Well Finish Cream. TRIM COLOR SWP JXH Modern llnnvrt. SASH COLOR - SWP 44h Dory, I RON I DOOR - Oil Stain Walnut. Keipar Varnish. A Neighborhood of Homes Every neighborhood paint requirement is provided by Sherwin-Williams paints, varnishes, enamels, lacquers - everything the home-owner needs--finishes that work nicely, look rich and beautiful and are made right for long service. Ul>OF Preservative Shingle Stain (4 Medium < >reen IIOOY AND TRIM Ct)|.OR SWpOutside < iluss White. SHUTTERS SWP 4td Wil. low tireen. FRONT DOOR AND BENCHES -Old Dutch Enamel (tints White. 0 0 0 7-SW P-000008531 Don't Be Fooled by "Cheap" Paint `CHEAP" PAINT ISN'T CHEAP AT ALL ! WHEN you buy paint to dress up and protect your house, don't let a "low price'1 blind your good sense. Thousands of home owners are bewailing a "cheap" paint job this very minute and paying the penalty in hard cash. "C heap" paint is made of cheap or skimpy materials. How else could it be sold at a low price in the highly competitive market today? Cheap or skimpy materials make a poor, weak grade of paint. That's only sense. It may look like paint and smell like paint in the can. But on the brush and on your house -- the poor quality shrieks. COMPARE THE "CHEAP" FORMULA WITH SWP If you are tempted to use a "low price" house paint--one that is claimed, even guaranteed and warranted, to be "just as good as SWP," GO SLOW If Remember that low price and low quality go hand in hand. You can't make a silk purse from a sow's ear. Make the formula test I Insist upon seeing the formula of the "cheap" paint, either on the label or in the literature of the company. Compare the materials used in making the "cheap" paint with the ingredients of fine old SWP House Paint--as diown in the formula which is plainly printed on every SWP can. Take Outside Gloss White for the first comparison. Note the big percentage of White Lead Carbonate and White Lead Sulphate used in fine old SWP Outside Gloss White. White Lead should be the basic ingredient of all white paint and light tints. U is to these paints exactly what flour is to bread. See how much smaller a percentage of this basic ingredient is used in the average "cheap" white paint. Zinc Oxide is the next essential ingredient--this also is a costly pig ment. A liberal percentage of tine oxide combined with a large amount of white lead makes for a balanced formula--such as the formula of SWP Outside Gloss White House Paint. It assures a finish of superior wearing quality. More than 90% of the pigment content of SWP Outside Gloss White is made up of these two important ingredients--White Lead and Zinc Oxide. In the majority of "cheap" white paints you wilt usually find only 50% or less. It is the liberal quantity of this expensive basic material in every can of SWP Outside Gloss White that gives this fine old paint its remarkable covering capacity. Now when you consider the darker colors such as the browns and the greens, the bslanced formula of SWP becomes even more important. By their very nature these dark colors can contain little if any, opaque white pigment such as white lead or zinc oxide. Sherwin-Williams have the pick of the world's best colors. Our own dry color works produce practically everything except the natural earth and mineral colors. That is why SWP colors are so rich, so permanent and so true to character. This is an age of COLOR. SWP Colors stay beautiful and they protect your home because they last. Greater durability of the paint film on your house is assured by SWP due to the use of a specially treated pure linseed oil--made in SherwinWilliams own linseed oil plant. WHICH DO YOU PREFER --360 SQUARE FEET PER GALLON OR ONLY 250 Some people think that SWP House Paint is an expensive paint because it costs more per gallon. That is not so. As a matter of fact. SWP is the least expensive house paint on the wall--on the market. And here is why: An average gallon of fine old SWP will properly beautify and protect three hundred and sixty square feet of your house--two coats to the gallon. Will a "cheap," low price paint do that? No. The best you can get from an average gallon of "cheap" paint is a meager two hundred and fifty square feet I--two coats. Right there, in that forty-four per cent greater coverage- m the fewer gallons of SWP needed--the difference in price per gallon is nulli fied. On the wall--in actual gallons needed to paint your house--SherwinWilliams House Paint costs no more than the cheap, low price kind. And remember this: It costs no more to put on good paint than to put on "cheap" paint. Which would you rather have? YOU GET MORE YEARS OF SERVICE. TOO! Once your house has been painted with SWP House Paint your saving has only begun. A beautiful SWP job outlasts any "cheap paint by years. It dries to a firm, elastic, glossy surface. It weathers slowly. There's no cracking or chipping or peeling--if properly applied. Long after a "cheap" paint job hat taken on the appearance of a pair of faded overalls, you can wash the dust off an SWP job with plain soap and water, and the colors will come up fresh and bright. LESS REPAINTING EXPENSE And when repainting ia needed It can be done easily, quickly and with much less paint, because the surface is in perfect condition. Compare that with a "cheap" paint job that fades out and wears out quickly--that cracks and chips and peels--that has to be repainted often--and that haa to be burnt off, or scraped off, at every repainting. SWP House Paint Is sold by leading paint merchants everywhere. And each of these dealers Is "Paint Headquarters" In his district. One of them is no doubt located near you. SEE "PAINT HEADQUARTERS" AND SAVE MONEY Before you let "cheap" paint blind you to real economy--see your local SWP dealer. He will estimate your requirements in SWP. Compare the SWP estimate with what a "cheap" paint will cost Then remember the greater durability of SWP -the exquisite colors that do not fade. Then specify the paint you think will give you bes results. ' If you do not recall "Paint Headquarters" in your locality, write us fo the dealer's name. If you want expert help on a color scheme, our liter ature, color cards, or the famous Sherwin-Williams Household Painting Guide--just write. There ia no obligation. 10 0 0 0 7-SW P-000008532 SWP (Sherwin-Williams House Pa A FEW THINGS TO KNOW ABOUT OUTSIDE HOUSE PAINT Oirtside home paint stands in a class all by itself. Like nnoottTfaaddep.8 BRyurt hrousS'ethpeacinotlomrsusmt usstat nbde tdheeawn ecautthaenr.d must heJf no`/u*`wind and rain, not just extremes of and cold. Weather is all of these, plus the burning !]# o{ *he su" which carries with it the destructive action su^t^Jr ray' ThfSe uhra-violet rays which possess of o d J ppwer 8n<* curative value in the treatment ot disease, are destroyers of paint films. WHY AND HOW PAINT DISINTEGRATES nJ!^t|iSun0t mere`y 8 spic mixture of Ingredients. changes take place which must be understood and controlled or the paint will be unsatisfactory, no matter now good the materials may be, in themselves, . Le"f?, for2,s 8 compound with Linseed Oil which Wh?f ieLTBdl y V.y ,W8ter- A house painted with White L^d paint chalks, that is, sun and rain decompose the paint film and the pigment rubs off like chalk. White Lead paint is not the best paint for your house today. White Zinc, on the other extreme with Linseed Oil which is NOT affected paint does not "chalk" but in time, check or crack. This, of course, is rea the chalking of lead paint because it no shape for repainting. White Zinc paint for your house today. It is possible to make a combinatio however, in which the weaknesses of used alone, are overcome. By correc amounts of White Lead and White Zi "chalk" but wears away normally w able cracking and peeling of zinc pain SWP (Sherwin-Williams House Pa paint made on a perfectly balanced Carbonate of Lead, Sulphate of Lead a win-Williams have been making thi formula for fifty-five years. We mak Lead and White Zinc separately for v are the best and purest obtainable consider SWP the best outside house p How to Reduce SWP ONE REASON WHY SWP IS A MOST ECONOMICAL PAINT 0 0 0 7 -SWP-000008533 FOR NEW WOOD Very Soft Wood or Old Weathered Lumber (a) Fir## Coat Resinous Wood*-- Yellow Pine--Cypress i b) Firat Coat Softwoods fa) Second Coat Hardwoods Yellow Pine, Etc. (b) Second Coat f o r o l d pain t ed SURFACES IN GOOD CONDITION Mix'd ..dirtcl.d in thix tail, tor varying ,ur- fce condition*, SWP eswrr approximately 729 tquaro foot, one coat, par gallon. - Old Surfaces In Good Condition Firat Coat I I FOR OLD PAINTED SURFACES IN POOR CONDITION Bare Spots on Surfaces in Poor Condition Firat Coat On alt old fur/acc* bare spots ehould bo touch aJIwed to dry before proceeding with the work. Old Surfaces in Poor Condition Second Coat HELPFUL SUGGESTIONS 3 Inch Flat Brush, Small Sash Tool, Putty Knife, Putty, Stepladder, Orange Shellac for Knots, Raw Linseed SWP (Sherwin-Williams House Paint) DIRECTIONS FOR USING SWP NEW WOOD --Outside: FIRST COAT OR PRIMER For very soft wood or old weathered lumber, add one gallon pure ruw linseed oil and one quart pure turpen tine to each gallon of SWP. For resinous woods, such as yellow pine, cypress or cedar, add two quarts pure raw linseed oil and one quart pure turpentine to each aal- Itin t\{ tU/D " SECOND COAT Add one pint pure turpentine to each gallon of 1. See that the surface is free from grease, dirt and soot. Wash with soap and water if necessary rinse thoroughly. 2. See that the surfuce is perfectly dry. If the surface is in good condition lor repainting, apply SWP us directed for second and third couts on new wood. 4. If the old paint is peeling, scaling or cracking, burn off all the old paint or scrape and clean off all loose paint with u stiff wire bru$h. Then follow directions for lirst coat on new wood for all bare spots. Let dry and then follow directions for sec ond and third coats. THIRD COAT - To each gallon of SWP a pint or a quart of pure raw lin seed oil may be added. OLD WOOD-- Outside: Before SWP is applied over a previously painted surface, these pre cautions should be taken; OLD LUMBER WHICH HAS NEVER BEEN PAINTED: Lumber exposed to the weather for years without the protection of paint is not only dry, but porous, so that speciul attention must be given to the first coat. FIRST COAT--Thin SWP bulk for bulk with raw linseed oil and add a pint to a quart of pure turpentine to each gallon ol paint and follow with second and third coats as directed for new wood. How to Get Good Results 1. See that the surface is perfectly dry. 2. See that all pitchy surfaces ace properly treated either by burn ing or by sealing with good Orange Shellac. 3. All knots should be carefully shellacked. 4. Make sure that the paint is mixed and stirred thoroughly be fore using.5 6 7 8 9 5. Putty nail holes and fill cracks after priming coat has been ap plied. 6. Do not use ochre as a primer. 7. Use only pure raw linseed oil when oil is necessary and never use boiled oil in any primers or for thinning SWP. 8. Do not paint in frosty weather or over a too-glossy surface. 9. Whenever possible, employ a good practical painter. 19. In damp, swampy localities avoid mildew troubles by using more turpentine and less linseed oil in thinning. How to Estimate the Amount of SWP Required An approximate estimate of the quantity of SWP required can be determined as follows: Measure the distance around the building and multiply by the average height, which secures the square feet of siding. Divide this number by 360 (the number of square feet SWP covers two coats to the gallon on the average surface). The number secured will give approximately the number of gallons of SWP to be used Cor the body. To secure amount required for trimming cornice, porch pillars, etc., take from one-eighth to one-fifth the quantity required for body -oneeighth if there is average trimming, and one-fifth when a house has un unusual amount of heavy trim, pillars, cornices, etc. For porch ceilings, floors, etc., ascertain the square feet by multi plying the length by the breadth and divide that number by 360. SWP WHITES SWP OUTSIDE GLOSS WHITE: This paint is the most durable and economical white paint for gen eral use on all exposed surfaces. SWP INSIDE VARNISH WHITE: For inside work where a varnish white finish is desired. Apply over a solid ground of SWP Flat White. SWP Inside Varnish White dries bet ter, works more freely and is more economical to use than the varnish whites tinder various names, generally found on the market. SWP FLAT WHITE: . A foundation for SWP Tniide Varnish Whit*. China Glosa Whit* or other enamels: or for finishing without a |{!oss. Use as many coats ns required to produce desired whiteness. This can also be used for exterior work where a flat finish is desired. SWP CHINA GLOSS WHITE: A satisfactory finish for interiors onlv where economy is of the first importance. SWP Chine Gloss White is slower drying and not quite so white as SWP Inside Varnish White. It gives a washable ami durable finish- COLOR COMBINATIONS IN SWP WILL BE FOUND ON PAGES 17-23 n 0007 - SWP-000008534 SWP Sherwin-Williams House Paint is offered by us as (he best protective paint possible to make for outside use on houses, buildings and all surfaces exposed to the weather. SWP is not only the best house paint possible to make hut it is also the most economical house paint, tigured by the amount of SWP required to paint a building in compari son with the amount of any other paint required to do the same job. Consult the diagram on page 11 to see why SWP. reduced according to directions, using raw linsee tine required for each coot, gives you the p will actually cost less BY THE GALLON paint you might consider for the job, SWP is recommended for wood and fo It is unsurpassed for painting metal work Metal Primer. It dries with a full, rich o .t There are 32 SWP colors, rich, clean cu Tfim Colors Trim Colors 1 .155 461 496 Ivory 470 Golden Yellow 3S 461 Cream m 433<S9mS3 .194 Primrose Yellow 460 3*7 Gloss 375 White 3M 1 446619 3*7 393 3*7 Yellow 4*6 GokMn Brown 0 0 0 7-SW P-000008535 .175 Colonial Yellow 393 Tobacco Brawn IH$ Straw Sec pages 17 to 23 fog color suggestions worked out in combination 461 SWF comes in 32 colors, also Black and White. 'Continued on the following 399 Blue Trim Color m tu,r InUssidee 367 SWP Continued 479 Pearl Gray Trim Colors 479 Gkm WHhuiIle 494 Sky Blue 353 Light 499 Antique Brown .1511 Modem Brown JR] Rich Maroon 357 Silver Cray 390 Cream Gray 499 Mow Green 491 For Dunrt. Store Fronts. lite. 393 French Cro 3SI St 4H5 Warm 0 0 0 7 -SWP-000008536 4K4 Bottle Green 475 Bronte Green 391 Quak SEE PAGES 17 to U FOR COLOR SUGGESTIONS WORKED OUT IN COMBIN No. 1 Body Color--SWP 375, Colonial Yellow. Trim Color--SWP 4%, Ivory. Sash Color--SWP 461, Willow Green. No. 2 Body Color--SWP 387, Canary Yellow. Trim Color--SWP 391, Quaker Drab. Sash Color--SWP 388, Modem Brown. .' No. 3 Body Color--SWP 4%, Ivory. Trim Color--SWP 499, Antique B Sash Color--SWP 467, Black. Hi No. 4 Body Color--SWP 360, Cream Gray. Trim Color--SWP 355, Sage Green. Sash Color--SWP 475, Bronze Green. ft No, 5 Body Color--SWP 367, Red. Trim Color--SWP 360, Cream Gray. Sash Color--SWP 388, Modem Brown. No. 6 ** Body Color--SWP 498, Moss G Trim Color--SWP 360. Cream G Sash Color--SWP 467, Black. 0 0 0 7-SW P-000008537 COMPLETE DIRECTIONS FOR USING SWP ARE ON PAGES 11 AND U 16 0 0 0 7 -SW P-000008538 I ! i j The Latest Approved Color Combinations for Outside Painting with SWP Specification* are on the opposite page. No. 7 Body Color SWP 4%, Ivory. Trim Color SWP 3(>2, French Crown Green. Sash Color SWP 4%, Ivory. No. 8 Body Color SWP 387, Canary Yellow. Trim Color ... SWp Outside Gloss White. Sash Color --SWP 461, Willow Green. No. 9 Body Color--SWP 391, Quaker D Trim Color -SWP 499, Antique B Sash Color -SWP 388, Modem B 0 0 0 7 -SW P-000008539 No. 10 Body Color --SWP 385, Straw. Trim Color - SWP 388, Modem Brown. Sash Color--SWP 391, Quaker Drab. No. 11 Body Color--SWP 499, Antique Brown. Trim Color--SWP 375, Colonial Yellow. Sash Color-- SWP 498, Moss Green. No. 12 Body Color--SWP 470, Golden Y Trim Color--SWP 388, Modern B Sash Color--SWP 467, Black. COMPLETE DIRECTIONS FOR USING SWP ARE ON PAGES 11 AND 12 18 | I I 1 I j I i I The Latest Approved Color Combinations for Outside Painting with SWP Specifications are on the opposite page 0 0 0 7-SW P-000008540 No. 13 Body Color--SWP 375, Colonial Yellow. Trim Color -- SWP Outside Gloss White. Sash Color -- SWP Outside Gloss White. No. 14 Body Color--SWP 479, Pearl Gray. Trim Color--SWP 363, Slate. Sash Color--SWP 498, Moss Green. No. 15 Body Color--SWP 354. Sea Green. Trim Color--SWP 462, Cream. Sash Color--SWP 383, Pea Green. 0 0 0 7 -SW P-000008541 No. 16 Body Color--SWT* 385, Straw. Trim Color--SWP 4%, Ivory. Sash Color--SWP 388, Modem Brown. No. 17 Body Color--SWP 462, Cream. Trim Color--SWP 383, Pea Green. Sash Color--SWP 462, Cream. No. 18 Body Color--SWP 351, Stone. Trim Color--SWP 499. Antique Br Sash Color--SWP 467, Black. COMPLETE DIRECTIONS FOR USING SWP ARE ON PAGES 11 AND 12 20 0007-SWP-000008542 The Latest Approved Color Combinations for Outside Painting w ith SWP Specifications are on the opposite page. No. 14 Body Color SWP 360, Cream Gray. Trim Color---SWP 4%, Ivory. Sash Color - SWP 388, Modem Brown. No. 20 Body Color.. SWP 357, Silver Gray. Trim Color--SWP 498, Moss Green. Sash Color--SWP 357, Silver Gray. No. 21 Body Color--SWP 357, Silver Gray. Trim Color -- SWP Outside Gloss. White. Sash Color--SWP 362, French Crown Green. No. 22 Body Color--SWP 393, Tobacco Brown. Trim Color--SWP 387, Canary Yellow. Sash Color~-SWP 388, Modem Brown. No. 23 Body Color--SWP 360, Cream Gray. Trim Color--SWP 499, Antique Brown. Sash Color-- SWP 467, Black. No. 24 Body Color--SWP 391, Quaker Drab. Trim Color--SWP 496, Ivory. Sash Color--SWP 498, Moss Green. COMPLETE DIRECTIONS FOR USING SWP ARE ON PAGES 11 AND 12 0 0 0 7 -SW P-000008543 0 0 0 7-SW P-000008544 The Latest Approved Color Combinations for Outside Painting with SWP Specifications are on the opposite page. S-W Porch and Deck Paint There is hardly a more difficult place to keep well protected about a house than the porch floor. In addition to the exposure to weather, the porch floor does not drain off water as quickly as a vertical surface and is a collector of dirt and sand which is ground into the paint film by every one who comes up on the porch. The punishment it receives is very much the same as if you were to actually sandpaper the surface. S-W Porch and Deck Paint is made to dry harder than house paint so as to stand up sible under service. It is furnished pleasing floor colors, dries with a go retains its attractive appearance' worn off the surface. It is advisable, and most econo the porch floor and steps each Spr should never be permitted to wear bare wood. DIRECTIONS FOR USING S-W PORCH AND DECK PAINT The surface should be clean and perfectly dry. Stir the paint thoroughly from the bottom of the can, and brush out in thin, even coats with a bristle brush, working the paint well into the pores of the wood. Do not apply a succeeding coat until the previous one is perfectly dry, proceeding as follows: NEW WORK: First Coat: Thin with turpentine, one quart to a gallon of paint. Second Coat: Reduce with about one pint of turpentine to a gallon of paint. Third Coat: Apply paint as it comes from the can. Brush out well. OLD WORK: Remove all loose paint. Coat all bare spots as described above for first ) coat on new work. Let dry. Next apply a coat over entire surface, thinning the paint with about one pint of turpentine to the gallon. Final coat shall be applied just as it comes from the can. COVERING CAPACITY: When thinned as required by the surface. Porch and Deck Paint covers approximately 720 square feet per gallon, one coat. 0 0 0 7 -SW P-000008545 No. 49 <jrey Stone No. 47 Oe<> Buff No 50 Brown Stone SWP 360 Blue No HELPFUL SUGGESTIONS V/i inch Flat Brush, Putty, Turpentine, Rexpar Varnish for outside varnished doors and varnished SWP House Paint for porch railings, etc., Linseed Oil, Screen Enamel. Reduction Recommendations for S-W ODP White Lead FIRST COAT New Work -- Soft Wood -- 100 lhs. ODP White Lead 4 gallons Pure Raw Linseed Oil. 2 gallons Pure Turpentine 1 pint S-W Hercules Drier Makes about 9> H gallons of paint. SECOND COAT 100 lbs. ODP White Lead 2 gallons Pure Raw Linseed Oil 2 gallons Pure Turpentine I pint S-W Hercules Drier Makes about 7\% gallons of paint. THIRD COAT 100 lbs. ODP White Lead AH gallons Raw Linseed Oil 1 pint Pure Turpentine 1 pint S-W Hercules Drier Makes about 7}^ gallons of paint. RESINOUS WOOD Reduce as directed for Soft Wood, except first coat should have larger percentage of pure Turpentine. . PREVIOUSLY^ipAINTED SURFACES When in good condition reduce as directed for Soft Wood for 2nd and 3rd coats. UNPAINTED OLD WEATHERED LUMBER 1 Reduce as directed for Soft Wood, except first coat should have larger percentage of pure Raw Linseed Oil. Since conditionsand surfaces vary, no definite amounts can be given. IMPORTANT NOTE : Don't spoil the high quality of S-W Old Dutch Process White Lead by mixing with it cheap oil and cheap drier. USE THE BEST. Add the oil a little at a time and stir in each portion throughly. FLAT FINISH For flat finish on interior walls and woodwork mix 100 lbs. of O D P White Lead with two gallons of S-W Flatting Oil, other size kegs in pro portion. . CAUTION: . Ajlow each coat to dry. In all painting, give plenty of time for each coat to dry before applying another. Inside work should have at least 24 hours and outside work two to three days between coats. REDUCING TABLATOR 12H. 25 AND 50 POUND PACKAGES. 50 lb. kegs--divide the above quan tities by 2. 25 lb. kegs--divide the above quan tities by 4. 12H lb- kegs--divide the above quantities by 8. Reduction Recomthendations for S-W iftlo FIRST COAT New Work -- Soft Wood -- 100 lbs. Zilo , 4 gallons Pure Raw Linseed Oil 2 gallons Pure Turpentine 1 pint S-W Hercules Drier Makes about gallons of paint. SECOND COAT 100 lbs. Zilo 2 gallons Pure Raw Linseed Oil 2 gallons Pure Turpentine 1 pint S-W Hercules Drier Makes about 7\i gallons of paint. THIRD COAT 100 lbs. Zilo 5 gallons Raw Linseed Oil 1 pint Pure Turpentine 1 pint S-W Hercules Drier Makes about 8 J. j gallons of paint. RESINOUS WOOD Reduce as directed for Soft Wood, except first coat should have larger percentage of pure Turpentine. PREVIOUSLY PAINTED SURFACES When in good condition reduce as directed for Soft Wood tor 2nd and 3rd coats. UNPAINTED OLD WEATHERED LUMBER Reduce as directed for Soft Wood, except first coat should have larger percentage of pure Raw Linseed Oil. Since conditions and surfaces vary, no definite amounts can be IMPORTANT NOTE Don't spoil the high quality of S-W Zilo by mixing with it cheap oil and cheap drier. USE THE BEST. Add the oil a little at a time and stir in each portion thoroughly. FLAT FINISH For flat finish on interior walls and woodwork mix 100 lbs. of Zilo with two gallons of S-W Flatting Oil, other size kegs in proportion. CAUTION: Allow each coat to dry. In all painting, give plenty of time for each coat to dry before applying another. Inside work should have at least 24 hours and outside work two to three days between coats. :' REDUCING TABLE FOR 25 AND 50 POUND PACKAGES 50 lb. kegs--divide the above quan tities by 2. 25 lb. kegs--divide the above quan tities by 4. 0007-SW P-00000854g 16 S-W ODP White Lead S-W Zilo The Sherwin-Williams Company is, by an ample margin, its own largest customer for white UgkJ. By this we mean that the departments of the com pany's factories making SWP-Sherwin-Williams House Paint -and all the other departments mak ing prepared paints for the Government, for the railroads of the country and for ail the various types of manufacturing companies supplied by us, act ually buy more ODP White Lead from our corroding plant than any group of customers we sell. Zilo is offered by The Sherwin pany not as a substitute for white best paste pigment possible to p making of every type of hand-mixe Zilo resembles grhite lead and is painter in very much the same ma has several distinguishing characte from the fact that Zilo is made of 7 lead and 25 per cent zinc. As the world's largest makers of paints and var- KBSH nishes our con sumption of white lead is enormous. This large produc- tion of white lead has made it pos- sible for The Sher- win - Williams Co. to effect econo mies and to per- feet machinery and methods of refining not available to the smaller manufacturer. The benefits of this enhanced value are enjoyed by every user of Sherwin-Williams ODP White Lead. ODP has three outstanding characteristics that are appreciated by any person accustomed to the use of the various standard white leads on the market today. (1) Zilo makes a whiter paint than lead. (a) Zilo makes cleaner, richer tin (b) Zilo STAYS WHITER and color from gas fumes in the air a white lead paint. (2) Zilo "goes further" than straig paint. It will take three pints m per 100 pounds, as used for the th will white lead. (3) Zilo makes a more durable pain white lead paint. White lead p tendency towards objectionab and washing off under rain an Zilo this chalking has been redu sired degree because of the tem zinc it contains. (1) ODP is always SOFT in the package. It breaks up in the mixing barrel easier than any white lead on the market. (1) ODP is exceptionally white. This makes pos sible a purity of tints, as well as a gleaming white finish. Hand mixing of white lead and more than Zilo because white zinc white lead and Zilo sells at very cl of white lead. The uniform mixing and tho (3) ODP is ground to the utmost degree of fine ness which is responsible for its exceptional opacity and spreading power. bonding of the lead and the zinc in the mill at The Sherwin-William as is humanly impossible to produ ODP has always been a standard product with ing. Every brushful of Zilo will co O The Sherwin-Williams Company and has stood as per cent white lead and 25 per cen o o a gauge of purity and excellence for the entire Zilo is put up in kegs the sam Sherwin-Williams Line. The following guarantee It is ground in refined linseed oil appears upon every keg of ODP White Lead: consistency ready to be let down This package is warranted to contain nothing and turpentine as desired. By a but Strictly Pure White Lead, ground in Strictly Pure Linseed Oil, and we will pay one ounce of gold for every ounce of adulteration it may be found to contain. White Lead to Zilo any proportion per cent may be made by the painte Put up in 25, 50 and 100 lb. kegs NOTE This is also available in soft-paste consistency. NOTE This is also available in soft-pa -SW P-000008547 0 0 0 7 -SW P-000008548 i 1* S-W First Quality Colors in Oil These are tinting colors ground in oil and are of the purest quality and greatest strength possible to produce. They are used by painters and decora tors for the very finest work because of their clarity and characteristic sharpness of tone and perma nency to light. True economy is found in using the best quality in tinting colors. S-W First Quality Colors are ALL .COLOR. There is no loading or extending with useless filling matter. This purity of color joined with the ultimate in fineness of grinding results in a given tint being produced with the smallest amount of tinting color possible. Sherwin-Williams are large makers of dyes and colors and, with the exception of the natural min eral and earth colors, manufactures most of the colors from the raw material. And with the pur chasing power of the largest makers of paint and varnish in the world, Sherwin-Williams is able to control the quality of the raw materials and colors not of its own manufacture. This is of interest to the person who uses paint products in that there is the assurance that, no matter where purchased, a Sherwin-Williams Product will be dependable --the right color, the right consistency and the right quality. A description of the different types of colors listed here is given bekfcw for those who are inter ested. The colors are 'sampled on following pages in full strength also with "let-downs" to indicate tinting power. CHROME YELLOW Chrome Yellow is made by precipi tating Chromate of Lead in a very fine condition and is one of the moat use ful pigments. It has a range of shade from Light Canary to Dark Orange according to the conditions under which the precipitation is made. When properly prepared this is a very durable color and ranks among the very highest for its opacity and cover ing power. CHROME GREENS i Chrome Greens are prepared by pre cipitating simultaneously Chrome Yellow and Chinese Blue so that an intimate chemical combination of these two colors is obtained. A wide range both of depth and character of color can be obtained from a light yellowish to a deep bluish shade. A good Chrome Green for painting pur poses must not only have strength and fastness to light, but should not float or separate and should be stable under various painting conditions. Green pigment suitable for grinding into oil colors, must be specially selected for all these points, and undue promi nence should not be given to only one or two of them. CHINESE AND PRUSSIAN BLUES Chinese and Prussian Blues are prus- siates of iron and are remarkable for their brilliancy of tone and extreme strength. The shade is of a charac teristic greenish blue. These colors have magnificent tinting power and purity of tone. They are clear and quite translucent when used thin or in glaze. Chinese and Prussian Blues are excellent for Peacock Blue and Greens but are not suitable for violet or orchid tints. * ' ULTRAMARINE BLUE Ultramarine Blue is essentially a blue glass produced by roasting clay, silica, soda and sujphur together in a crucible. The fused mass is crushed and ground to impalpable fineness. The characteristic tone is more of a purple blue than Prussian Blue and it is also not as brilliant. Ultramarine Blue produces good violet and orchid tint* and should be used in preference to Prussian Blue for this purpose. Ultramarine Blue is not as powerful in tinting strength as Prussian Blue but each has its place depending en tirely upon the character of tint to be produced. . ITALIAN SIENNA Italian Sienna is an earth color and comes from Sienna in Tuscany. Raw Sienna is a characteristic yellow but when burned or calcined it becomes a rich, semi-translucent red. Raw Si enna contains the same coloring pig ment as Ochre, the principal differ ence between them being the percent age of iron. Ochre contains approxi mately 20 per cent of iron, while Raw Sienna frequently runs as high as 75 per cent iron. Raw Sienna is used for cream tints and should be used for Colonial Yel low along with Chrome Yellow Me dium to avoid the unpleasant green ish cast characteristic of Chrome Yel low when used alone. Continued on back of following page S-W First Quality Colors in Oi First Quality Oil Colors are perfectly suited to producing Clean, Pure and for Tiffany Glaze Effects GOLDEN OCHRE FRENCH YELLOVN OCh HE 'HHOMf YELLOW LIGHT If* CHROME YLLLOW MfRIU* GHAGON rSGLi'jH . .1 TAW ITALIAN ! > i L N N A 'O M I. v * L *S I : W A N C, i RAW TURKEY UMBER BURNT TUHHEY UMBER CHROME YELLOW OK. ORANGE AMERICAN VERMILION .NGLIbH \ E N L .oia n VAN DYKE BROWN Tu s c a n r e o 'UHKEV ENGLISH ROSE LAKE ROSE MADDER BURNT ITALIA * Especially tulted for Clafc Work . The small color squares represent the color reduced with 25 pounds of white lead to 1 pound of c (Continued o 0 0 0 7 -SW P-000008549 S-W First Quality Colors in Oil (Continued) ITALIAN SIENNA (Continued) ^ Burnt Sienna is produced by roast ing Raw Sienna. Its characteristic feature is the extreme brilliancy which it gives to transmitted light. This makes it extremely valuable in the manufacture of stains and lacquers. TURKEY UMBER Turkey Umber is a native earth found largely in the island of Cyprus. It contains about 46 per cent of Oxide of Iron. Umber also carries about 15 per cent of Oxide of Manganese. This contributes to the richness of tone and is responsible for the excellent drying properties of the color. Raw Umber is one of the most usefu^ of tinting colors, yielding soft, winq grays and assisting greatly in toning many other tints. Burnt Umber is produced by roast ing or calcining Raw Umber. It pro duces warmer tints. TUSCAN RED Tuscan Red is an earth color con taining a large amount of iron oxide which has been dyed with Madder Lake, which is the fastest red known tochemists. This combination of iron oxide and brilliant red lake produces a beautiful rich color which is the most valuable and permanent of the earth pigments. INDIAN AND VENETIAN RED , Indian and Venetian Reds are Irani 1 Oxides obtained by burning suitable Ochres and emecially in the Venetian by calcining Copperas with a suitable base, usually Gypsum. YELLOW OCHRE Yellow Ochre is a native earth and probably no other pigment used in painting is more widely distributed or found in such exhaustless quantities as this. Yet only a small quantity is suitable for the very highest grade of painting. The Yellow Ochre we use is imported from Southern France, that being the only source of supply for gbad Ochre, so far as we know. VANDYKE BROWN Vandyke Brown is a bog earth color of a fine translucent quality. The color is produced, also, by calcining certain ochres found in France. Mixed with white and Raw Umber it yields agreeable taupe shades. Used for dark ening tints it produces softer shades than secured with black. - S* e - 000008550 o o J0 S-W First Quality Colors in Oil First Quality Oil Colors are perfectly suited to producing Clean, Pure Tin | and for Tiffany Glaze Effects MAPI' OREtN < NOME r,nCEN l MT INDIAN YELLOW ORANGE LAKE . MROME GREEN MEDIUM * f PMANI NT CR'MSON LAKE CHROME GREEN DARK JAPANESE BROWN OLIVE LAKE DEEP CERULEAN ULTRAMARINE BLUE PEACOCK GREEN PRUSSIAN BLUE DEEP OLIVE * Especially suited for Glase Work fhe small color squares represent the color reduced with 25 pounds of white lead to l poun 0 0 0 7 -SW P-000008551 A Colorful Residence a la Espagnol Broad expanses of wail unbroken by window* are designed to offer protection against the rigors of climate. Old Spain has her cold days with keen biting winds quite as much as the sunshine we think so characteristic. Such walls need the in terest of texture imparted by the peasant's mudboard or trowel in order to avoid monotony. Texture of color is indispensable. The rough, shaggy wall of this house was first coated with Concrete Wall Finish White tinted with Raw Sienna. When dry this was covered with an overglaze of Raw Sienna, Burnt Sienna and Paris Green thinned with Linseed Oil, Turpentine and a little drier. These colors are blended together as brushed on and then roughly wiped off with cloths before dry. o o o -sj CO 5 WALL COLOR -- Cwicrttr Walt Flnith Whit,, timed with Haw Sienna Oil Color. *000008552 BORDER COLOR--Concrete Finish Egtra Light Gray, tinted with Ultramarine Blue Oil Color. Drier, tinted with Row Sienna. SASH COLOR tinted with Prus Oil Color. A Spanish P Califo To the person who lov is like a piece of canvas artist's paint. It is so ne onous walls in this day and colors are so easy color suggestions await this Paint Headquarters The blended walls sho over a solid color of Cre of linseed oil tinted with ing separate batches of as suggested by the co roughness of the stucco interestingly. The timber work is Preservative Shingle Sta texture of the wood. every two years afterwar "Clear" will keep the w dition indefinitely. The dominant colors Blue for the door, wind bowl of the fountain, Orange of the awning a tile flagging. The wall c enrich the general ef edge off the sharp con colors. 0 0 0 7 -SW P-000008553 WALL COLOR 1 -- Concrete Wall Finish White, tinted with Chrome Yellow M. WALL COLOR 3--Concrete Wall Finish, tinted with Turkey Red Oil Color. < TIMBER WORK - Pr.wrv.tive Shingle Stain B-47 Nut Brown. BALUSTRADE - SWp 4% Ivory. WALL COLOR z --Concrete Wall Finish, tinted with Chrome Yellow L. WALL COLOR 4 -- C Wall Finish, tinte Burnt Sienna. Light and Sha a Spanish It is the play of light and flat stucco wails which mak ing. This home is done in smooth texture. There sho however, from the too rigid edge. The walls should s were fashioned and moulde ods and not by machine. Starting with Concrete W three soft tints are made gether in soft douda upo upon this melting backgro fall from tiled cornice an with so inviting an appeara The flat roof over the sing a canvas deck protected Deck Paint so that it can clean to make this spot a lounging place to spread loaf in a comfortable chair noon. The ornamental ironwor either Verdas Green or Blac ing upon the need for color case. The furniture regularly deck will be just as prac beautiful finished in Enam Brushing Lacquer. WAIL COLOR J -- Concrct. Wlt Ftoieh tinted with Chrome Yellow Medium. DOORS AND SHUTTERS -- s-w Vcrdoe Croon. 0 0 0 7 -SW P-000008554 WALL COLOR 1 -- Concrete Well Finish tinted with Chratne Yellow L. SASH -- SWP 4% Ivory. WALL COLOR 1 -- Concrete Well Ftnleh tinted with S-W Varda* Green. CANVAS DUCK -- Porch end Deck Paint No. $0 Brown Stone. A Thatched Cotta Color schemes are being construction which are range of treatments fam This is true because stuc very much as if the wall turned inside out. M effects are used along wi rough textures just the decoration. Variation in would be unthinkable, o house. ' In new construction D often mixed right into t plied. Batches of differe and run together on the being done with the br ' or float, depending upon ducing the texture. In the course of time color is desirable, or if freshen up discolored w Wall Finish is ideal. This for outside exposure. It which preserves the textu ) of course, a glossy surfac sidered. . Concrete Wall Finish t together on the wall for shown in this illustration also be applied over whic First Quality Oil Color brushed on--wiping off antique finish. For individual shades Wall Finish with S-W Fir SWP Iron Wood Shingles deserv a way that preserves t 0007-SW P-000008555 with Burnt Stem*. SHUTTERS -- S-W Verd., Gr**n. ; A Small English Stucco Residence Stucco construction is due to enjoy increasing popularity because of its de lightful texture effects. Stucco needs paint protection, but the paint used must dry without gloss in order to preserve the interest of the stucco texture. S-W Concrete Wall Finish is recommended for this purpose. COLOR SUGGESTION: This type of home will appear well in two additional color combinations: Roof: C-72 Preservative Shingle Stain Dark Green. Body Color: Concrete Wall Finish Light Gray isee page 43). Trim Color: SWP 4% Ivory tall woodwork). Roof: B-47 Preservative Shingle Stain Nut Brown. Body Color: Concrete Wall Finish Cream. Trim Color: SWP 388 Modern Brown. R(X)F Presrrva. tive Shinalc Stain 0-41 Sienna Drown. 0 0 0 7 -SW P-000008556 BODY COLOR -- Concrete Walt Finiah Eitra Llht Cray. Deck Paint No. SO. DOOR -- (iolden Rcspar Vamiah S-W Concrete Wall Finish Interest in concrete and stucco architecture centers in two features: The design of the structure and the texture of the flat surface. Unsightly streaks and discoloration pro duced by weather and soot, quite destroy the charm of the most beautiful stucco building. Stucco is porous and re quires sealing, especially in cold climates, to prevent the appearance of hair-line cracks and flaking off, due to mois ture and frost. S-W Concrete Wall Finish is a preservative oil paintwhich dries with a velvety dull finish, ft shows none of die objec tionable gloss peculiar to oil paints. It is furnished in White and in the pleasing line of typical stucco tints shown below. SPECIAL SHADES Many architects and painters prefer the tlntingof White to obtain some particular shade. S-W,First Quality Ctdors in Oil are furnished for this purpose and are to be thinned with turpentine when tinting Concrete Wall Finish. Concrete Wall Finish Is ideal for painting brick buildings. DIRECTIONS FOR USING S-W CONCRE Paint should not be applied to fresh c have shown it to be free from active alka crete should be allowed to cure by wea special treatment before painting. NUMBER OF COATS Two coats of S-W Concrete Wall F sufficient. This is made possible by the f which produces an extreme density of film fineness of grinding, the finish works e application as well as when brushed on b FIRST PRECAUTION--Sweep the sur and sand particles. Any salts or effloresce should be scraped off and the surface wa tion prepared as follows: Three pounds the gallon of water. Let dry thoroughly FIRST COAT--Concrete Wall Finish quart of turpentine to the gallon. Let dr SECOND COAT--Concrete Wall Finis reduction (unless necessary for better b ease add turpentine only). ' % . COVERING CAPACITY: When thinned as required by the Ulirface, Concrete Wall Finish covers approx square feet per gallon, one coat. 0007-SW P-000008557 Light Cray HELPFUL SUGGESTIONS 4 or 6 Inch Wall Brush, Floor Enamel, Turpentine, Concrete and Cement Hardener, SWP for Wo T** for thr An Informal This illustration sho with one simple color, accent introduced mere The wall color is mad Silver Gray and Buff in The enamel color for is Enametoid Peach. The principal accen Chinese Red which is chairs and finishing th Blue Enametoid makes used on the phonograph The floor is indicated can be either linoleum done in S-W Floor Ena WIPED ENAM Two-toned wicker fur duced by wiping a con enamel finish. The piec ed in enamel and allow contrasting color is th entire surface, working and crevices. It is the before the material sets except that which is do I 0 0 0 7 -SW P-000008558 WALL -- FUt-Ton* SUvr Gray and Buff. FURNITURE AND WOOD WORK---Enamlo4d Puch. FLOOR -- Floor Ename nut No. W. The Breakfas This is surely a room "w The combining of the co has all been restricted to amateur can do the work.special skill to finish th Enameloid after the rest effect is like putting a c man. Most doors and cupbo By painting the panels i than the frames of the d you see just the same col darker, the plainness is tak but a very simple operati brush and do the mouldin with a bit of contrasting c gested color combinations under "Enameloid" (page The painted floor effec either wood or linoleum b Enamel. The tone of th ately kept dark both for th ness it produces and for t which it brings out the va instead of competing with would be the case with a 0 0 0 7 -SW P-000008559 Enim<M4 FURNITURE - Enameloid Lettuce Green. ( EILING--Flat-Tone Ivory. WAUL -- FIt-Too Silver Cny end Buff. TABLE TOP. CHAIR SEATS --Enameloid Jade Green. PANELS Ename Oranf*- I Living Room in O Blue and Mu This color scheme makes the-year-round room. The Flat-Tone Ivory Tan make ' and set off the richness of th and mulberry upholstery, ad "LIQUID WALLPAPER" MULTI-COLOR Fiat-Tone effe modify thie color of Ivory Tan in followa: ' For WARMER, BRIGHTER EFF Stipple with Flat-Torte Cream. For a COOLER, more SUBDUED E Stipple with blue Flat-Tone Sky Blue and Silver parta or Stipple with a darker tan Flat-Tone Ivory Tan and O equal parts. GLAZED or TIFFANY F add greatly to the richness o Foundation Color Ivory Tan lat GLAZE MIXTURE. S tinted with First Quality Brown. Ind GLAZE MIXTURE tinte Oil Color Cobalt Blue. The soft, greenish tone ceiling indicates the effect re use of green gauze curta months change to ecru curt SECOND CHOICE WALL-- Flat-Tone Stipple No. 4i. WOODWORK--Old Dutch Enamel Ivory. 0007 -SW P-000008560 CEILING-- Flat-Tone Ivory. WALL -- Flat - Tone Ivory Ten. , * .'tljUs. > THIRD CHOICE WALLFlat-Tone Stipple No. 82. FLOOR- -Stained with Stain Walnut, fini with Mer-not Vami A Homey Livin Glazed Flat-Tone Effects airiness that usually evokes clamation, "Why, are th /minted?" Flat-Tone furnishes the and the transparent nat Glazing Liquid produces th can look "down into" the Any color effect is possib of the walls illustrated, blending of Ivory Black an both colors being soft "tint When two glaze colors are can be made to predomina larger areas than the othe in this room would have be Ivory Black been used. It warmer had the Burnt Sien generously. Texture is a magic word To get it one uses many m ished plaster and "antique most desirable plaster te to paint. Prepared burla canvas can be hung over obtain texture. Rough stip Flat-Tone Effects will yiel on smooth plaster walls, durable, non-fading and ca 0 0 0 7 -SW P-000008561 i i WOODWORK -- Old Dutch ' Enamtl Ivory. CEILING -- Flat-Tone Ivory. WALL -- Flat-Tone Syttcm No. Jfc. 1 WXW -- Add Stain Brown Mahogany. Scar-hot Vemlah.  .~ ----------- . ' vdH A Charming L in Gray an lw >' V V. * f , ' '. . \ : ` .. ' lyCi'irv/,-* V. L.V* A scheme for the south to be cold. Silver Gray F shade, friendly and not "liquid wallpaper" textu .sC'-. ;/', Tone, a silver gray roo Almost any color schem ' 1*' .. *' k well with it. Is, If the green rug seems wintry days, change to I warm browns and orang I Summer curtains bec oyster is for the glass c cretonne for the drapes furniture should be prot with cretonne slips simi page 51. . ~ mvT 'u The bowl of tiger lilie pen," but were selecte notes of accent should as the seasons come aro be bright flowers to live and darker, heavier fl warm scheme for the w i i WOODWORK -- OW Dutch Enamel Ivory. O O O >4 CEILING -- Flat-Tone Ivory. It is always desirab summer drapes. Ec the winter bring in a with rose sunfast for -SW P-000008562 WALL -- Flat-Ton* Stippl* No. IS. FLOOR -- Mar-rtot Vtmlih. rr A Dining Roo This arrangement cont furniture and rugs to carr The walls are simply a ground. The more intere ture can be made the bet furniture will be felt. Rough plaster is recom houses this would be e plaster or special texture with textone over the coat. Smooth plaster can be pearance by stippling the Flat-Tone with a sponge represents Flat-Tone Si on over textured plaster. gestion is for the stippli Flat-Tone Silver Gray a i foundation color of Silver The furniture is Span walnut, with chairs uph or red leather. i 0 0 0 7 -SW P-000008563 WALL (Alternate Choice) -- Stipple No. 25. FLOOR -- Oil Stein Walnut. MiHwt Vemiah. CEILING-- Rot-Tone Ivory. .* : 1 r'li WALL - Flat-Tone Silver Cray. WOODWORK -- Old Dutch Enamel White. FURNITURE - Men Stain Walnut. I Dining Room i of Colonia Colonial mahogany a setting of warm browns Starting with the restful colors have been introdu Rat-Tone wall. Ivory Flat-Tone is th Japanese Brown Glaze C mixture of Flat-Tone Gla Blue tints the second mi These two tints are ble the wall and where they a produce delightful "in-b gray - green, blue - green which afford endless inte Texture is produced i stippling with a crumpl Glazing Liquid "sets." varied from broad plum I lacey markings dependin the owner. Glazed Flat-Tone wa course. 007-SW P-ooooo8564 CEILING-FUt'Tonc Ivory. WOODWORK - Old Dutch Enunel Ivory. FLOOR - M.r-not Vcmldi. W^LL -- FUfTonc Sytm No. 29. FURNITURE--Hwtdoift Stain Extra Dark Mahogany. Sear-not Vamlah. A Cheerful Dini in Modern Tre The divided wail treatmen parent height of the room "coziness." The color scheme is pa The foundation for the low blue--Flat-Tone Sky Blue mixed in equal parts--but appear so fresh through the gray stipple color that the e dull. The upper wall color prod sunshine because of the C plied over Ivory Tan. A taupe rug could be su blue, but in that case brig emphasis, should be introdu or a blue vase or even a pictu predominates. The furniture of the illu wood varnished natural w Varnish. Enamel finish wou ing, also, done in Ename striped with Enameloid Pe 0 0 0 7 -SW P-000008565 1 I I.OWER WALL-F1.Ton Stipple No. 27. PURNITIMI -- EitMMWd C.EILING-- Flat-Tonr Ivory. .UPPER WALL -- Flat-Tone Stipple No. 44 WOODWORK -- OI4 Dutch Enamel Ivory. . FLOOR--Mar-not Va A Man's The dark colors of this it somber and forbidding an enclosed feeling but . chap smoking as he read tains his pals, is that thi to him, but his fortress, master. Here his trophies and seem entirely in place, an dark stained floor does no be treated too carefully stained in weathered gra Weathered Oaki looks "c The floor is protected w as a concession to the h can be washed up and so ruin the finish or spilled floor. "Antique" plaster wou room and any texture ra trowelled effect to a wet take paint in a most i Such a finish in Flat-Ton simple color, using dull, green-grays or can be "wi Glazing Liquid tinted wi Let our Decorative Stu S9S8 0 0 0 0 - J S 1 0 0 o. CEILING -- Flat- Tune Silver Gray and Cream. WOODWORK -- Handcraft Stain Weathered Oak. Velvet Finiah Vamieh, IOM. All your life you have wan home "differently." This b idea of how Sherwin-Willia dream come true. WALL -- Flat-Tone Shall Pink, 6 parte; Flat-Tone Forest Green, I part, mliad. FLOORS -- OU Stain Walnut. Mar-not Vantlah. - 0007-SW P-000008567 (TILING- FI*t-Tonf Ivory. WOODWORK Lettuce Green. WALL -- Flat-Tone Ivory Tan. The Bed "This bed room makes you say, "but it's extrem attempt anything like t Every one of the deco this hook has been pla colors and enamels wh ' can confidently underta pose a color scheme enjoy the thrill of doing |j "Black floors? They'll our friend, the excellen you dust the floors anyw bestowed on your floor care of this bed room. "Chinese Red is so b right. Then glaze it Liquid tinted with V Color and allow just a show through as you w "Lettuce Green wood say, "I'd be willing to j; room suite done in Let S you would, especially if Ivory. The delicate stri gested, will appeal to y It is being used quite fr The wall color is which may be stippled for a brighter effect or s Ivory Tan and Olive Tan for a darker effect. DOORS F.nemelold Peach MIRNIIURF. Ln ( hinese Red. Sherwin-Williams Stencil Patterns 0 0 0 7 -SW P-000008568 64 i STENCILING COMPLETE WORKING INSTRUCTIONS AS few surfaces now decorated with the modern flat or blended wall finishes are complete without the finishing touch pro* duced with the stencil, we have compiled working instructions in a concise, but comprehensive, form snowing the methods involved, step by step, so that the stencil can be rightly used by anyone. i . ... Illustration 1 The design is applied to the wall throufh the openings of the cut stencil The stencil patterns shown in the illustrations are typical of the various kinds of sten cils which can be supplied. Ifthe SherwinWilliams deal er does not carry the se lectedpatterns they may he ordered through the Decorative Studios, The Sherwin - Williams Co., 60! Canal Road, Cleveland, Ohio. SECTION I--Kinds of Stencils Stencils are of two kinds: 1 The solid stencil is that in which the whole pattern is cut out nndwhichpro- . duces a com pletedesign, hs illustration I. 2 The out line stencii is only the draw ing or the out line -- as the name implies - of the deco ration. (See Il lustration IV.) The filling in to complete the border or design, must . > ' \. Illustration II -Leaf part of stencil has been previously applied. Grape* are then stenciled in another entor FOR SIZES AND PRICES OF STENCIL PATTERNS, SEE PAGE 79 Continued on back of following page A Colonial Bedroom The patterned wall is done in "liquid wallpaper''--Multi-Color Stippled Flat-Tone. This finish was originated in Sherwin-Williams' Decorative Studios ten years ago.' The sponge stippling is simple enough for any one to do and interesting enough for everyone to enjoy doing. In this color scheme Blue is the color brushed on and Ivory the color printed on with the sponge. -0 0 0 7 S W ?"0 0 0 0 0 8 5 6 9 (.HUNG Flit-Tont Ivory. WOODWORK- Old Dutch F.nanul Ivory. WALE -- Flat-Tone Stipple No. J4. . FLOOR--Mar-not Varnlth. ADJOINING ROOM Tone Shell Pink Oeam. Sherwin-Williams Stencil Patterns--Continued 0 0 0 7 -SW P-000008570 DIRECTIONS FOR USING STENCIL PATTERNS--Continued be done by hand, (See Illustration V, VI, and VII.) A solid stencil may be produced in one or more colors with one or more parts. Illustration I shows a solid stencil in one part, applied in one color. Illustration II shows a solid stencil in two parts and applied in two colors. (See also illustration X.) An outline stencil does not give a finished or completed decoration, but requires the additional work of filling in by hand after the outline is applied to the surface and is thoroughly dry. Use a regular stencil brush. It should be clean and in good con dition. A short bristle brush is best, as the color can be rubbed into the surface to be decorated without having the bristles spread or work under the stencil. The brushes arc made in various sizes, the smaller size being more suitable for the smaller stencils. A brush one inch end a half in diameter is best for regular stencil work. SECTION III SECTION II Correct Use of Stencil The stencil should be held flat against the surface to be decorated. If neces sary, a few thumb-tacks can be used to Illustration III--Hold the hrueh up ttreight against the stencil hold the stencil flrmly in position. These will not injure the wall. Apply the colors through the opening of the stencil to the exposed surface as in Illustration III. Use the regular stencil brush and work the color into the surface with a rotary motion, making the brush help hold down the stencil while it is applying the color. A small stencil may be held in position with one hand. (Illustration 1.) Paint and Its Preparation S-W First Quality Oil Colors should be used for the oil painte d stencil work and S-W Dlatemper Fresco Colors FOR SIZES AND PRICES OF STENCIL PATTERNS. SEE PAGE 71 66 'Continued on beck of following peg* Wall i Woodwork and Furniture Ceiling 0 0 0 7 -SW P-000008571 S-W Bnaroelold Oran|i a KITCHEN in Sunshine YELLOW To have a "sunshiny kitchen" is the desire of many a housewife. This scheme makes it possible. While it is a fact that actual sunshine is practically white, yellow is the color which gives out the feeling of sunshine. Our color scheme would be a bit bright for the kitchen with south exposure unless shaded by a deep porch or heavy foliage. With woodwork in Ivory, use Enameloid Yellow for edges, the band molding, etc., with Enameloid Orange for a striping color and for such small spots as lighting fixtures, also the inside of cupboards. For curtains use pale green scrim with white or ecru glass curtains. The lino leum floor may be warm, dark brown or a checked pattern in cream, gray and black. Sherwin-Williams Stencil Patterns--Continued DIRECTIONS FOR USING STENCIL PATTERNS-Continued or S-W Decotint for surfaces finished with a water-mixed preparation. sistency with Glazing Liquid. Turpentine, which Is a satisfactory S-W First Quality Oil Colors have great tinting quality, being made up in the full strength of the various colors: i. e., S-W First Quality Oil Color Emerald Green gives a rich, full intense emerald hue, not a weak light or grayed hue. Very little paint, therefore, is re quired for the tinting of white, which is often used as the base for the stencil color. thinner for most paint, evaporate# too quickly for stencil work, causing the paint to pile up on the design so that the pattern is liable to break when cleaning. The addition of smite causes the First Q. uality Oil Colors to become opaque, but is necessary when the stenccitl color is to be lighter than the background color. If the paint To Reduce Strength of Color The stencil tube colors, as they come from is too thick, the result will the tube, are appear spotty psiiiiiP! frequently too dark and in tense to use. Reduction to and pasty and will work hard inngth, securealighter paint is too tint is there thin, itis liable fore necessary. to run under To do this, follow one of the stencil and blur. these two This can be methods: (1) avoided by Thin with using less iO S-W Glazing paint in the O Liquid. (2>Add stencil brush. O Stencil White Always try O and thin to out the brush O Illustration V Painting fruit after outline has been applied brushing con- on a board or 00 in FOR SIZES AND PRICES OF STENCIL PATTERNS. SEE PACE 78 Illustration VI--Painting the background Continued on back of following page 0007-SW P- Wall* and Ceiling Oyetcr White S-W Scmi*Lu*tr White Tinted with R Umber Furniture and Woodwork S-W Enameloid Sky Blue Secondary Trim Color Inside of Cupboards, Drawers, also Color for Curtain 5-W Main Trim Color 0007-SW P-000008573 S-W Enameloid Black rjfw Gool BLUE KITCHEN Have you a kitchen that is regularly lighted with a flood of warm south and west light? Then this scheme of cool blue will be very welcome. The walls and ceiling in Oyster White may be in Enameloid for full gloss or in Semi Lustre for egg-shell gloss, using the White and tinting it just deeply enough with Raw Umber Oil Color to make a pleasing tint. Pure white would produce too bright a room for comfort. The color arrangement has been kept very simple. The woodwork and furniture color is de rived from the trim color, Enameloid Sky Blue, by mixing with Enameloid French Gray and adding White for a lighter tint. Peach is for the inside of cupboards and Black is for the edge for a pleasing contrast. Sherwin-Williams Stencil Patterns--Continued 0 0 0 7-SW P-000008574 DIRECTIONS FOR USING STENCIL PATTERNS Continued paper to see that both brush and color work right. SECTION IV - Filling in the Outline The outline, as ((lustration IV shows, is produced with a dark color. When this is thoroughly dry, the tinting colors specified for filling in are applied with the regular flat or round sable brushes. The tinting color for this part of the work, Illustration V, is to be thinned with Glaring Li quid. As the colors are to be kept transpar ent, no white should be addedexceptwhere specially indi cated. Have the paint thin enough to brush on free ly, using care that the color does not run over the out line and soil Illustration VII -Showing how hith-!i*hts can he picked ilVI. JV* Hit of any part immediately after application of color. ground ana other colors-- (Illustration VI.) Stipple the color as applied, using a cloth. Thistakes up any excess color and removes brush marks. The high lights may be emphasized in any portion of the design by wiping with a cloth. This can be done best about one hour after the paint is applied. (Illustration VII.) Colors can be blended very easily in outline borders. The design will be more effective if shadows are introduced to give the design the appearance of light coming from above and to one side. This is usually accomplished by placing the shadow under the lower right hand edge of each leaf or stem. a* + * Illustration VIII--First Ktncil in the dark shadows of the flower Illustration IX -Then complete the flower in its natural color FOR SIZES AND PRICES OF STENCH. PATTERNS, SEE PACE.711 70 llluatratlon X--The leares are then stenciled In Olive Lake Continued on back of following pas* Walls and Ceiling S-W Semi-Luatra Silver Grey . S.W S-W Enemelokl French Grey S S-W Bnxmdold Medium Gray a{Delightful GRAY KITCHEN There is an agreeable suede quality one senses in a well planned gray color scheme lor the kitchen. The grays used must be "tempered'' or modified colors, however, not mere "black and white" Grays. Enameloid French Gray is a de lightful color. The darker Gray and the Peacock Blue trim colors serve to bring out its quality. The striping color, Enameloid Apricot, is for emphasis and does the same thing for the color scheme as does a bouquet of flowers on the din ing room table. Semi-Lustre was chosen for the walls and ceiling because its restful egg-shell lustre is not trying upon the eyes. A lighter tone resulting from mixing Semi-Lustre colors Silver Gray and Ivory would be better for the ceiling in a large room because of diffusing the light more easily. -0 0 0 7 SWP-0 0 0 0 0 8 5 7 5 Sherwin-Williams Stencil Patterns--Continued 0 0 0 7 -SW P-000008576 DIRECTIONS FOR USING STENCIL PATTERNS- Continued SECTION V--Blending In a solid stencil border it it at timet detirable to show a blending from one color into another. Illuttrationa VIII and X explain the process. Use a separate brush for each color. Apply the darker, heavier color first (Illustration VIII) over such portions of the pattern as are to be tinted with that color. Where It is to blend into the next color, use the first color rather lightly, as indicated in Illustration VIII. Then with second brush and second color, tint that portion of the border, apply lightly over the edge of the first color, producing the effect as Illustration IX shows. Illustration X shows the border complete, but in three colors. In addition to the brushes required for each color, another brush can be used for the blending of the two colors. This will keep each brush and each color pure and make cleaning unnecessary. Blending is not essential. In fact, too much blending may produce a spotted effect. The most attractive stencil decoration is that in which the tone of the background is slightly evident through the colors of the border. A tinted effect and not a painted one is desired. SECTION VI The Selection of the Stencil Select a small, simple border for small low-ceilinged rooms and apply the stencil in a simple color combination. Large borders, which permit of more intricate design and color, are best in the public buildinga where ceillnga are high and wall apacet unbroken. Select stencil patterns which will correspond in design to the style of fumishr ings used. If no particular style prevails, or when the kind of furnish ings to be introduced is not known, select a stencil which suggests no particular style or decorative period. . SECTION VII -The Placing of the Stencil Stencils of the type ahown in Illustration I give no difficulty to the worker. The border can be begun at one comer and carried around until the walla are covered. With patterns such u Illus tration X shows, more care must be exercised in the piecing. The full-blown flower should be centered to correspond, for example, with the center of the fireplace, the center of the built-in buffet, or, when possible, with the center of the doorway. For that reason it will be necessary to begin at the- center of each wall or at the center of the above-named features and work toward the comers. The por tion just next to the corners can be filled in with the leaf part of the stencil. Such a plan should be followed in the single motif stencil when the motifs are connected with binders or stripes. Handling of Corners--On many of the large borders it is not de sirable to finish each comer as the work is undertaken, since the handling required to bend the stencil to fit the corner may injure the stencil. Work as closely to the corner as is possible without FOR SIZES AND PRICES OF STENCIL PATTERNS. Slip; PAGE 7* 72 (lominucd on back ( following page Walls and Celling S-W n*(>Tora Caior Mixture Silver Grey end Caen Stone Mirror Frame, Window Sills and Small Lights S*W Enemelotd Ro m G Qatnty <'Bathroom k DOVE GRAY -'SE, PINK Who is there who hasn't admired the soft gray plumage of a dove and secretly resolved to have a garment or some personal thing dime in this daintiest of grays at some time or other. The bathroom of our illustration calls for velvety Flat-Tone for walls and ceiling, lustrous Enameloid or Old Dutch Enamel for woodwork and a tiled floor in cream gray and black. Rose for trimming should be employed very deftly, a mere touch of it will suffice--the mirror frame, the window sill and the small lights. Trim Color for Mirror alao Color In Linoleum for Floor A 0007-SW P-000008577 Sherwin-Williams Stencil Patterns--Continued Stencil Guides When n stencil design is cut in two or more puns, each part is furnished with guides which will assist the worker m notching up the various parts to complete the border decoration SECTION VIII The Color or Combination of Colors Use colors in the stencil border or decoration which will he harmonioua with the wall finish. On a dark wall color, low-toned tints in the border will be advisable, while on the lighter ground, lighter colors will need to be employed. On the small borders stronger color effects are, however, possible, while the larger designs having the greater amount of wall space, will need to be kept in harmony of analogy or harmony of contrast with the background color. When two or more colors are blended into each other, the blending* must be gradual and harsh contrasts avoided. DIRECTIONS FOR USING STENCIL PATTERNS Continued bending the stencil. This does not mean not curving the stencil. Then carefully measure the space from the corner to the portion last applied and lay off that distance on the stencil, marking that particular part as corner one. Then lay off almost an equal distance on the other side of that point on the stencil and the same distance on the next wall. Place that particular mark on the wall and pro ceed to stencil. When the work is finished, the four comers will not be stenciled, but four corners will be marked on the stencil pattern. The stencil can be bent carefully for each corner and the work finished. To bend the stencil so that it will fit into the corner, place the stencil on a table with a straight edge and carefully hend over its edge that part of the stencil which is the shorter end and just t the point marked comer one. then finish corner one and so on. To have the stencil in the right angle for the wall it will he necessary to mark thie back of the stencil at the corner marks, lay the stencil face down ward and then bend over the edge of the table as above described. When the stencil is then held up with the face toward one it will have the same position as the corner of the room. Trimtnint of Stencils-- As a rule the stencils are furnished with an upper straight edge...(Illustration III) but if it is necessary to cut down any part of the stencil, the straight edge should be retained or an edge cut that is parallel with either the top of the stencil design or with a line which runs through the stencil pattern. HELPFUL RULES The selection as well as the proper placing of the stencil pattern to conform to the construction of the room, division, etc., is in itself a study. We feet the need of giving fundamental rules regarding just this feature of decorating, as the improper placing has often been called to our attention. Rule 1--Use site of borders which will correspond to the propor tion of the room. Smeller botdera ale necessary in the low-ceilinged room, while the larger design* are required in public interiors where the ceilings are often from twelve to fifteen feet high. Rule 2--Select the character M the pattern which will conform to the character of the room, aMBr instance, employ the more con ventional designs in those rortflff which are constructed along the severe type, while the more floral patterns are suitable in those rooms where other feature* give a suggestion of beauty of line. Rule 3--Do not use a simpis stencil border in a room which is to be decordted and furnished in s most elaborate style, and, vice versa, do not use an elaborate border in a simply decorated and furnished room. *r W Rule 4--Do not attempt to introduce a stencil border when the wall is of such a character that a pattern trill only detract from the appearance. This is true with the well which is so much , broken and cut up by window and door spaces, other fixtures, etc.,thAt unless the stencil is especially designed for the particular room, it cannot he used with any great amount of freedom. Penel work in some cases is advisable under such conditions but special stencil patterns must be designed for this work. ff' , Rule S--The color for the stencil has been handled under Section VIII. As a rule, stronger colors are best for small borders. For the larger borders, colors which harmonise with the wall color to a greater extent, are desirable. STENCIL MEDIUM .(* Add one-tenth part of Stencil Medium to First Qbality Oil Colors when stenciling on fabric. This will make the color "fast" in the fabric. As a rule the colors will not require thinnlhg for this pur pose. FLAT-TONE GLAZING LIQUID Glazed or "Tiffany" walls, "anttaued" enamel woodwork and fur niture, and stencil work on painted walls, enameled woodwork and furniture are at their best when the colors are mixed and thinned with S-W Flat-Tone Glazing Liquid. Glazing Liquid makes the colors work "right." They go on easily and are easy to handle. They dry promptly when mixed with Glazing Liquid. FOR SIZES AND PRICES OF STENCIL PATTERNS. SEE PAGE 7X Continued on bick of followini P*S* 74 0 0 0 7 -S W P -0 0 0 0 0 8 5 7 8 Wall S-W FUt-Ton Pal* Gr*n Ceiling S S-W Bnamcloid J*de fhke (j GREEN BATHROOM Shimmering green of sunlit waters suggestive of a refreshing coolness that is so welcome alike for the morning dip as for your fatigue after a hard day. Things are so much more enjoyable because of their color: The lovely shade of Flat-Tone Pale Green can be reproduced with Enameloid Lettuce Green if you prefer a glossy finish for easiest possible cleaning. Midas Green for woodwork can be "antiqued" with an over-glaze of Burnt Umber if desired. A bit of the green wall color may be mixed with the Ivory for ceiling for a softer contrast. S- 0 0 0 7 -SW P-000008579 Sherwin-Williams Stencil Patterns for Woodwork and Furniture Suggested Color Combinations for Stencils Stencil No.. I on Enameloid Old Ivory - Stencil No. 1 on Enamcloid Lettuce- Stencil No. 5 on Enamcloid French Gray-- Stencil No. 5 on Enamcloid Peach- Stencil No. 2 on Enemeloid Old Ivory - - Stencil No. 2 on Enamcloid Pampaa Gray- Stencil No. 3 on Enamcloid Sky Blue-- . Stencil No. 7 on Ciuundoid Chineae Red-- Stencil No. 16 on Enamcloid Orchid-- Stencil No. 46 and SO on Enamcloid Lettuce-- Stencil No. 49 and 50 on . Enamcloid French Gray-- Stencil No. 25 on Enamcloid Orange-- Stencil No. 25 on Enamcloid Apricot-- Stencil No. 14 on Enameloid Mustard Color-- Stencil No. 15 on Enamcloid Sahara Sand- Mowers, Enameloid Orange. Leaves, Enameloid KJtlamey Green Flowers, Enameloid Chinese Red Leavee, Enameloid Jade. Leaves. Enameloid Jade. Stems. Enamcloid Black. Flowers, Enameloid Rose. Leaves, Enameloid Old Ivory an Killamey Green equal parts. Sterna, Enameloid Tan. Flowers, Enameloid Orange. Basket, Enameloid Tan. Leaves, Enameloid Sage Green. Flowers, Enameloid Orange. Basket. Enameloid Black. Leaves, Enamcloid KlUamey Qreen Flowers, Enameloid Orange or Ch neae Red. Leaves, Enameloid Jade. Stems, Enamcloid Medium Brown Flowers. Enamcloid Blue. Gold Bronze or Enamcloid Black Basket, Enameloid Black. Leaves, Enameloid Medium Gra and Killamey Green equal parts Flowers. Enameloid Deep Orchid First part, Enamcloid Black. Leaves. Enamcloid Jade. Flowers, Enameloid Orange. First part, Enameloid Medium . Gray. Leaves, Enameloid Killamey Gree Flowers, Enameloid Ivory. Enameloid Black. Enameloid Tan or Enameloid Jad Leaves. Enameloid KillamejtGree Stems. Enameloid Black dr E amcloid Medium Brown. Flowers, Enamcloid Chineae Red Stems, Gold Bronze or Enamelo Black. Flowers. Enameloid Chinese Red 0 0 0 7 -SW P-000008580 The Use of Stencil Patterns For the Decoration of Stained, Varnished, Painted or Enameled Furniture It is rare for furniture to have no applied design what simplicity. You should have no difficulty in using even ever. Tastefully done, the application of ornamental de the three-part patterns, as guides are furnished to indi signs may be the making of an otherwise very ordinary cate just how the parts fit together. piece of furniture. In fact, a dresser front, a panel or a chair back seems to demand its ornament, just as em phatically as a letter its name and address. Frequently this ornament will be so unobtrusive as to practically escape casual notice, although the piece would appear These stencils may be applied in either Enameloid Colors (see color card on page 141) or S-W First Quality Oil Colors. Some suggested color combinations are listed above. , bare without it. Good decoration will always seem to be Stencils are regularly carried in stock in The Decora an indispensable part of the furniture. tive Studio, 601 Canal Road, Cleveland, Ohio. Orders 76 The stencils listed in this plate are well designed and in good taste but they were chosen for their practical must be accompanied by remittance in full. All stencils shipped postpaid. Continued on beck of following page Wall (filing S-W Flat-Tone Mixture Shell Fink and Silver Gray S Mirror Frame Side Light* Window SUl S-W Bnamalold French Gray Striping Color S-W Enamelold Lavender Color for Tile Floor XI Jgmbj (Bathroom m ORCHID GRAY Feminine, end yet far from distasteful to a man is this excgksite arrangement in Orchid and Gray. It carries the same feeling of immaculate cleanliness one finds in Ivory or White but is ever so much easier to keep looking clean. This color scheme is neutral enough to permit its use for either north or south exposures, ft will be very friendly, however, under cold north light, especially with ecru or yellow curtains. Use Enameloid Orchid for a striping or emphasis color. 4 1 0 0 0 7 -SW P-000008581 0007-SW P-000008582 Sizes and Prices of Stencil Patterns Designs shown on pages M. fob, fo8, 70. 72 und 74 No. No of 1`arti 2-R Two 4-R Two 5 Two 008 One 8 Two 000 Two 9 Two 10 Two IJ One 18-R Outline 18-Y Two 19-Y Two 20- Y Two 21-Y Two 19-Y Two 41-Y One .. 43 One 44 Two. 47 One 47-B One . 48 One 65 One ' '92 Outline 96 Two 98-Y Two 100-R Outline 104-R Outline 107-R Two . 108-R Outline 109 Two . 113 Two 116 One 118 Two. 124 Two. 125-R Two 127 One 131 Two . 155-R Outline 409 Two 500 One $11 One . 512 One . 517 Outline 701 One 822 Outline 900-Y Outline I04I-Y Outline 1047 One . 1048 Outline 1052 Two. In. High 27a It .5 . 2 3/4 73/4 8 . fo .b 13*4 .15 3V6 3 .6 3 .6 3V6 10 14 6% 3 3 5 *4 IS IJ'4 fo 4*4 9 5 3 IV4 4 Vs 3*4 6 .7 10 . 6V 4*4 6 4*4 6*4 24*4 2*4 1f1o *4 3*4 1414 7*4 . 6*4 Price >0.65 1 00 .70 .25 1.20 1.00 60 .70 1.80 1.20 .60 .70 1.15 .75 1.00 .40 .35 1.60 2.25 .90 .25 .20 .75 1.40 1.00 1.10 1.60 .75 1.65 .75 .35 .25 SO .30 1.25 .25 2.35 MS .60 .60 .55 .60 1.80 .25 2.05 1 05 .50 1.80 1.35 1.55 No. No. of Pert* in. High 1054 Two 4 1057 1097 Three Outline 11V4 514 2607 Two 2 >4 3005 3009 Two Outline 12 11 3017 3028 3043 One Outline Two 8 534 10 3077 3111 4008 4012 Two Outline Three Three 11 IS 72**4 4019 4020 Two Two 16 3J/4 5002-Y Two 5003 One foU 84 5011 Outline 18 5015 . Two 9 7000 7002 7003 7004 7006 One Outline Outline Outline Three . 3V4 fo*4 434 43 V4i 7007 Two. . 3 7008 One . 2 *4 7009 Two 2*4 7010 Two 1*4 7012 One ... 514 7020 Outline . 4 7050 Two . 6 7051 Two.. 4 7052 One ... 3 7053 Two 2 7054 7055 7056 7057 7058 Two . Outline One . One . Outline 2*4 5*4 1% 1*4 6 7059 One 2*4 7060 Two. 5*4 7061 Three 3*4 7062 Two 414 7071 Three 18*4 7072 Three 15*4 7073 Four 14*4 7074 Two 2*4 7075 Two 15*4 7076 Three 15*4 These prices F. O. B. Cleveland. Prices subject to change without notice. Returned stencils accepted on exchange basis only. Price $0.40 2.25 1.05 .30 1.20 1.65 .90 1.20 .90 1.80 5.85 .90 2.00 2.00 .45 .55 .60 4.55 2.10 60 1.40 1.35 .90 1.10 75 .25 30 .55 .80 .80 2.10 .75 .60 .4S .45 1.20 .20 .30 1.20 .25 ,75 1.35 1.10 3.30 3.30 4.65 .45 2.10 2.00 S-W FIRST QUALITY OIL COLORS These are colors ground in oil and are furnished in paste form in large-size tubes, one-fourth pound more or less in weight, depending upon the weight of the color itself. They are used for tinting and are of the finest quality and purity of color. Glaze and Stencil Colors may be thinned with Flat-Tone Glazing Liquid for the application of stencil patterns on painted wails or n furniture. When Glazing Liquid is not available, thin with a mixture of raw linseed oil, turpentine and drier. It is not advisable to thin with turpentine alone. 78 Directions for Using Stencil Patterns ON FURNITURE AND WOODWORK Designs shown on page 76. Stencil designs can be applied with either Glaze and Stencil Colors, artist oil colors, or Enameloid. An advantage in using Enameloid for stenciling on furniture is that the stencued design requires no protecting coat of varnish, whereat the stencil applied with Glaze tt"ii 7*enc^ should be given a coat of varnish, so that the design will have the same gloss as the Enameloid and also to protect the design front wearing off. Any good varnish such as S-W Scar-not, Mar-not or Rexpar can be used for this purpose. Glaze and Stencil Colors and also artist tube colors ere too deep in color to use in full strength for most work and usually require mixing with white to bring out the color or to make very light tints. Either white Enameloid or white stencil color can be used for this purpose. The application of the stencil design is practically the same for furniture as for wall work, altho smaller stencil brushes (from about '2 to I inch) are used and greater care must be exercised to obtain clean work and also so that the stencils which are necessarily delicate are not broken. A piece of glass or a plate will serve for a pwtftt on which to mix the colors. Rub the brush into the color and then rub out the superfluous paint on the palette or a piece of paper before applying the brush to the stencil. Hold the stencil firmly so that It is perfectly flat and tight against the surface and then brush in the color lightly at first and finish by pouncing or stippling with the brush so the finished pattern or design will be even in color and not show brush marks. When a stencil of two parts is used it is necessary to allow the first color to set before applying the second color, otherwise the first is very liable to smear, it is not, however, necessary to wait until the first color is perfectly dry, as in moat cases the paint will set up enough in about an hour's time to permit the use of the second part of the stencil. If stencil colors or artist tube colors are used, allow the work to stand overnight and then apply a thin coat of var nish over the design. When two or more mixtures are used for blending or shading the l ?w c T*' etc ' f * design, apply each mixture or color separately, blending them together with another dry brush. Very beautiful and retlUtic effects can be obtained by blending and a little experimenting will very quickly prompt the worker aa to the proper procedure. BROWNS Gotden Ochre French Yellow Ochre Raw Italian Sienna Raw Turkey Umber Burnt Turkey Umber Vandyke Brown Burnt Italian Umber Japanese Brown REDS English Rose take American Vermilion Tuscan Red Rose Madder Dragon Red English Vermilion Premier Non-fading Red English Venetian Red Indian Red Turkey Red Permanent Crimson Red YELLOWS Chrome Yellow Light Chrome Yellow Medium Indian Yellow ORANGES Chrome Yellow Orange Chrome Yellow Dark Orange Orange Lake GREENS . Paris Green Chrome Green Light Chrome Greeti Medium Chrome Green Dark Olive Lake Peacock Green Deep Olive BLUES Ultramarine Blue Prussian Blue Deep Cerulean . C IL I SCHEMES FOR KITCHEN AND BATH Sh e r w in -Wil l ia ms ^emi^ustre A SATIN FINISH FOR INTERIOR USE Dainty color schemes *re practical with S-W Semi-Lustre because it is so easy to keep clean. Use it on walls, woodwork or furniture. Semi Lustre is the correct finish for the finest home or building and, at the same time, is the ideal, practical finish for the simplest, inexpensive building. It produces a finish of exceptional hardness and durability. 0 0 0 7 -SW P-000008583 r' 0007-SWP-000008584 0007-SWP-000008585 S-W Semi-Lustre -- A Satin Finish Interior Sherwin-Williams Semi-Lustre is an interior paint which hand. It will prove to be more economical th dries with a mellow, satin-like finish for walls, ceilings and because it has two outstanding characteristi 1 woodwork. The film is exceedingly hard and tight with the result that dirt does not penetrate and is very easily washed off. 1. Semi-Lustre covers with a dense therefore requires fewer coats than paint. Semi-Lustre is recommended for the finishing and deco rating of walls |n schools and public buildings where a gloss 2. Semi-Lustre washes clean and show finish is objectionable because of glare and reflections and of wear even after long service. where a flat paint would soil too easily. About the home Semi-Lustre is unsurpassed for the TEXTURE EFFECTS: kitchen, bath room and hallways where the walls soil Semi-Lustre may be stippled and may a so readily and where the finish must the same manner as s be such as to clean without special effort. V4 Tone. See page 97. COVERING CAPACITY: Semi-Lustre is a finish of the first Approximately 300 sq quality and should not be confused with '' coats per gallon. the general run of lower-priced gen Put up in quart, half- eral utility paints one secs upon every Light Yotlow lon cans. ) 0 0 0 7 -SW P-000008586 S-W Semi-Lustre Colors Mixed with Semi-Lustre White Sponge-Stipple Semi-Lustre for Multi-Color Effects or Glaze it for Tiffany Work same as S-W Fla For Helpful Suggestions, see Flat-Tone, page 84. Putty Color ond White cquol ports Bright Sage ond White aquti ports Ivory *nd White oquol ports Gray Buff o Poudto Bluo S-W Flat-Tone -- the Washable Flat Wall Flat-Tone dries dull with the appearance of soft velvet. It is an oil paint and can be washed with soap and water. It ah so cleans well with wallpaper cleaner Flat-Tone is intended to be used on plaster walls, interior brick walls,wood partitions, decorator's canvas and over any of the good wall boards on the market. The effect produced over coarse burlap and over the "antique" rough plaster wall textures is rich and especially attractive. There are a number of distinct advantages you will enjoy in Flat-Tone painted walls: First, the soft, rich beauty of the walls is permanent and non-fading; second, children's finger marks or such accidents as raining in or staining o any kind, need only to be washed off; third, the sanitary advantage of a clean, germproof wall as compared to wal paper is readily appreciated. There are Three Ways of Finishing Interior Walls with J GLAZED FLAT-TONE EFFECTS MULTI-COLOR EFFECTS ("Liq A simple color of Flat-Time is first brushed on and allowed to dry (see directions on page 82). The texture is produced with S-W Glazing Liquid, which is brushed over the surface and which can be stippled with a cloth, a sponge, newspaper or brush, producing an endless variety of most interesting printed effects. This glaze coat can be tinted to any color desired with S-W First Quality Oil Colors. rin-Tonc im, tw SIMPLE FLAT-TONE EFFECTS This truly de wall decoration originated by ou a number of yea "Liquid Wallp wall is printed paper to a sta the joints of th A sponge is use It is easy enoug and interesting anyone enjoy do Cl4Md Flvt-TwM EStct No. For sheer beauty, the simple un adorned wall in Flat-Tone has an appeal ail of its own. It is a finish anyone can apply. It does not re quire the careful brushing of an enamel finish, in fact, the walls appear better with the brush strokes "fanned out" in different directions. For particularly beautiful walls, decorators use a stippling brush to remove all brush marks and leave a pebbled texture. Muiu-csior s u s m FOR A SEMI-GLOSS FINISH SEE S-W SEMI-LUSTRE ON PAGE 79 0007-S W P -000008587 0 0 0 7 -SW P-000008588 J i You may find it difficult, in looking over these color samples, to know how to finish a room most effec tively. It may even seem that you have been given very few colors from which to make a selection. Turn to pages 84 to 106, however, and you will find the widest imag- S-W Flat-Tone inable variety awaiting your b But even so c this Paint Head not possibly an rative requireme rative Studios, Cleveland, Ohio vidual help. PmH Gray Sky Blua Caen Stone N Shell Pink Olive Ten B SUver Grey Helpful suggestions for Using Flat-Tone are on the opposite page WHAT YOU'LL NEED S-W Wall Primer and Sealer or Flat-Tone Mixing Size (for use in first coat), Plaster Paris for filling crack Knife, Sponges (both stippling and for washing), Step Ladder, Stencils, First Quality Oil Colors, Fl Liquid, Turpentine. The Use of Flat-Tone Multi-Color Stipple Effects A SIMPLE ONE-COLOW STIPPLE EFFECT ADJOINING ROOMS Harmonize them with Flat-Tone Multi-Color Effects. , Multi-Color stippling consists of printing one or more colors of FistTone over a foundation color of Flat-Tone that has been brushed on the wall. A sponge is used to make the print or pattern of color and all colors used, show in pattern much like a piece of tapestry. In adjoining rooms where colors are desired to be harmonised, such as blue and green, tan and blue, etc., this is accomplished by using two colors in common in both rooms. For example: Paint both rooms with a foundation color of Flat-Tone Silver Gray and Cream. Stipple one room in Sky Blue and the other room in Bright Sage. Then stipple both rooms in Silver Gray and Ivory and they will be found to harmonize. Helpful Suggestions for Producing S-W Flat-Tone Multi-Color Effects FOUNDATION c o l o r FIRST COAT: S-w Wall Primer and Sealer or Flat-Tone and FlatTone Mixing Size in equal parts . Apply generously. Let dry 3k to 48 hours. SECOND COAT:. Flat-Tone in the akApr specified for the effect chosen, applied without reduction. T,(|l- TH1RD COAT I (Optional) Flat-Tone applied without reduction. PREPARATION OF THE STIPPLING jTONGB Chooee e fair aise sheeps wool sponge of even, open texture on the bottom of the sponge. Weeh out thoroughly in warm water end tettn the bottom to e ilet eurfece with eciaaors. Test the print of the sponge oo<4# paper or window pene end trim out any parta which make e tilery spot or daub. Use the sponge quite damp with voter when stippling. STIPPLE COLOR .% S-W Flat-Toneih the color specified for each met Is used for the stipple color. Both simple colors and combinations of simple colors are used for stipple colors. NOTE: Many suggested color combinations ere dvtf on pages 87 to 84 for sponge stippling. However if there ie no effect Which covert your requirements, write to the Decoritive Studios, sending complete information for their guidance, to 601 Canal Rood, QereUrKLXPhio. LOADING THE SPONGE ,, * Do not dip the sponge Into the P*U a* paint, Pour Out some of the stipple eoior on to e board, tin, or paper, ee convenient. Rub the sponge Into this. Thoroughly cover the bottom of the sponge. Tap off the excess paint on to a dry pert of rite paper to avoid making too heavy end dauby e print. Have the sponge quite damp with water. STIPPLING Tap the well with e light, firm stroke without any twisting or turn ing or the sponge. The first few prints with the sponge loaded with paint should be lightly tapped, increasing the pressure as the paint stipples out of the sponge. Re-load the sponge frequently, so ee to keep the prime uniform. Place each print close--almost overlapping--the .previous one. Fill In any gap# or openings left. ' CORNERS, ETC.: Use a smell sponge cut square for getting Into comers end other narrow, inaccessible pieces. SECOND STIPPLE COLOR A second stipplo odor may be applied over the first stipple solar after e half hour or more hee elapsed, or, ee In a room In a residence, se soon as the first stipple color has been applied, beginning the second color where the first stipple was started. CLEANING THE WOODWORK When stippling, rite woodwork usually gets painted, also. Wipe this Off within a half hour, using a soft cloth end gasoline. Do not use turpentine as this will tffect the gloss of vsrpish or enamel. USE OF A SHIELD A shield made of tin or cardboard may be used to protect woodwork,, the ceiling or the adjoining color of a panel AMOUNT OF STIPPLE COLOR REOUIRED This is subject to some variation, of course, but generally speaking, it is safe to figure on about one-eighth the amount of wall paint re quired for the two coats of foundation color as being sufficient for one stipple color. CLEANING THE SPONGE As soon as you are done stippling, wash the sponge out in gasoline or turpentine. When putting the sponge away, wash out with soap chips and warm water. When cleaning the sponge to use it for another stipple color, wash in gasoline end rinse in water to open up the sponge once more, for stippling. A TWO-COLOR STIPPLE EFFECT Flat-Time Multi-Color Effects are catted "Liquid Wallpaper11 by many because there is a most striking rcsemblance-r-the joints lone are misaing. The big advan tage with .the Multi-Color wall, however. Is that soap and water wlU remove children's finger marks Mid leave the wall aa fresh and awset as new. There is no fading out with Flat-Tone Multi-Color Effects. A *pone of even, open tenure FLAT-TONE MULTI-COLOR STIPPLE EFFECT PANELS ARE ON PAGES 87-94 84 0 0 0 7 -SW P-000008589 Sherwin-Williams Flat-Tone Mixtures in Equal Parts of the Regular Colors Bright Sa# and Shell Pink Silver Gref end Buff Everybody likes to have something no one else has, it's human nature. The colors on this page give you an idea of the soft off-shade tints which can be produced by mixing the various colors of our regular Flat-Tone line. You will find it a real pleasure to make certain varia tions and combinations of your own based upon these suggestions. All these combinations are as durable, non-fading and as washable as the regular colors. ' *dL. Cra Ten end Sky She Ten end Shell Pink Ten end Silver Gref SUaar Graf and Crum Sky Blua and 811vr Gray Shall Pink and Sky Blua I Shall Sha Fornt Green end Goeoanut Biwn Shall Pink and SUvar Gray Pale Gree DIRECTIONS FOR USING FLAT-TONE ARE ON PAGE 81 FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 51 Foundation Color: Flat-Tone Shell Pink and Cream mixed in equal parts. Stipple Color: Flat-Tone Shell Pink 1 part and Ivory 4 parts mixed. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 47 Foundation Color: Flat-Tone Silver Gray. First Stipple Color: Flat-Tone Bright Sage and Sky Blue mixed in equal parts. Second Stipple Color: Flat-Tone Silver Gray 1 part and Ivory 2 porta mixed. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 77 Foundation Color: Flat-Tone Light Yellow. Stipple Color: Flat-Tone Ivory Tan. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 71 Foundation Color: Flat-TbncSky Blue. Stipple Color: Flat-Tone Sky Blue and White mixed in equal parts. FLAT-TONE MULTI-COLOR ' '' STIPPLE EFFECT No. 41 Foundation Color: Flat-Tone Ivory Tan. Stlpgiia Color: Flat-Tone Cream. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 56 Foundation Color: Flat-Tone Sht*U Pink and Sky Blue mixed in - equWpai^ts. : First Stipple Color: Flat-Tone Second Stipple Color Flat-Tone Ivory Tan. ` o G O >4 I i Directions are on page 64 X6S800000 $4 I Flat-Tone Multi-Color Stipple Effects are "Liquid Wallp > Color specifications are on opposite page. Complete list of specifications on page 94. DteUora are on page 84. 0 0 0 7 -SW P-000008592 FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 57 Foundation Color: Flat-Tone Buff and Silver Gray mixed in equal parts. Stipple Color: Flat-Tone Bright Sage and Silver Gray equal parts. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 63 ;> Foundation ColorJt Flat-Tone Forest Green. First Stipple Color: Flat-Tone Tan. Second Stipple Color: Flat-Tone Tan and Cocoanut Brown mixed in equal parts. njr- FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 7} Foundation Color: Flat-Tone Light Yellow. Stipple Color: Flat-Tone Light Yellow 1 part and Ivory 2 parts mixed. I FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 14 Foundation Color: Flat-Tone Sliver Gray. First Stipple Color: Flat-Tone Shell Pink. Second Stipple Color: Flat-Tone Ivory Tan. FLAT-TONE MULTI-CBI STIPPLE EFFECT Nofo I Foundation Color: ,> Flat;-4&ne Olive Tan. Stipple Color: Flat-Tohe Buff and Olive Tan mixed in equal parts. r. FLAT-TONE MULTI-COLOR ST1PPLB EFFECT No. 24 Foundation Color: Flat-Tone Silver Gray. First Stipple Color: Flat-Tone Bright Sage and Buff mixed in equal parts. Second Stipple Color:. Flat-Tone Buff 2 parts and Shell Fink I part mixed. Directions are on page 84 88 0 0 0 7 -S W P -000008593 Flat-Tone Multi-Color Stipple Effects are "Liquid Wallpa Flat-Tone Multi-Color Stipptr No. 71 Flat-Ton Multi-Color Stipple No. 14 Color specifications are on opposite page. Complete list of specifications on page 94. Directions are on page 84. 0 0 0 7 -SW P-000008594 FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 32 Foundation Color: Flat-Tone Cream. First Stipple Color: Flat-Tone Ivory. Second Stipple Color: Flat-Tone Silver Gray 1 part and Cream 2 parts mixed. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 54 Foundation Color: Flat-Tone Silver Gray and Cream mixed in equal parts. First Stipple Color: Flat-Tone Shell Pink and Olive Tan mixed in equal parts. Second Stipple Color: Flat-Tone Sky Blue and Silver Gray mixed in equal ports. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 52 Foundation Color: Flat-Tone Silver Gray and Caen Stone mixed in equal parts. Stipple Color: Flat-Tone Shell Pink and Silver Gray mixed in equal parts. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 26 Foundation Color: Flat-Tone Silver Gray and Caen Stone mixed in equal parts. Stipple Color: Flat-Tone Silver Gray, FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 78 Foundation Color: Flat-Tone Olive Tan. Stipple Color: Flat-Tone Olive Tan 1 pert and Ivory Tan 2 parts mixed. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 34 Foundation Color: Pearl Gray. Flat-Tone Stipple Color: Flat-Tone Caen Stone. Thin with turpentine. (Foundation Color of Pearl Gray should be tinted with Sky Blue using Vi gallon of Sky Blue to the gallon of Pearl Gray.) I 1 ' 90 Directions are on page 84 0 0 0 7 -SW P-000008595 Flat-Tone Multi-Color Stipple Effects are "Liquid Wallp 1 ) I ) Color specifications are on opposite page. Complete list of specifications on page 9 Directions are on page 84. i 0 0 0 7 -SW P-000008596 FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 23 Foundation Color: Flat-Tone Bright Sage. Stipple Color: Flat-Tone Bright Sage and Buff mixed In equal parts. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 55 Foundation Color: Flat-Tone Silver Gray and Cream mixed in equal parts. First Stipple Color: Flat-Tone Silver Gray and Shell Pink mixed in equal parts. Second Stipple Color: Flat-Tone Cream. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 75 Foundation Color: Flat-Tone Pale Green. Stipple Color: Flat-Tone Pale Green 1 part and Sky Blue 2 parts mixed. i FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 29 Foundation Color: Flat-Tone Silver Gray and Shell Pink mixed in equal parts. Stipple Color: Flat-Tone Silver Gray 2 parts and Ivory 1 part mixed. FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 46 Foundation Color: Flat-Tone Ivory Tan. First Stipple Color: Flat-Tone Silver Gray 2 parts and Cream 1 part mixed. Second Stipple Color: Flat-Tone Bright Sage and Silver Gray mixed in equal parts. . Directions are on page 84 FLAT-TONE MULTI-COLOR STIPPLE EFFECT No. 49 Foundation Color: Flat-Tone Silver Gray. First Stipple Color: Flat-Tone Sky Blue and Silver Gray mixed in equal parts. Second Stipple Color: Flat-Tone Silver Gray and Ivory mixed in equal pruts. 0 0 0 7 -SW P-000008597 92 Flat-Tone Multi-Color Stipple Effects are "Liquid Wall 1 ) Color specification* are on opposite page. Complete list of specification* on page 94. Directions are on page 84. T 0 0 0 7 -SW P-000008598 Specifications for Sherwin-Williams Multi-Color Flat-Tone Stipple Effects - Complete List Rat-Tone Multi-Color Stipple Effect No. 7 Foundation color, Flat-Tone Shell Pink Stipple color, Flat-Tone Shell Pink 1 part and White 2 parte F1 Rat-Tone Multi-Color Stipple Effect 47 (page 87) Foundation color, Rat-Tone SUvar Gray let etipple color, Rat-Tone Bright Sage and Sky Blue equal parte Flat-Ton. Multi-Color Stipple Effect 71 (pe( Foundation Color, Flat-Tone Sky Blue Stipple color, Flat-Tone Sky Blue and Whi parte Rat-Tone Multi-Color Stipple Effect 14 (page 491 Foundation color, Rat-Tone Silver Gray let atipple color, Flat-Tone Shell Pink 2nd atipple color, Rat-Tone Ivory Tan Rat-Tone Multi-Color Stipple Effect 23 (page 93) 2nd etipple color, Flat-Tone Silvifl Gray 1 part and Ivory 2 parte 'll! Rat-Tone Multi-Color Stipple Effect Foundation color, Flat-Tone Ivory Tan Stipple color, Flat-Tone Cream 87) Flat-Tone Multi-Color Stipple Effect 7J (pag Foundation color, Flat-Tone Olive Ten Stipple color. Flat-Tone Buff and Olive Ta parte Foundation color, Rat-Tonic Bright Sage Stipple color, Rat-Tone Bright Sage and Buff Rat-Tone Multi-Color Stipple Effect 24 (page 89) Foundation color, Rat-Tone Sliver Gray let atipple color, Rat-Tone Bright Sega end Buff, equal parte . 2nd atipple color, Rat-Tone Buff 2 parte and Shell Pink 1 part Rat-Tone Multi-Color Stipple Effect No. IS Flat-Tone Multi-Color Stipple Effect 49 (page 93) Foundation color, Flat-Tone SUver Gray let etipple color, Flat-Tone Silver Grey and Sky Blue equal parte 2nd etipple color, Rat-Tone SUver Gray and Ivory equal parte Flat-Ton. Multi-Color Stlppie Effect 81 (peg. 11) Fdundatlon color, Flat-Tine SheU Pink and Cream equal perta Flat-Tone Multi-Color Stipple Effect71 (pag Foundation color, Flet-fone Yellow Stipple color, Flat-Tone Light Yellow I lVory 2 parte Rations Multi-Color Stipple Effect No. 74 Foundation color, Rat-Tone Light Yellow Etipple color No. 1, Rat-Tone Light Ye Shell Hnk equal parte ., . v Stipple color No. 2. Rat-Tone Light Ye i Foundation Color, Ratine Silver Gray Stipple color, Flat-Tone Shell Pink I part and Pale Green equal parte Stipple color, Rat-Tone Silver Gray 1 part and Ivory 4 parte Cream 2 parte Rat-Tone Multi-Color Stipple Bffect 24 (page 91) Foundation color, Flat-Tone Silver Gray id Caen Stone equal parts Flat-Tone Multi-Color Stipple Effect $2 (page 9l) Foundation color, Flat-Tone Caen Scene. Stipple color, Flat-Tone SheU Pink I part and White 4 perta. Flat-Ton# Multi-Color Stipple Effect 75 (pa Foqadatfen color. Rat-tone Pale Green Stipple color. Rat-Tone Pale Green 1 par But 2 part* Stipple color, Rat-Tone Silver Gray Rat-Tone Multi-Color Stipple Effect No. 27 Foundation color, Rat-Tone Silver Gray and Sky Blue equal parti Stipple color, Rat-Tone Silver Gray and Cream equal parte Rat-Tone Multi-Color Stipple Effect 29 (page 93) Rat-Ton# Multi-Color Stipple Effect 54 (page 91) Foundation color, Rat-Tone Silver Grey and Cream equal part# lat atipple color, Rat-Tone Shell Pink 1 pert and Buff 3 parte 2nd stipple color, Rat-Tone Sky Blue end Silver Grey equal parte F1t-Tonc Multi-Color Stipple Effect No. 79 Foundation color, Flat-Tone Sky Blue Stipple color. Flet-Tone Sky Blue and SU equal parts Flat-Tone Multi-Color Stipple Effect 77 (pa Foundation color, Flat-Tone Light Yello Foundation color, Rat-Tone Silver Gray and Shell Pink equal parte * Stipple color, Rat-Tone Silver Gray 2 parte and ivory 1 pert * ' 11 Rat-Tone Multi-Color Stipple Effect 55 (page 93) Foundation color, Rat-Ton# Silver Gray and Create equal parte .' . let etipple color, Rat-Tote Silver Gray and Shell Stipple color, Flat-Tone Ivory Tan Fkt-Tona Multi-Color Stipple Effect 78 (pa Foundation color, Flat-Tone OUve Tan Rat-Tone Multi-Color Stipple Effect 32 (page 91) Pink equal perta j. Stlpfde color. Flat-Tone OUve Tan 1 Foundation Color, Rat-lone Cream 2nd atipple color, Rat-Tone Cream' . Ivory Tan 2 parta tat atipple color, Rat-Tone Ivory Ml* 2nd atipple color, Rat-Tone Silver Gray 1 part and Cream 2 part# ` ,, Rat-Tone Multi-Odor Stippt^ffect 34 (page 91) Foundation color, Rat-Tohe Pearl Gray Stipple color, Rat-Tone Caen Stone (Foundation color ehouid be tinted with Sky Flat-Tone Multi-Color Stipple Effect 54 (page 87) . Foundation color, Rat-Tone Shell pink and Sky . Blue equal parts let etipple color, Flat-Ton# Pale Green 2nd etipple color, Flet-Tone Ivory Tan Rat-Tone Multi-Odor Stipple Effect 57 (page 89) Flat-Tone Multi-Color Stipple Effect No. 7 Foundation color, Flat-Tone lw Tan let atipple color, Flat-Tone Shell Pink Tan equal parta 2nd atipple color, Flet-Tone Sky Blue a Grey equal parta Blue uting ^ gallon at Sky Blue to the gallon Foundation color, Flat-Tone Buff end Silver Gray of Pearl Gray.) Thin with turpentine. equal parts Flat-Tone Multi-Color Stipple Effect No. 8 Rat-Tone Multi-Color Stipple Effect No. 43 Foundation color, Rat-Tone Cocoanut Brown Stipple color, Rat-Tone Cocoanut Brown and Tan equal parte Stipple color, Flat-Tone Bright Sage and Silver Grey equal parts (Rat-Tone Multi-Color Stipple Effect 43 (page 89) Foundation color, Flat-Tone Forcet Green Foundation color, Flat-Tone.Cjen Stone let atipple color, Flat-Tona jjjfftt Yellow 2nd atipple color, Flat-TonePale Ore.n, low and Caen Stone equal parta Rat-Tone Multi-Color Stipple Effect No. 44 Foundation color, Rat-Tone Tan Stipple color, Rat-Tone Tan and Buff equal parte lat atipple color, Rat-Tone Ten 2nd cripple color, Rat-Tone Ten and Cocoanut Brawn equal parts Flat-Tone Multi-Color Stipple Effect No. 8 Foundation color, Rat-Tone Caen Stone let etipple color, Flat-Tone Ivory Tan Rat-Tone Multi-Color Stipple Effect 44 (page 93) Rat-Tone Multi-Color Stipple Effect No. 68 2nd stipple color, Rat-Tone Buff Foundation color. Rat-Tone Ivory Tin let etipple color, Flat-Tone Silver Gray 2 parte end Cream I part 2nd etipple color, Rat-Tone Bright Sage and Silver Foundation color, Rat-Tone Forest Green end Cocoanut Brown equal parts let etipple color. Flat-Tone Forest Green 2nd etipple color, Ret-Tone Tan and Cocoanut Rat-Tone Multi-Color Stipple Effect No. 8 Foundation color, Rat-Tone Ivory Tan Stipple color, Flat-Tone Ivory Tan and Gray equal parte Brown equal parts equal parts SEE PAGES 87 TO 93 FOR PAINTED SAMPLE PANELS IN MULTI-COLOR FLAT-TONE STIPPLE EFFECTS 94 0007-SW P- 0 0 0 0 0 8 5 9 9 I TEXTURED TIFFANY EFFECTS Produced with S-W GLAZING LIQUID Tinted With S-W First Quality Colors in Oil Used Over Flat-Tone, Semi-Lustre or Enameloid for Wal Woodwork or Furniture 0 0 0 7 -SW P-000008600 S-W TEXTU R ED TIFFA N Y EFFECTS Suggested T e xtu re s -- H ow to Produce Them a 0007 -SWP-000008601 0 0 0 7 -S W P -000008602 1 y > The Use of Sherwin-Williams Flat-To Glazing System Effects ProAidnf the totun bi the wall color by dppUnc wW cnamyltd cbth A blended wall without the herd line between light end dark Helpful Suggestions for Producing S-W Flat-Tone Glaze System Effects FOUNDATION COLOR FIRST COAT; Flat-Tone end Flat-Tone Mixinc Size in equal parts. Apply generously. Let dry 36 to 4$ hours. SECOND COAT: Flat-Tone (in color specified for the effect chosen) with one quart Flat-Tone Mixing Size added to the gallon. THIRD COAT: Flat-Tone, with one quart Flat-Tone Mixing Size added to the gallon. GLAZE OR FINISHING COAT Tinting Flat-Tone Glazing Liquid (two color effect chosen aa example). Pour Glazing Liquid into two clean paile and tint to the desired depth of color with S-W First Quality Colors in Oil. Tint both mixtures to the same strength of color. Work the tinting color into the Glazing Liquid with the brush. Use 3-in. or 3H-ln. bristle brushes for glazing walls. APPLYING First Color: Take a wall apace four or Are feet wide--from ceiling to floor. Brush on the stronger color in IRREGULAR SPOTS. Use aa much color aa room seems to require. Sceond Color: Fill In all the remaining apace with the second color-- overlapping with the firet color, somewhat. Is desirable. BLENDING THE COLORS TOGETHER Blend the colors together by brushing through the colors and running the colors thoroughly together at the edges BEFORE STIPPLING with the cloth. STIPPLING FOR TEXTURE . An interesting, rough-testured wall effect is obtained by using the cloth wrinkled in the hand aa illustrated.. For a smoother texture, uee the cloth in a rather smooth pad and simply tap the wall without any twitting motion. Stippling with a stippling brush results in a still smoother texture. FOR A BLENDED EFFECT Tint two separate batches of Glazing Liquid. Make the firet batch of the tint desired for the upper wall and the second, the deeper tone, for the lower wall. Brush on the light tint extending from the celling to within about three feet of the floor. Then brush the dtrker color from the bottom up Into the light tint, blending off with the brush and stipple aa directed. Do not attempt to cover too great a surface before stippling. Avoid working In e draught. Keep windows closed if necessary. CORNERS AND INACCESSIBLE PLACES Touch up the comers and alongside woodwork with a dry brush. WIPING WOODWORK A shield made of galvanised iron or cardboard is a moat handy tool to permit wiping the .woodwork easily without marring the stippled wall. Can also be used to protect the ceiling or other surfaces when stippling up close with the cloth. Tinting Quality \<n u Med Note -- Do not leave wet glazing rags in a pile -- they are liable to ignit FLAT-TONE GLAZE EFFECT No. 78 Foundation Color: Flat-Tone Sty Blue, Glaze Coat: Flat-Tone Glazing Liquid tinted with Firet Quality Oil Color Deep Cerulean. i u _____ >' FLAT-TONE GLAZE EFFECT No. 86 Foundation Color: Flat-Tone Silver Gray and Cream, equal parts. Glaze Coat: Flat-Tone Glazing Liquid tinted with First Quality Oil Color English Rose Lake. t FLAT-TONE GLAZE EFFECT No. 87 Foundation Color: Flat-Tone Caen Stone. Glaze Coats: Three batches of Flit-Tone Glazing Liquid, one tint ed with First Quality Oil Color English Rose Lake, one with First Quality Oil Color Deep Cerulean and one with First Quality Oil Color Japanese Brown. - FLAT-TONE GLAZE EFFECT No. 36 Foundation Color: Flat-Tone Caen Stone. Glaze Coats: Two batches of FlatTone Glazing Liquid, one tinted with First Quality Oil Color Ivory Drop Black and the other with First Quality Oil Color Burnt Sienna. FLAT-TONE GLAZE EFFECTWo. 86 Foundation Color: Flat - Tone Silver Gray and Sheif'Pink, equal parts. . GlazS Coats: Two batches of FlatTone Glazing Liquid, one tinted with First Quality Oil Color English Roae Lake and the other with First Quality Oil Color Chrome Yellow Orange. Directions are on page 97 FLAT-TONE GLAZE EFFECT No. 80 FoundMtion Color: Flat-Tone Pale Green. , Glaze Coats: Two batches of FlatTone Glazing Liquid, one tinted with First Quality Oil Color English Rose Lake and the other with First Quality Oil Color Chrome Yellow Orange. ' 1 I 98 0 0 0 7 -S W P -000008603 Flat-Tone Glaze Effects--Make them as Delicate or as Rich as Color specification* are on opposite page. Direction* are on page 97. I 0 0 0 7 -SW P-000008604 FLAT-TONE GLAZE EFFECT No. 77 Foundation Color: Flat - Tone Olive Tan. Glaze Coats: Two batches of FlatTone Glazing Liquid, one tinted with First Quality Oil Color Deep Cerulean and one with First Quality Oil Color Paris Green. :i FLAT-TONE GLAZE EFFECT No. 61 Foundation Color^ Flat-Tone < Light Yellow. ' Glare Coats: Two batches of FlatTone Glazing Liquid, one tinted with First Quality Oil Color Deep Cerulean and English Rose Lake equal parts and one with First Quality Oil Color Chrome Yellow Orange. FLAT-TONE GLAZE EFFECT No. 6 Foundation Color: Flat-Ton Olive Tan. Glaze Coats: Two batches of Fla Tone Glazing Liquid, one tinte with First Quality Oil Color Ra Umber and the other with Firs Quality Oil Color Deep Cerulean. FLAT-TONE GLAZE EFFECT No. S3 Foundation Color: Flat-Tone Ivory. . Glaze Coats: Two batches of FlatTone Glazing Liquid, one tinted with First Quality Oil Color Ivory Drop Black and Ultramarine Blue equal parts and one with First Quality Oil Color Burnt Sienna. - FLAT-: GLAZE EFFECT No. 79 V. .... ation Color: Flat - Tone Pale Green. Glaze Coats: Three batches of Flat-Tone Glazing Liquid, one tint ed with First Quality Oil Color English Rose Lake, one with First Quality Oil Color Deep Cerulean and one with First Quality Oil Color Japanese Brown. , FLAT-TONE GLAZE EFFECT No. Foundation Colors: Flat-Ton Silver Gray and Shell Pink equ parts. , Glaze Coats; Two batches of Fla Tone Glazing Liquid, one tinte with First Quality Oil Color Ivo Drop Black and the other; wi First Quality Oil Color Paris Gree Directions are on page 97 too 0 0 0 7 -SW P-000008605 Flat-Tone Glaze Effects--Make Them as Delicate or as Rich a ) ) Color specifications are on opposite page. Directions are on page 97. 0 0 0 7 -SW P-000008606 FLAT-TONE GLAZE EFFECT No. 75 Foundation Color: Flat-Tone Silver Gray. Glaze Coats: Three batches of Flat-Tone Glazing Liquid, one tint ed with First Quality Oil Color English Rose Lake, one with First Quality Oil Color Deep Cerulean and one with First Quality Oil Color Ivory Drop Black. FLAT-TONE GLAZE EFFECT No. 3 Foundation Color: Flat-Tone Ivory. Glaze Coat: Flat-Tone Glazing Liquid tinted with First Quality Oil Color Japanese Brown. FLAT-TONE GLAZE EFFECT No. 62 Foundation Color: Flat - Tone Light Yellow. Glaze Coats: Three batches of Flat-Tone Glazing Liquid, one tint ed with First Quality Oil Color Deep Cerulean, one with First Quality Oil Color Japanese Brown and one with First Quality Oil Color English Rose Lake. FLAT-TONE GLAZE EFFECT No. 64 FLAT-TONE GLAZE EFFECT No. 66 FLAT-TONE GLAZE EFFECT No. 65 Foundation Color: Flat-Tone Pale Green. Foundation Color: Flat-Tone Caen Stone. Foundation ' Color: Flat-Tone Pale Green. i Glaze Coat: Flat-Tone Glazing Glaze Coats: Three batches of Glaze Coat: Flat-Tone Glazing Liquid tinted with First Quality Oil Flat-Tone Glazing Liquid, one tint Liquid tinted with First Quality Color Olive Lake. ed with First Quality Oil Color Oil Color English Rose Lake 2 parts English Rose Lake, one with First and Deep Cerulean 1 part. Quality Oil Color Deep Cerulean and one with First Quality Oil Color Paris Green. Directions are on page 97 103 0007-S W P -000008G 07 Flat-Tone Glaze Effects--Make them as Delicate or as Rich as Color specifications are on opposite page. Directions are on page 97, 0 0 0 7 -SW P-000008608 FLAT-TONE GLAZE EFFECT No. 69 Foundation Color: Flat - Tone Caen Stone. Glaze Coats; Three batches of Flat-Tone Glazing Liquid, one tint ed with First Quality Oil Color Raw Sienna, one with First Quality Oil Color Paris Green and one with First Quality Oil Color Raw Umber. FLAT-TONE GLAZE EFFECT No. 83 Foundation Color: Flat-Tone Light Yellow. Glaze Coat; Flat-Tone Glazing Liquid tinted with First Quality Oil Color Raw Sienna. FLAT-TONE GLAZE EFFECT No. 50 Foundation Color: Flat - Tone Caen Stone. Glaze Coat; Flat-Tone Glazing Liquid tinted with First Quality Oil Color English Rose Lake and Orange Lake, equal parts. ' ll FLAT-TONE GLAZE EFFECT No. 68 Foundation Color; Flat -Tot* Olive Tan. Glaze Coat; Flat-Tone Glazing Liquid tinted with First Quality Oil Color Raw Umber. FLAT-TONE GLAZE EFFECT No. 29 Foundation Color; Flat-Tone CaanStio(M. Glaze Coats: Two batches of FlatTone Glazing Liquid, one tinted with First Quality Oil Color Ultra marine Blue and oat jMI First Quality Oil Color Japanese jtaown. FLAT-TONE GLAZE EFFECT No. 81 Foundation Color: Flat-Tone Pale Green. Glaze Coat: Flat-Tone Glazing Liquid tinted With First Quality Oil Color Deep Cerulean. Directions are on page 97 104 0 0 0 7 -SW P-000008609 Flat-Tone Glaze Effects--Make Them as Delicate or as Rich *> I I O o o vJ 03 Color epecifications are on oppoaite page. Directions are on page 97. '0 0 0 0 0 8 S 1 0 Specifications for Sherwin-Williams Flat-Tone Glaze Effects Mat-Tone Glaze Effect No. I Foundation Color, Flat-Tone Ivory Glaze Coat, Flat-Tone Glazing Liquid tinted with First Quality Oil Color Orange Lake Flat-Tone Glaze Effect No. 3 . Foundation color, Flat-Tone Ivory Glaze Coat, Flat-Tone Glazing Liquid tinted with First Quality Oil Color Japanese Brown Flat-Tone Glaze Effect No. 12 Foundation color, Rat-Tone Ivory Glaze Coats, Two batches of Flat-Tone Glazing Liquid, one tinted with First Quality Oil Color Burnt Sienna and the other with First Quality Oil Color OUve Lake Flat-Tone Glaze Effect No. 29 Foundation color, Rat-Tone Caen Stone Glaze Coats, Two batches of Flat-Tone Glazing Liquid, one tinted with First Quality Oil Color Ultramarine Blue and the other with First Quality Oil Color Japanese Brown Flat-Tone Glaze Effect No. 36 Foundation color, Rat-Tone Caen Stone Glaze Coats, Two batches of Rat-Tone Glazing Liquid, one tinted with First Quality Oil Color Ivory Drop Black and the other with First Quality Oil Color Burnt Sienna Rat-Tone Glaze Effect No. 37 Foundation color, Rat-Tone IvoryTan Glaze Coats, Two batches of Fist-Tone Glazing Liquid, one tinted with Fint Quality Oil Color Ultramarine Blue and the other with First Quality Oil Color Japanese Brown Rat-Tone Glaze Effect No. S3 Foundation color, Rat-Tone Ivory Glaze Coats, Two batches of Flat-Tons dazing Liquid, one tinted with First Quality OU Coldr Ivory Drop Black and Ultramarina Blue equal parts and the other with First Quality Oil Color Burnt Sienna Flat-Tone Glaze Effect No. 61 ,, Foundation color, Rat-Tone Light Yellow Glaze Coats, Two batches of Rat-Tone Glazing Liquid, one tinted with First Quality OU Color Deep Cerulean and English Rose Lake equal parts and the other with First Quality Oil Color Chrome Yellow Orange Flat-Tone Glaze Effect No. 62 Foundation color, Rat-Tone Light Yellow Glaze Coats, Three bstches of Rat-Tone Glazing Liquid, one tinted with First Quality Oil Color Deep Cerulean, one with First Quality Oil Color Japanese Brown and the other with rirst Quality Oil Color English Rose Lake Flat-Tone Gleze Effect No. 64 Foundation color, Rat-Tone Pale Green Glaze Coat, Flat-Tone Glazing Liquid tinted with First Quality Oil Color Olive Lake Rat-Tone Glaze Effect No. 65 Foundation color, Rat-Tone Pale Green Glaze Coat, Rat Tone Glazing Liquid tinted with First Quality Oil Colors English Rose Lake 2 parts and Deep Cerulean I part Flat-Tone Glaze Effect No. 66 Foundation color, Flat-Tone Caen Stone Glaze Coats, Three bstches of Rat-Tone Glazing Liquid, one tinted with First Quality Oil. Color English Rose Lake, one with First Quality Oil Color Deep Cerulean and the other with First Quality Oil Color Paris Green Flat-Tone Glaze Effect No. 67 Foundation color, Rat-Tone OUve Tan Glaze Coats, Two bstches of Rat-Tone Glezing Liquid, one tinted with First Quality Oil Color Raw Umber and the other with First Quality CM] Color Deep Cerulean . Rat-Tone Glaze Effect No. 68 Foundation color, Rat-Tone OUve Tan Glaze Coat, Rat-Tone Glazing Liquid tinted with First Quality OU Color Raw Umber Rat-Tone Glaze Effect No. 69 Foundation color, Rat-Tone Caen Stone Glaze Coats, Three batches of Rat-Tone Glazing Liquid, one tinted with First Quality OU Color Raw Sienna, one with First Quality OU Color Paris Green and the other with First Quality Oil Color Raw Umber Rat-Tone Glaze Effect No, 70 Foundation odor, Rat-Tone SUvcr Gray and SheU Pink equal parts . Glaze Coat, Rat-Tone Glazing* LMd tinted with First Quality OU Color Japaneae^Brown Rat-Tone Glaze Effect No. 71 Foundation color, Rat-Tone Silver Gray, SheU Pink and Caen Stone eaual narta Glaze Coat, Rat-Tone Glazing Liquid tinted with First Quality OU Color Ivory prop Black Rat-Tone Glaz: e Effect No. 72 s . Foundation color, < Rat-Tone SiftlhOrtjr and Shell Pink equal Pert* '. Glaze Coats, Flat-Tone Glazing Liquid k two batch es, one tinted with First QWaUtyOff Color Ivory Drop Block and the other with rirst Quality OU Color Paris Green Rat-Tone Glaze Effect No. 73 Foundation color, Rat-Tone Coen Stone Glaze Coats, Two batches of Rat-Tone Glazing Liquid, one tinted with First Quality OU Color Japanese Brown and the other vmh First Quality OU Color Chrome YeUow Orange Flat-Tone Glaze Effect No. 74 Foundation color, Rat-Tone Silver Gray Glaze Coats, Two batches of Rat-Tone Glazing Liquid, one tinted with First Quality OU Color Enfjiah Rose Lake and the other with First Qual ity Oil Color Ivory Drop Black Flat-Tone Glaze Effect No. 75 Foundation color, Flat-Tone Silver Gray Glaze Coat*, Three batches of Rat-Tone Glazing Liquid, one tinted with First Quality OU Color English Roae Lake, one with First Quality OU Color Ivory Drop Black and the other with First Quality OU Color Deep Cerulean Fist-Tone Glaze Effect No. 77 Foundation color, Flat-Tone Olive Tan Glaze Coats, Two batches of Rat-Ton Liquid, one tinted with First Quality Deep Cerulean and the other with Fir Oil Color Paris Green Flet-Tone Glaze Effect No. 78 Foundation- color, Rat-Tone Sky Blue Glaze Coat, Rat Tone Glazing Liquid First Quality OU Color Deep Cerulean Rat-Tone Glaze Effect No. 79 Foundation color, Rat-Tone Pale Green Glaze Coats, Flat-Tone Glazing Liqui betehee, one tinted with First Quali English Rose Lake, one with First Color Deep Cerulean and the other Quality Oil Color Japanese Brown Fist-Tone Glaze Effect No. 80 Foundation color, Rat-Tone Pale Green Glaze Coats, Two bstches of Rat-To Liquid, one tinted with First Quali Roae Lake end the other with First Color Chrome Yellow Orange Rat-Tone Glaze Effect No. 81 Foundation color, Rat-Tone Pale Green Gleze Coet. Ret-Tone Glazing Utruid First Quality OU Color Deep Cerulean Rat-Tone Glaze Effect No. 83 Foundation color, Rat-Tone Light. YeU Glaze Coat, Rat-Tone Glazing Liquid First Quality OU Color Raw Sienna fht*To*i Glaze Effect Na 14 Fdiiculattsn color, Rat-Tone Silver Gray GUaa*(Su! Three, batches d Rat-To UqvfcLone tinted with First Qualit t Ultramarine Blue, one with First Qua BngbhhRose Lake end the other with itytXJColor Ivory Drop Black Rat-TosW ttluc Effect No. 65 Fotmdstfton color, Flat-Tone SUvcr Gra Plnk equal parts , Glese Coats, Two botches of Ret-To Uquid, one tinted with First Quali English Rose Lake and the other with OU Color Chrome YeUow Orange Ret-Tone Glaze Effect No, 86 Foundation color, Rat-Tone Silver Gra equal parts Glaze Coat, Rat-Tone Glazing Liquid First Quality Oil Color English Rose L Rat-Tone Glaze Effect No. 87 Foundation color, Rat-Tone Caen Stone Glaze Coats. Three batches of Flat-T Liquid, one tinted with Firet Quali English Roes Lake. one with Firat Qua Deep Cerulean and the other with OU Color Jepaneae Brown 0 0 0 7-SW P-0000086X1 106 r 0007-SWP-000008612 SHERWIN-WILLIAMS VARNISHES Sherwin-Williams are the biggest makers of varnish in the world. To be the biggest in any field, however, carries with it the obligation to be the best, also. And no organization of men can BE best unless it has a code of principles and LIVES up to that code. There is no short cut through machinery to the making of good varnish. It is very largely a hand made, closely supervised process. There is a definite, predetermined way of cooking the varnish gums and oils and the length of tape for the chemical reactions to be completed in the kettle, cannot be hastened. Machine powered filter presses remove all the foreign matter, but months are consumed before the varnish is pronounced sufficiently aged and ripened in the storage tanks to be filled into the can for use. Varnish which has been properly aged LOOKS no different than other var nish as you use it. But it flows out smoother, dries better and harder and has more durability than "green" varnish. The investment required to carry many months' advance supply of varnish in aging tanks is enormous, but there is no other way to safeguard the interests of those who depend upon Sherwin-Williams Varnishes as the best. The making of varnish calls for the best of care and the most rigid inspec tion throughout the many, many steps all along the line. Sherwin-Williams Varnishes are uniform. You can buy a can of Sherwin-Williams Varnish any where from New York to Honolulu with the certainty that it will be the correct varnish for the purpose recommended. It will be good varnish, it will produce a handsome finish and it will give the greatest possible service. Mar-not Scar-not Mar-not Satin Finish Velvet Finish Rexps Amount required on page - - no 110 114 118 Directions are on page - - - 113 no 117 i IS 0 0 0 7 -SW P-000008613 IM The Simple Explanation of Sherwin-Will Varnish Policy THE RIGHT FINISH FOR EACH SURFACE From the very beginning Sherwin-Williams have said "A varnish made for a certain surface will do its work better than a general allaround varnish NOT made to meet the requirements of that surface." THERE ARE THREE KINDS OF SURFACES TO CONSIDER IN VARNISHING 'i 0007-SW P-000008614 ) Rxxpar Varnish for Out-of-Doors and Surface* Exposed to Dampnaxx and Moixtura It would b simple for . make but on of evrry hous ural requirem have to have s distinct typea it be necessa ials and man for three-- as But Sherw believe in t compromise not conscien to you. 5car-na Vamixh far Bamutifuf Woodwork and Furnituro Sherwin-Williams Mar-not Varnish Mar-not Varnish is made to give service on all kinds of wood floors and on printed linoleum. In our opinion it is the very best varnish possible to make for floors. There are two faults a floor varnish must not show: 1. It must not be brittle. 2. It must not be sensitive to water. Toughness Water Resistance Mat-mot will hotftfrwder white or chip off even though scratched. You can hammer or dent the wood, but Mar-not will not chip off. The body of Mar-not Varnish, which is of medium thickness, is much tougher than a heavy bodied varnish which might seem to give a fuller, richer film when new. Such a varnish, however, would offer an easy target for heel marks and scuffing. Painters call Mar-not a "strong-drying" varnish. It dries thoroughly and dries hard enough over night, under normal conditions, to permit walking on the day after applying, if necessary. A leaking radiator or raining in at the window will not discolor Marnot. Mar-not has not quite the resistance to water of a spar varnish when submerged over a long period, but it will stand more water than your floor will ever see, and has much greater toughness and resistance to footwear and bruising than a spar varnish. Gloss A rich lustre is desired for the varnished floor rather than the sharp gloss favored in a furniture varnish. A high gloss shows scratches quickly on a floor causing it to take on a cheap appearance. Mar-not looks well when new and continues to look well as it wears. Dull Finish A dull-rubbed finish can be produced with Mar-not which is posi Mar-not tively beautiful. Simply rub the final coat with powdered pumice stone Satin Finish and rubbing oil, or apply a final coat of Mar-not Satin Finish. How Much Mar-not A room 12 x IS hot takes about 3 quarts Mar-not for two coats. A bathroom S x 10 feet takes about 1 quart Mar-not for two coats. A kitchen 10 x 12 feet takes about 2 quarts Mar-not for two coats. > Divide these quantities in half for the quantity required for one finishing coat of Marnot Satin Finish Varnish. 0007-SW P-000008615 tio Mar-not Varnish for Floors 1 Very probably you are very much like the rest a varnished floor in the average hom of us, more interested in results and a beautiful graphic reproductions of the wood floor rather, than in scientific reasons why you were honestly and fairly done. Y should use Mar-not Varnish for your floors. yourself why you don't want to us the best varnish on your floors, a In the pictures printed below, you will agree, VARNISH is, unquestionably, M we have shown pretty honestly what happens to NISH. Kichad and StuKad 1 ' iWtM oW Brmimd Kalnad On and StrubM Drmg Why is Mar-not ttie finest possible Floor Varnish 1. It is macte with hard fossil gums to insure durability. 2. The liquids are accurately and definitely balanced to accomplish two thin (a) utmost in toughness, (M, resistance to water. 0 0 0 7 -SW P-000008616 ) Osk panel finished three costs with a cheap var nish. Note discoloration from water, chipping from bruise and powder ing white where scratched- Surely, a cheap varnish is not aoonofnicat for your floor* when water wilt turn It white and Oak panel finished three coats with white shellac. Note discoloration from water and brittleness where scratched. Three thin coate of white shellac make a beautiful light, serviceable floor where there era no chil dren to scratch ft up. Shellac has the advan Oak panel finished three coats with Mar-not Var nish over shellac. Note that there Is no discolor ation from the water, but where bruised and scratched the shellac UNDERNEATH has given away, breaking the varnish film. Maple panel finished three coats with white shellac. Note that brit tleness Is not quite so apparent under bruising and scratching because maple is so vary hard. The white discoloration Is the shellac affected by water. The dark lines show where water got Oak panel finished three coats with Mar-not Var nish. Note no dlsariora- 11 o n whatever from water. No chipping from bruiting with hammer. No powdering where scratched with a pointed metal instrument. This Is Sherwin-Wil whan every scratch and tage of drying quickly We do not advise the use through the finish and liams standard recom heal merit makes a biem. but rugs slip easily on Its of shellac on a floor that discolored and cracked mendation for varnish Iah Uka this. hard glassy surface. Is to be varnished. the wood. ing wood floors. The water test consisted of inverting a goblet of water on each panel, keeping it continually we Some Necessary Things To Do To Obtain a Beautiful Floor A new floor should be scraped smooth and sandpapered or dressed down carefully with a machine floor-surfacer. No floor varnish can make a rough floor smooth. Shavings and dust must be conscientiously swept out. FILLING THE FLOOR Oak and similar open-grain woods require Ail ing with Sherwin-Williams Paste Wood Filler. This is necessary as the varnish would otherwise sink into the pores of the wood. This results in a surface which not only looks poorly varnished but wears shabby quicker. CLOSE-GRAIN WOODS Pine, maple and close-grain woods require no filler. Under no circumstances should shellac or a "liquid filler" be used on a floor to be finished in varnish. CARE OF FLOORS Mar-not Varnish keeps a floor looking well as long as there is the thinnest film of it left on the wood. Doorways and passages which receive the hardest usage, however, wear through while other parts under normal wear still look as good as new. Make a practice of washing up these spots and applying a coat of Mar-not before the varnish is worn through to the wood. Use Sherwin-Williams Flaxoap, a pure linseed oil soap, for keeping the varnish floors in order. Flaxoap leaves the varnish "smiling" and, too, hands will be quite grateful. Fonol Filltd ond Vornlohod with Throo Cooto Mor*not Vmrnith Fonol Vornlohod but not Filtmd (Noto tho l/nooon Flnith) Funol Filtod with Dork Footo Wood Fillor L: ' STAINING FLOORS FILLING FLOORS The housewife favors a light colored floor be cause it looks bright and clean and does not show dust. Good decoration, however, prefers that the bright color of the natural wood be toned down by staining. To stain a new floor, use S-W Oil Stain applied to the bare wood after scraping and sanding smooth. Wipe off as directed on the package. Oil Stains do not require a sealing coat before var nishing. Let dry over night. (For Oak and Open-Grain Woods) S-W Paste Wood Filler comes in paste form and is to be thinned down to creamy, brushing con sistency with benzine. Brush the filler well into the wood and let stand a few minutes until partly set, indicated by the "flatting out" of the wet gloss. ` Remove the excess filler by scrubbing across the grain with burlap, excelsior or shavings and then wipe clean with a cloth. For open-grain woods apply S-W Paste Wood Filler directly over the stain coat, when dry. Let dry for 48 hours before varnishing. Do not sandpaper dark colored Paste Wood Filler. Dark colored Paste Wood Fillers stain the wood and soften down the color very satisfactorily, fre quently making staining not necessary. S-W Paste Wood Fillers come in Natural Oak or Transparent Golden Oak, Mahogany and American Walnut. m 0 0 0 7 -SW P-000008617 Schedule of Operations for Varnishing a New Unfinished Floors (I) Scrape the floor and sandpaper smooth. (2) Sweep out clean. Wipe up the dust with a cloth dampened with gasoline. Refinishing Old Worn Floors il) Scrub clean with S-W Flaxoap and hot water. Rinse well and wipe dry. Sandpaper dull with No. 0 sandpaper. Caution--If floor has been wased be sure that all wax is removed from surface before varnishing. (2) Wipe off with gasoline to dispose of any trace of soap or grease. Optional. (J) Discolored spots worn to the (3a) Stain with S-W Oil Stain (if stain wood should be bleached with is desired). Let dry 24 hours. oxalic acid crystals and boiling NOTE--Dark colored paste filler water. Rinse thoroughly, let will also stain wood. dry and sandpaper smooth. For best results, touch up with Paste > Wood Filler. Let dry 24 hours. For oak and open-grain woods. (1) Fill with S-W Paste Wood Filler. Comes In natural and darker colors. Remove excess filler by rubbing across the grain with burlap. Let dry 36 to 48 hours. <4) Touch up all worn' spots with Mar-not Varnish reduced with turpentine, one pint to the gallon. Let dry 24 hours and sandpaper lightly. '4^ First coat, Mar-not Varnish. Re duce with one pint turpentine to the gallon. Let dry for 24 hours. Sand with No. 0 sandpaper. Wioe dean with cloth dampened with gasoline. Second and third coats, Mer-not applied as it comes in the can. NOTE--Three coats is the stand ard recommendation for finish ing new floors. 5* First Coat -- Mar-not Varnish; Apply without reduction. Let dry 24 hours. Sand with No. 00 sandpaper. Dust off carefully. Second Coat--Mar-not Varnish. Apply without reduction. Let dry 24 to 48 hours. Leave in gloss or rub dull with powdered pum ice-stone and rubbing oil, aa pre ferred. Optional. (5) When perfectly hard, the last coat may be rubbed to a dull, Optional. satiny finish. - (6) Mar-not Varnish esn be waxed if Use powdered pumice-stone and desired. Use S-W Prepared Wax ) rubbing oil or No. 270 water (Paste form.) proof sandpaper. Or apply a finishing coat(one coat only) of Mar-not Satin Finish. Dries dull without rubbing or waxing. Apply freely. 0 0 0 7 -SW P-000008618 S-W Scar-not Varnish Full Rich Gloss - May be Rubbed Dull Characteristics An extremely hard finish is required for wood work and furniture which will take and HOLD either a fine-textured high polish or a satiny dullrubbed finish. Any good furniture varnish can be rubbed or polished, but Scar-not has the added advantage of an unusual toughness. It does not powder white when scratched. Hot water does not affect Scar-not and ordi nary heat of warm dishes will not cause it to print. Scar-not is full in body and produces a rich and extremely durable finish for woodwork and furniture. S-W Velvet Finish Varnish No. 1044 Dries to a Dull Finish Without Rubbing A satin finish is very pleasing and desirable for both woodwork and furniture. Velvet Finish 1044 is applied in the same manner as varnish but dries dull without rubbing. It is intended to be used as a finishing coat, only, because while it is durable and satisfactory in every way, it is not intended as a protective coat. It is not made for floors. Velvet Finish 1044 may be used over Scarnot instead of hand rubbing or directly over the Shellac sealing coat for a simple wood-finish effect. Estimated quantities of Scar-not required to finlah two costa--Divide Approximate Size Package In half for quantity of Velvet Finlah required for Finishing Coat Coat to Purchase Helpful Suggestion* Large dining room table.......... Gate-leg table............................. Radio table.................................. Library table............................... Small end table.......................... Conaole table............... ............... Kitchen table.............................. Breakfast room table................ China Cloeet (average)............. Large buffet................................. Small buffet................................. Dining room chairo (6 chain). Windeor chair............................. Kitchen chair.............................. Spinet deck.................................. Bookcaae...................................... Tea cart........................................ Plano............................................. Phonograph............. Radio......................... Four poeter bed......... Bed with aolid enda Child's bed............... Toilet teat................. Medicine cabinet -- I pim H pint h pint 1 pint H pint 'A pint I pint 1 pint I pint I pint H pint 1 pint H pint H pint I pint 1 pint H pint 1 quart ! pint ii pint I pint I quart i pint 'A pint ii pint SANDPAPER No. 0 for sandpapering wood. No. 00 for sandpapering vamiah. No. 0000 for sandpapering the next-to-the-lest coat of vamiah. PUMICE STONE No. FFF Used with rubbing oil for dull rubbed effect. S-W Poliah-oi for polishing var nished furniture. Rotten atone Used with Poliah-oi for Pollut ing varnished furniture. BRUSHES Flat chisel badger brush IA inches'wlde for chairs end small areas. inches wide for general woodwork. Chinese bristle, flat or oval, for general work not eo particular. PASTE WOOD FILLER For use with open-grain woods such as oak, walnut, mahog any, etc. 0007-SW P-000008619 SOTS-- rfii< ulirnalii art pproximoto only* You moy hooo wm# omrnitH loft ooor frut fAfo en bo oomlod up. ond kopt for lotor work. 114 800000 > O O O -4 i J <r> o i Woodwork and Furniture There are Two Types of Varnished Woodwork Finishes Fhotographa Ceurttiy of the Storting * Wotch Company, Cleootand Ohio Full Varnioh Finiah auch produced with S*W Scer-not Verniah ton ho oithor Foliahod or Dull Rubbed Reproduced throngh pormiaaion of Borkoy and Gmy Dull Wood Finioh auch oa S-W Voloot Finiah N THE FULL VARNISH FINISH ' Scatf-not is furniture Varnish designed for use onifiterior woodwork trim and furniture. It thefWbre possesses two characteristics: (1) Full Body-- Essential for the rich, deep tone desired 6n furniture and woodwork. It enhances the beauty of the grain and provides body for rubbing, if desired, or can be left in natural gloss. (2) Excellent Rubbing Qualities-- Scar-not is a hard-gum varnish. It rubs very satisfactorily to a piano finish or tone, as preferred. NOTE--Neither a floor varnish nor s be polished to a satisfactory furniture Scisr-not Varnish dries dust-free hours, depending upon weather can be handled the following day allowed 36 to 48 hours before san coat and preferably longer befor dull finish with pumice-stone an Fu 0007-SW P- O o o o o 00 U6 to Some Things to Do to Get Beautiful Varnished Woodwork Like the much advertised "school girl complex ion," the beauty of a varnish finish must come from the inside, out. Varnish applied over a dirty unsmoothed surface has no more chance to be beautiful than it is possible for face powder ap plied to a pimply face to reproduce the velvety roses in the school girl's cheek. The actual application of the varnish can be explained in a few words: NEW WORK Sandpaper--sandpaper--sandpaper! The principal reason why your piano finish is so much superior to the average woodwork is careful sandpapering and clean brushes. Sandpaper the wood smooth and then take Number 0 sandpaper, and sandpaper it smoother! Always rub "with" the grain. , SOME WOODWORK-FINISH ING "DONT'S" HOW TO APPLY VARNISH Brush the varnish three ways as follows: First, apply the varnish gener ously, laying it on in the direction of the grain. Second, scrape the brush dry and "lay off" the surface; that is, brush straight across the grain. Brush from edge to edge. This spreads the varnish out to an even film, cover ing any spots you may have missed the first time. Third, "straighten out" the sur face by brushing once more "with" the grain. & 1 iMi, V Sear-not i$ a rugged varni&h Don't install woodwork in a damp house--wait until the piaster if ab solutely dry. . Don't permit finishing lumber to be delivered or stored in a deiidi house. Dampness raises the grain of the spodd, making it rough and also causing warping. Don't use water stains on soft wodd. Don't apply any stain until you try it out on a sample of your own lumber. Don't heglect to paint the back of woodwork with lead and oil before it is nailed in place. Don't let COST prevent your fill ing open-grain woods. HOW TO PREPARE THE SURFACE Surfaces Previously Varnished Wash clean with soap and water, dry and' wipe off with gasoline. Sandpaper the surface to a DULL smooth finish. If the varnish is cracked or checked, or if it is badly scratched, remove the old finish with Taxite, paint and varnish remover, wash with benzine and start afresh, as for new work. When Taxiting moldings, grooves or carv ing, use a small vegetable brush dipped in the remover. Don't use a cheap varnish brush. A good brush will pay for itself in time saved and better results. Don't use a shellac brush for anything except shellac. Don't leave brushes standing in water. Wash them out in turpentine, rinse in benzine and put away. Don't use cheap varnish on anything. If it's worth varnishing at all, it's deserving of good varnish. The saving in varnishing a chair with cheap varnish instead of good varnish is too small to figure--you can estimate the loss yourself when the poor varnish gives out and needs refinishing. Directions for Varnishing Woodwork and niture with Scar-not Varnish 14) For OPEN-GRAIN WOODS, only. FILLER. Apply S-W Paste Wood Filler. Follow tame direction* . given for filler under Mar-not Varnish, page 111. NOTE--Cloae-grain wood*, like pine and gumwood require no filler. Do not u*e a liquid filler. <2) Duct off thoroughly, uting a ducting bruth. Never ute a cloth a* it will leave lint. (5) SEALING COAT, required over Stain* only. Theae atain* require a ceding coot to prevent "bleeding" of the ctain into the vamidt. Apply one coat of thin white shellac (reduced SO per cent with denatured alcohol). Let dry over night and *and lightly but care fully with No. 00 sandpaper. (3) Optional. Stain, if desired. Apply one coat of -Handcraft Stain and let dry over night. Doea not raise the grain or re quire sanding. Wiping is not necessary. Suitable for either hard or soft woods. NOTE--Reduce with Handcraft Stain Reducer if too dark.. (3a) Optional. For fine hardwood finishing S-W Acid Stains are preferred by many decorators. First Operation: Sponge the wood with dear cold water and let dry. Sand smooth, finishing with No. 0 sandpaper. (3b) Optional. Apply one coat of S-W Acid Stain and let dry. NOTE--Reduce stain with water if too dark. For hardwood only. When dry, sand smooth with No. 00 sandpaper. . IF NECESSARY. apply a second coat of stain reduced SO per cent , with water. Let dry and sand very lightly with No. 00 sand paper. ' (6) FIRST COAT--Scar-not Varnish, reduced with one pint pure tur pentine to the gallon. Let dry 49 hours and sand smooth with No. 00 sandpaper to remove doss and "nlba. SECOND COAT--Scar-not Var nish. Apply without reducing. Let dry 49 hours and sand smooth with No. 00 sandpaper. Remove gloss and "nibs." THIRD COAT -- Scar-not Var nish. Apply without reduction. Let dry 49 hours. Optional. (7) RUBBING (Dull). A hand-rubbed dull finish shows a refinement of beauty that ia worth every bit of the extra labor entailed. Powdered pumice stone and rub bing oil produce a dull effect. Make a soft pad of cloth or use a regular felt nibbing block. Only a few strokes are necessary, just sufficient to knock the gloat. Use a small vegetable brush dip ped Into the otl and pumice for rubbing mouldings and carv ing. Optional. <8) POLISHING-- Rub with powdered pumice stone and water to a dull smooth sur face. Polish with S-W Pollah-ol and rotten stone or tripoli. 0 0 0 7 -SW P-000008622 I I u Sherwin-Williams Rexpar Varnish On every hand the home owner hears of "spar" varnishes. In every magazine he sees this or that or some other "spar" varnish advocated as the best varnish for home requirements. What is it all about what is a "spar" varnish? It is a varnish made to endure outside exposure for the longest possible time where the varnished surface is exposed to the sun's rays, rain, hail, snow, ice and extreme variations in tempera ture. Of course, the spar varnish of today is a definite improvement over the spar varnish of by-gone days. In those early days vessel owners demanded a clear varnish to protect the spars of their ships and the name "spar" IS iMl used to designate that type at varnish. Today's spar varnish dries quicker and harder so mat you can use it on your front door without putting it out of service for a week. But nevertheless, a spar varnish still is a var nish designed primarily to withstand,weather and not to finish pianos, furniture and floors. A spar varnish has the following characteristics: 1. Contain* a much larger proportion of oil than other varnishes. 2. Dries elastic to be able to expand fcttA daintract without aracldng under aitrone variations of temperature. 3. Is waterproof even when Submerged in water for a long time. There are some fhingtjla spar varnish'Hoes not do AS WELL as varnishes made specifically for certain purposes: 1. It does not dry as HARD or as tough as a good floor varnish and, of course* will not wear as well or look aa well a* a good floor varnish. 2. It does not dry as hard and as resistant to heat as a good furniture varnish. It will withstand boiling water, but the tablecloth will "print under hot dishes. 3. It cannot be polished like a good furniture or woodwork varnish. There are some things a Spar varnish will do ever so much bettei; than any other varnish can do: 1. It resists water in all forms and remains beauti ful where other varnishes would turn white and i- ? perish. . 2.' It,expands and contract* freely, where other varrushes would check and crack. Where to Use a Spar Varnish About the Home 1. On eve!^ vamkhed surface out in the weather. (a) Outside doors. (b) Porch ceilings, etc. (c) Boats, canoes, automobiles, etc. 2. On varnished surfaces exposed to hot sun. (a) Window sills, window sash. 3. On varnished woodwork subjected to undue quan tities of steam and moisture. (a) Laundry woodwork and furniture. _ (b) Varnished bathroom woodwork, excepting closet seats. (c) Ice boxes, under ice boxes, etc. (d) Kitchen vafniehsd.wqodwprk. ^m far ell thin uses, Sherwin-Williams assures you that Rexpar is the king of spar varnishes. Estimated Quantitiee of Rexpar Required to Finiah Two Coeti Approximate Quantity Coat Required H pint H pint 1 quart H pint 1 pint t pint H pint I quart H gallon Useful Rcmindcta (i STAINS Handcraft ataina OU atalna (Spirit Pn*- (Pigment trating) type) Acid Stain. Weal for toft (Water type) wood*. SHELLAC Uecd for waling coat over wood ataina. '0 0 0 " -S W P -0 0 0 0 0 8 6 2 3 Surfaces Exposed to the Weather and to M Require Rexpar Varnish EXTREMES OF HEAT AND COLD. Heat expand* and tend* to soften vamiah and to further volatilize`the oil* of the vamlah. A audden drop in temperature cauae* violent contract* tlon which require* great toughnea* and elasticity to avoid checking of the varnish. We recommend Rexpar Vamlah. THE EFFECT OF COLD UPON A BRITTLE VAR NISH. One expects to protect a furniture vamian from extreme* of heat and cold, but exterior vamiahea cannot be so protected. Cold produce* tension in the vamlah film which tends to tear it apart. - We recommend Rexpar Vamlah. CHAPPING FROM RAIN AND WIND. Rain water is a great oivent. It is "soft" water and readily dissolves any thing affected by water or soluble in it. Rain water, therefore, frequently con tains ammonia and sulfur compounds taken up from the air, smoke, etc., which are highly destructive to a varnish film. We recommend Rexpar Varnish. IF WIND BU FACE, WHAT DO TO VARN Wind dries water and ca anything put tion by the r alto carries w ing particle* o teat the tough varnish to the We recomm Varnish, GAS FUMES CHECK A VARNISH IMPROPERLY MADE. Cooking with gat and the exhaust fumes of an automobile or airplane are destructive to varnish. A successful spar varnish must be moat carefully formulated to resist gas fumea both while drymg and after application. We recommend Rexpar Varnish. WATER RESISTANCE. Boats and canoes teat a par vamlah because of continuous submergence in water and because, in addition, boats get con siderable scuffing and bumping about, ror your motor boat and your canoe-- We recommend Rexpar Vamiah. THE TOUGHEST TEST OF ALL. Saab and window tills become Hooded with con densed moisture and frost from the window*. The tun then beats cruelly hot through the glass, often making the wood too hot for the hand. You need not have shabby window*. We recommend Rexpar Vamiah for the job. HOW TO USE REXPAR VARNISH First Coat: Thin Rexpar with one pint turpentine to the gallon. Let dry 14 hours. Second and Third Coats: Apply Rexpar without reduction. Let dry 48 hours between coats Industrial Uses of Rexpar Varnish THE LAUNDRY RAISES HAVOC WITH ORDINARY FINISHES Motet, warm air laden with eoapy rapora ia not a TONIC for any Anteh, no matter how good it ia. But Rexpar ia practically immune to even Mila atmoaphere. It i* malna toughly reeiatent to ebraeian, te denae, hard and eaey to clean. WE RECOMMEND REXPAR VARNISH. HOSPITAL WOODWORK! Diet kitchen*, corrida** and roome arc ecrubbed and waehed regularly with dis infectant aolutlona. .Reaper Varnteh Ha~that docan't WB RECOMMEND REXPAR VARNISH. DOMESTIC SCIENCE SCHOOL ROOMS Youthful cooke intereeted In getting all they can out of an all-too-brief period can give little attention to the care of varniehed eurfacca. Hot Uquide of erery tort, 'gab MMtt* and atearn dtecharging Into the air extll for Rexpar for perfect camiah protection. WB RECOMMEND REXPAR VARNISH. m RESTAURANT TABLES AND COUNTERS Whether it to a "stack of wheat*" or a man'* sited steak, the customer want* it served on s clean looking, clean feeling table. Hot coffee, ice water, both take their Ring at the flttiah. For varnished wood counters and tables where table cloths are not used. WE RECOMMEND REXPAR VARNISH. VARNISH IN THE MEAT MARKET. Raw meat, pickles, briny corned beef, cottage cheese, sauerkraut and all the rest are not good ae "furniture polish." Dur ing the winter the shop to cold--but the varnish MUST not crack .or check or turn white. WE RECOMMEND REXPAR VARNISH. m 0 0 0 7 -SW P-000008625 3 *4' 3 ;1 i, SHERWIN-WILLIAMS WOOD STAINS HANDCRAFT STAINSr-SPIRIT PENETRATING ACID STAINS--WATER TYPE OIL STAINS--PIGMENT TYPE FLO-LAC--VARNISH STAIN PRESERVATIVE SHINGLE STAIN-CREOSOTE TYPE 0007-S U P -000008626 Sherwin-Williams Wood Stains HANDCRAFT STAINS--SPIRIT PENETRATING ACID STAINS-WATER TYPE OIL STAINS--PIGMENT TYPE FLO-LAC--VARNISH STAIN PRESERVATIVE SHINGLE STAIN--CREOSOTE TYPE WHY WOODS ARE STAINED ADVANTAGES-- (1) The natural color of the wood is very seldom suit able to the decorative scheme. (1) Handcraft Stains produce richer, cleaner and deeper tones than can be obtained in most other stains. (2) Staining brings out hidden beauties of the wood by disclosing nigh lights and by developing deep tones not discemable in the wood before staining. With the single outstanding exception of gumwood, the structure of all woods shows great variation in density throughout. There are softer areas which the stain pene trates deeply, right next fwhard parts which the stain affects but lightly. It is tnis play pi light and shade in finished wood which holds our interest and Which it Is the function of the stain to accentuate. HARDWOODS AND SOFTWOODS The principal hardwoods ingeneral toe arqoalcrnahifly any, walnut, chestnut, bihcn, mapleind gum. The com monest softwoods are pine, fir, popUp cypress, cedar and redwood. Because of their greater durability and superior beauty, hardwoods are used for woodwork trim and for floors except where cost makes the use of less costly softwoods imperative. ' . ' (2) The grain of the wood is not raised, as with Water Stains. , (3) Wiping is not necessary, as with Oil Stains. Handcraft Staint require a sealing coat of white ihellac to prevent blooding of the itain into the Hnithing coato. F,. ` if ACID STAINS--WATER TYPE ' Water soluble dyes are the' most permanent wood dyes obtainable and consequently, S-W Acid Stains are prac tically non-fading under all conditions. Water Stains, of course, raise the grain of the wood. This characteristic nustaltstas Sandpapering after stain*P ing (see oitnpiete ditactitoto oh page 127), but the beauty'j of tone and permanence of color justify this additional cost on qpality work. Acid Staino ohould never be used on toftwoodi. Water producer a ridgy effect with toftwood which cannot be tandpapered out. Hardwoods offer greater latitude in finishing than eoft- woods. With the exception of maple and gum, hardWaoda have open pores, following the figure of the grain, which are most useful to the finisher. In these pores he places fillers which may be any desired color that will produce a beautiful effect in the pattern of the grain. , _ . With Silver Gray Stain a white or dull gray filler Or toner is used. Mahogany requires a red-black filler. Walnut needs a brown-black filler. Silver and gold bronzes are used for certain effects. Any type of Sherwin-Williams interior wood stain can be used with safety on hardwood. Softwoods should be finished with oil stains only. $L STAINS--PIGMENT TYPE ADVANTAGES-- (1) Oil Stains (with the except*#! of Rich Mahogany and Brown Mahogany) do not require the application of a sealing coat of shellac, as do Spirit Stains and Acid Stains. For this reason, Oil Stains are specified where floors are to be stained for varnish finish and also for ex terior woodwork which is to be stained and varnished. Shellac ihould never be used on a floor that it to be varnithed, nor for exterior varnithed work of any hind. (2) Oil Stains do not penetrate as rapidly as Spirit and Acid Stains. This makes them ideal stains for use on soft woods. Oil Stains can also be blended easily for "antique" panel work. WHAT THE CHARACTERISTICS OF THE DIFFERENT STAINS ARE HANDCRAFT STAINS-3PIRIT PENETRATING These stains consist of spirit-soluble dyes in a power fully penetrating liquid which carries the color into the wood and evaporates, leaving the wood dyed to a rich, clear and relatively permanent, non-fading tone. (3) Oil Stains are wiped, which enables the finisher to more easily control the depth of stain where one board may be much lighter or darker than the next one. (4) Oil Stains are the cheapest good itain you can buy. They are uniform and more dependable than any hand-mixed stain can be. Continued on back of following page m 0 0 0 7 -SW P-000008627 Handcraft Stain DIRECTIONS FOR USE 1 Before using, test the stain on a sample of the wood Weathered, Fumed Oak and Walnu work. If too dark, add Handcraft Stain Reducer. on open-grain wood without filling w Apply with a soft bristle brush and let dry over night. Filler if an open-pore finish is desired. Seal with a coat of thin white shellac. with shellac and finish with Velvet Fini WHITE QUARTERED OAK SOUTHERN PINE BIR 3 0007-SW P-000008628 Early Enallrh Earn Da* Mahoaany y COVERING CAPACITY: Handcraft Stains cover approximately 500 square feet per gallon, one depending upon the surface. Complete directions for using Handcraft Stains are found on page 117. HELPFUL SUGGESTIONS Soft Bristle Staining Brush, Pure White Shellac, Shellac Brush, Powdered Pumice Stone, Sand Scar-not Varnish, Velvet Finish Varnish No. 1044. -. See next page--also page 125 Sherwin-Williams Wood Stains (What the characteristics are of the different types of stains. Continued from page 122) Varnish Stains (See page 131) FLO-LAC VARNISH STAIN-- The stains previously described, Handcraft, Acid and Oil Stains, are all intended to be used on new, unfinished wood only. Flo-Lac Varnish Stain may also be used on unfinished wood but its greatest usefulness is found on varnished woodwork and furniture. FADED WOODWORK AND FURNITURE TO DARKEN VARNISHED WOODWORK AND FURNITURE-- It is not always convenient, or desirable, to clean off the old finish on woodwork and furniture done in varnish finish, as would be necessary if the wood were to be stained with the stains previously described. Flo-Lac is a vamiah stain intended to be applied over a varnish finish in the Seme way as you would apply varnish. The only preparation of the surface required is to wash it clean with soap and water--use S-W Flaxoap, a pure linseed oil soap. Sandpaper carefully to dull the gloss of the old finish and to smooth up any rough spots. WHAT YOU CAN DO WITH FLO-LAC-- Wood finished in Natural or any light color, such as Light Golden or Fumed Oak color can be darkened with any color of Flo-Lac Jfti<u may select. Golden Ofck wood work or furniture can be made to match and harmon ize with Dark Oak, Walnut or Mahogany, and still show the grain of the wood. Flo-Lac Mahogany will freshen up faded mahogany woodwork in a delightful way. Flo-Lac is more than just a convenient finish. It is absolutely a first q|||iity varnish finish, handsome, durable, water-resisting and long-lived. TO CHANGE THE COLOR WITH FLO-LAC-- Flo-Lac colors are translucent. You can see the grain of the wood through Flo-Lac. Therefore, if you have dark woodwork which must be made over to light colored, varnished woodwork; or if you have green woodwork to be made over to Walnut or Mahogany color, etc., you accom plish this by hiding the old finish with two coats of FloLac Ground Color. FLO-LAC GROUND COLOR--ITS USES- Flo-Lac Ground Color is an opaque finish which pro duces a color approximately like that of natural, un finished wood. It is used on Ro o t s , woodwork and fur niture when the finish is too badly discolored or marred to varnish or when a complete change of color, as from a dark to a light shade, is required. TOdiiANl&llteGiiiu^ Flo-Lac Ground Color also makes it possible to change the character of the wood grain. For example: The char acteristic angular grain of pine would not harmonize with the refined markings of walnvt.or mahogany. After hid ing (he pine with Flo-Lab Ground Color, the surface may be grained to represent the more costly woods with S-W Graining Preparation and standard graining tools or the first coat of Flo-Lac, in the color selected, may be given a simple wavy grain effect which will be unobtrusive and in good taste. This is accomplished by drawing an 'old worn whisk broom through the first coat of Flo-Lac while it is still wet. 0 0 0 7 -SWP- o o o o 174 o CD <T\ to Handcraft Stain DIRECTIONS FOR USE: 1 Before using, test the stain on a sample of the wood work. If too dark, add Handcraft Stain Reducer. Weathered, Fumed Oak and Walnut may open-grain wood without Ailing with Paste Apply with a soft bristle brush and let dry over night. if an open-pore Anish is desired. In this cas Seal with a coat of thin white shellac. shellac and Anish with Velvet Finish Varnish. AMERICAN WALNUT DOUGLAS FIR CALIFORNIA R Wathml Walnut MAHOGANY Walnut ' Waln 0 0 0 7 -SW P-00000863 0 Extra Dark Mahogany Ivy Cratn Nut Br ) COVERING CAPACITY: Handcraft Stains cover approximately 500 square feet per gallon, one coat, mo depending upon the surface. Complete directions for using Handcraft Stains are found on page 117. HELPFUL SUGGESTIONS Soft Bristle Staining Brush, Pure White Shellac, Shellac Brush, Powdered Pumice Stone, Sandpaper N Scar-not Varnish, Velvet Finish Varnish No. 1044. See the preceding page--also page 123 S-W Handcraft Stain System Effec 1 FOR OPEN-GRAIN WOODS ONLY Effect No. 43 Harxkrift Stain A4m Brown Plat-Ten* Cocoamit Brown Effect No. 40 Handenft SUlni Weathered and Fumed Oak. equal parte FlatrTona Slbar Gray Apply the color of Handcraft,Stain speci fied for the effect. Let dry over night. Seat with a very thin "wash-coat" of white shellac. Next apply a coat of S-W Flat-Tone, as it comesln the can. Cover only a* much sur face at can be wiped off before the material sets, leaving the Flat-Tone "toner" in the pores of the wood, only. Let dry over night. Finish with a coat of Velvet Finish Var nish. ' I Handcra FU S-W Acid Stains FOR HARDWOODS ONLY DIRECTIONS FOR USE-- Sponge the wood with clear cold water and let dry. When thoroughly dry, sand clean and smooth with No. 0 sand- ^Sefore using, test the stain for color and depth on a sample of the wood. If too dark, add clear water. ' Apply a full coat of stain and let dry. If the grain is raised, sand lightly with No. 00 sandpaper, dust off and apply a coat of stain mixed half and half with water and let dry. FILLER-- Hardwoods are open-grain woods, with the exception of maple and gumwood. The open pores of these woods have to be taken care of in finishing just as much a part of the wood as th Fumed oak effects are not filled. A shellac is applied and a finishing coat nish. . Silver Gray effects receive a "ton or a light gray filler. S-W Flat-Tone pose. Antique Brown Mahogany, Light Colonial Mahogany require Mahogan (red black) to bring out the grain an an even varnish finish. SUrar Gnr A brush full of stain will either glorify the wood work or destroy its beauty and make the finest work of builder and architect a disappointment. It costs so little to use good stains and vamlshea, aa com pared to the money spent for the woodwork Itself, that you cannot afford to take a chance with any thing but the best. Complete directions on page 117. 0007-SW P-000008631 Fumed Oek Antique Brown Mahopny Da COVERING CAPACITY: Acid Stains cover approximately 500 square feet per gallon, one coa depending upon the porosity of the wood. T OIL STAIN Oil Stains are the ideal softwood stains. They are also DIRECTIONS FOR USE-- T r i_Cheapest U00** stain you can buy. While they are 4 j P'gment type, they are infinitely more satisfactory and dependable than any pigment stain mixed by hand on the job. S-W Oil Stains are easy to handle. They wipe Oft clean and easily and penetrate well, producing attrac Oil Stains are intended to be use wood only. Apply the stain in a full brush. When the stain has partly dulling of the wet gloss, wipe off c tive shades. For a full tone, allow Oil Stains to "set." For a lighter tone, wipe o WHERE OIL STAINS SHOULD ALWAYS BE USED-- penetrated to the desired depth of Wood floors and exterior stained and varnished saood* work should always be stained with S-W Oil Stain. All other stains require a sealing coat of shellac before var nishing and it is our definite recommendation that shellac or< ?ny, "first-coater" never be used on floors to be Tar nished, or for exterior stained and varnished surfacea. BLENDED PANELS-- Blended or "antiqued" panel effe S-W Oil Stains by either of two me (a) Wipe the lighter parts Arst. (b) Wash out the stain with turp to obtain the required blend. ) COVERING CAPACITY: Oil Stains cover approximately 600 square feet, one coat, y HELPFUL SUGGESTIONS Soft Bristle Brush, Sandpaper No. 00, Putty, Step Ladder, Mar-not Varnish and Mar-not S Scar-not Varnish and Velvet Finish Varnish for woodwork and furniture. Grained Wood Effects Produced with S-W Flo-Lac and Graining Colors in Oil There ere meny surfaces in the home of today end in the modem office building where a wood grain effect la desired to harmonize with furniture or where a plain enamel effect aeema out of place. Some very attractive graining can be done with standard graining tools. such as the half-round rubber roller and the steel graining comb. The effects shown on this page are done with graining brushes and a com bination of cloth stippling snd wiping ss done by the professional painter. The grained wood effects illustrated here are intended to be used for three kinds of surface snd finishing: Metal doors and woodwork where an imitation stained and varnished wood finish la desired Instead of an enamel finish. Soft woods, or such hardwoods where the grain effect must represent another wood as, for example, changing poplar or gumwood to represent jralnut or mahogany in grain as well as in color. Old woodwork discolored waits require an entirely new finish, other than an enamel finish. Chestnut Graining Color Ground, Light Light Oak Grainkng Color Flo-Lac Light Oak Straight Mthtfe Crotch Mehogeny PlfW Flo-Lac Ground Color $-W Graining Preparation FV^Lec In desired Color 0 0 0 7 -S W P -0 0 0 0 0 8 6 3 3 This type of grained effect li to be Hooiiuiwiidel for general use an woodwork trim, euch as door fringe, window frames and similar narrow area* where re "wfariiy" grain effect I produce a restless Circassian Welmit Graining Color Ground. Dork Dark Oak and Chestnut Graining Colore American Walnut Groining Color Ground, Dark Chestnut Graining Color Flo-Lac Walnut Circassian Walnut Graining Color Ground, Dark Chestnut and Dark Oak Graining Colors Strongly marked grain effec such as this should not be use too freely* hut are best whe limited to use In panel effects general rule, the larger ffects thould be weed in Flo-Lee Light Oak Flo-Lac Light Osk No matter how worn or disfigured the woodwork, there is a 150 Sherwin-Williams Finish to make it new again. Sherwin-Williams Flo-Lac STAINS AND VARNISHES IN ONE OPERATION CONVENIENT- FIRST QUALITY A light finished wood can be stained and varnished in one operation to match walnut, mahogany or dark oak with Flo-Lac without the necessity of cleaning off a good varnish finish down to the wood, as is necessary for all standard types of wood stains. Does your mahogany woodwork or furniture look faded, worn or dim? Make it new and rich in tone again with a coat or two of Flo-Lac Mahogany. Flo-Lac Walnut will give you a walnut or a brown ma hogany finish. QUALITY The very best varnish you can buy. The most permanent colors and dyes. Grind them together in a Sherwin-Williams mill and you have Flo-Lac I Flo-Lac is ready to use. It dries hard over night. HOW TO USE FLO-LAC All of the helpful suggestions you will find in th VARNISH will help you to get better finishes wi it varnish--the best you can buy I VARNISHED SURFACES IN FAIRLY GOO Wash clean with soap and water, let dry and s smooth surface. Wipe off with gasoline. Apply one or two coats Flo-Lac depending u finish is to be darkened. Thin the first coat sligh For added durability, apply a finishing coat Mar-not Varnish for floors, and a coat of Scar-n work and furniture. NOTE--Allow each coat of Flo-Lac to dry HA paper with No. 00 sandpaper before applying the VARNISHED SURFACES DISCOLORED AND IN ALSO OLD PAINTED SURFACES TO BE Clean and sandpaper the surface carefully, rem finish. Fill unsightly cracks with S-W Crack and Apply two coats of Flo-Lac Ground Color. Apply S-W Graining Preparation (if desired). Finish with Flo-Lac aa directed above. GLOSS OR DULL FINISH Flo-Lac driea with rich, full vomlah glow. If dull finish I* dealred, apply aa the Anal coat the fallowing-. Mar-not Satin Finlah--for Floora. Velvet Finlah Vamlah --for Furniture and Woodwork. -0007-S W P -000008634 Light Oak WlbMlI OoUcn Oak ) Ground U COVERING CAPACITY; Flo-Lac Ground Color covers approximately 450 square feet per gallon Flo-Lac Varnish Stain covers approximately 550 square feet per gallon -li-ununj/wa- (iwump*1*** <iun/ij!iiinuu !SS&1 ^ "SSs s s mSs '* Peasant homes have furnished many valuable architectural treatments. Thatched roof effects produce a feeling of massive simplicity and can be effec tively reproduced in stained wood shingles. Medium brown is advised-- Preservative Shingle Stain B-47. w 11 (****.4gua<rri ii' The loose, shaggy appearance of these "staggered" shingles is especially desirable for the rambling, informal dwelling. Straight, formal courses of shingles would appear most awkward with irregular spacing of windows and in broken wall spaces. The Beauty of Stained Shingle Effects Wood shingles should not be painted except where it is neces sary to restore them to a lighter color or where they have become too badly discolored, through weathering, to permit staining for the required shade. The beauty .of wood shingles lies in their rough-sawn woody texture, a quality which maintains the popularity of the oldfashioned wood shingle in face of the numerous manufactured shingles on the market, available in all colors. RETAIN THE TEXTURE-- S-W Preservative Shingle Stains retain the texture of the wood. The grain and the variations of thejrood are seen through the stain. Paint clogs up this texture aiV causes shingles to appear very much like ordinary wood siding. These stains fill the wood with preservative, rot-preventingoils and carry the color well into the wood to resist the washing of rain. Destructive - ants are also warded Off by staining with S-W Preservative Shingle Stains. S-W Preservative Shingle Stains arcnon-poisonous. They are not injurious to the work man applying them and water may beused noma roof stained with them after the first two or three rains have been per mitted to run off. . "Mildly staggered" shingles can be used wherever etraight courses might ordinarily be employed. They simply express a feeling for individuality and take away the sense of severe formality left by a rigid adherence to straight coursee. 0 0 0 7 -SW P-000008635 A shingle texture such as this is Laying the shingles with the best for relatively small areas such as gable ends. It will com bine well with the balance of the house done in painted wood sid ing, stucco or brick. short course produces the appear ance of a heavier, more solid wall. Being practically double thick, the shingles cast a heavier shadow and assist in adding interest where there are large unbroken wall spaces. Shingles laid in extremely wide courses help to reduce the apparent height of a wall. They make a story and a half cottage seem snug. This treatment is best in silver gray tones. Preservative Shingle Stain C-82. m SW P-0 0 0 0 0 8 6 3 6 o o o vj ) I I Preservative Shingle Stain C41 Silver Gray OH Indian Bad Thiitfi Brown C-71 RH|ht Green B-47 Nut Brown S-W Preservative Shingle Stains are designed and intended to be used on wood shingles exposed to the weather. They are also used for wood siding and for timbered construction where a stained fin ish is desired, without varnish finish. DIRECTIONS FOR USE-- Wood shingle construction is not cheap construction. Every care should be taken to get the utmost value in beauty and preservation in finishing wood shingles. Age only mellows the beauty of shingles stained with S-W Preservative Shingle Stains and the periodic application of a preservative coat of Shingle Stain "Clear, will keep the shingles fresh, attractive and in prime condition for years. ONE DIP COAT AND ONE BRUSH COAT- All ne# shingles should deceive one "dip" coat of Pre servative Shingle Stain before laving. three-quarters their length in the st from the package. Stand them in a then throw them into a loose pile to d this protective treatment to preve moisture from the back, under drivin After the shingles are laid, and b final coat of trim color on the house of Preservative Shingle Stain just as i age. This will complete the staining catch all raw edges resulting from trim COVERING CAPACITY* 1 About 2 'A gallons of Preservative Shingle Stain will dip 1000 shingles, ; approximately 150 square feet, one brush coat, per gallon. Carbolic-ol Shingle Carbolic-ol Shingle Stains carry no added coloring matter but stain by the natural dyeing power of the oil, which is a product of our Coal-Tar Distilling Plant. They pos sess remarkable preservative power and are ideal where a nut-brown color is desired. Light * 3 SHERWIN-WILLIAMS ENAMEL Old Dutch Enamel Full Oil Enamel-Supreme for both Exterior and Interior Use * Enameloid The Decorative Enamel in Complete Line of Colors 0007-SW P-000008638 ! I 134 Brighten Up About Home with Enameloid In your cupboard are many spices. The one you should use with greatest freedom is the spice of life--that is-- COLOR. Your color is waiting for you in Enameloid. The artist made a mistake I He should have included some hoes, rakes, wheelbar rows, a iawnmower and some of the things that concern the men-folks. For why should a man be denied the right to finish his things with Enameloid? Nothing need be ordinary now-a-days when all it re-, quires is the right color to make it inviting. The Enam eloid three-coat method shown on page 142 will sur prise you because it is so atikipte. And if you are using the darker, richer colors, one coat often produces a satis factory finish. Enameloid is a sanitary finish. It is used extensively ih hospitals because it wash es so welt. Enameloid is not an "ama teur" finish. Painters use it for woodwork finishing--but Enameloid is so easy to brash on and with it you can get such excellent results that it is recommended for amateur finishing as well as for the professional painter. There's no denying the fact that foods do taste bet ter when you serve them from an ice box finished in Ivory and Lettuce Green Enameloid. You can't help but admire your friend who takes herself seriously enough to finish her handy things in her own favor ite colors. The 'things you work with every day should express your good taste and personality. S-W Old Dutch Enamel A FULL-OIL ENAMEL OF THE HIGHEST QUALITY SUPREME IN PURITY OF TONE DEPTH OF LUSTRE, A LIFE TIME ENAMEL FOR BOTH INTERIOR AND EXTERIOR Old Dutch Enamel is a most unusual product. It is the finest finish human ingenuity and skill can produce. It is also the most durable finish it is possible to produce. In contradistinction to varnish enamels, fine as they are. Old Dutch Enamel is a full-oil enamel. The treated oil used in Old Dutch Enamel is water-white and of a rich syrupy consistency which gives Old Dutch Enamel its porcelain like smoothness and the lustrous depth of tone for which it is famous. Old Dutch Enamel is the last word in enamels for interior woodwork because of its sheer beauty and its astonishing toughness, hardness and resistance to wear. Its durability may be measured by the fact that Sherwin-Williams recom mends it for use on surfaces exposed to the weather. HOW MUCH DOES IT COST to use the best there is in enamels, more than you would have to pay for an ordinary enamel? Take as an example, a living room front door, a closet door, double windo into the dining room and the sun parl be enameled will figure up to about 2 would use about one gallon of enamel i work, doors, windows, etc., two coats. Suppose, for example, that Old D coat as much as 52.00 more a gallo enamel you might consider. For 12.00 would be just the same for both enam woodwork as beautiful at the end of te and during the entire time, would b more beautiful finish. There would be the feeling of secu ing after a few seasons would not be Dutch," as it would be with the ordin the expense and inconvenience all ove )I OLD DUTCH ENAMEL IS THE MOST ECONOMICAL ENAMEL YOU CAN Uff COVERING CAPACITY: Old Dutch Enamel covers approximately 400 square feet, one coat, per gall Old Dutch should be "flowed on" instead of brushing out like paint. 0007-SW P-000008639 Corne (for USE FLAT - RITE ENAMEL UNDERCOATER -- IT IS OUR VERY COMPLETE DIRECTIONS FOR ENAMELING WILL BE FOUND ON PA Painting the Odd Pieces of Furniture Articles like these may be finished in three-coat work with S-W Enameloid. Folks don't go in for sets of furniture now-a-days as was customary years ago. The room can be furnished with upholstered pieces, stained and varnished pieces and enameled chests, taborets, etc., with propriety. SPECIFICATIONS (New Wood) or with old finish removed with Taxite, Paint and Varnish Re mover. First Coat-- Flat-Rite Enamel Undercoater, thinned with 1 pint turpentine and l pint raw linseed oil to the gallon. Second Coat-- Enameloid and Flat-Rite mixed in equal parts. Note: Where the old finish is simply sandpapered down, use this second coat for the first coat. Third Coat-- Enameloid in the desired color. Many of the darker colors of Enameloid will look sur prisingly well with just one coat over the old finish, but the use of the three coat sys tem here will give far su perior results. It will probably be in painting some of the "odd pieces" of furniture about the home that you will first experience the "Joy of Color" and enjoy the thrill of doing something yourself. 0 0 0 7 -SW P-0 0 0 0 0 8 6 4 0 I3S S-W Enameloid The Rapid-Drying Decorative Enamel * Sherwin-Williams Enameloid is a first-quality varnish enamel intended to be used on woodwork and furniture, porch and lawn furniture and on walls and ceilings in such rooms as kitchens and baths, hospital rooms, etc. We have been making Enameloid for twenty-five years. It lus always been a favorite with both the professional paiHEer and the amateur because it brushes on so smoothly and because it levels out to a rich, lustrous porcelain-like finish. Surfaces protected with Enameloid are sanitary. The finish is so tight and firm that dirt cannot enter the film. Hospitals use it because it stands repeated washing. Enamel oid ii the logical finish for your kitchen and bathroom. There are a thousand and one uses for Enameloid about the home. On woodwork it is as practical and as long-wearing as it is handsome. Its snappy, attractive colors make toys a delight to a kiddy's heart. . . . and it stands up under "toy punishment" amazingly well. It seems "made to order" for # breakfast and bedroom furniture because these are largely , home-decorated pieces and, while not fool-proof, it permits one to "work it out" easily. Enjoy the thrill of making an individual tint or color scheme which your friends and neigh bors do not have. ' Take time to enjoy the pages provided here showing what The Joy of Color means to your home with Enameloid. 'V 0 0 0 7 -SW P-000008641 ENAMELOID FOR THE PROFESSIONAL PAINTER Painting the Children's Toys Toys and Color! You can't separate the two! The rich full colors of Enameloid will work wonders with toys--one coat. Did you ever stop to realize how much money you spend for toys? Wagons, kiddikars, scooters, bicycles, etc., are substantial'' toys, and should last a long time if they are protected against rust. No youngster willingly gives up a favorite toy, but puts up with the most di lapidated finish as long as it works. Make him happy again as he was when the toy was new--a coat of En ameloid will do the trick. With Enameloid you can train the child to take bet ter care of his toys and en courage him to a better ap preciation of color. Enameloid is a wonderfully good finish for bang-around toys. It's tough and doesn't chip off easily and it's a finish that ''doesn't mind having its face washed." Children soon show a preference for a certain color. Painting each child's toy in his color of Enameloid will settle the matter of ownership without difficulty. 0 0 0 7-SW P-000008642 NO S-W Enameloid Convenience means a great deal to the home owner when it comes time to refinish a piece of furniture or a bit of woodwork. Enameloid makes it possible to finish the widest possible variety of surfaces about the home in your favorite color and in a full lustrous finish that continues to look well in use. These colors are rich and true. The intense colors such as Yellow, Killarne Maroon are most useful both fo things and for - producing the shown on the next page. Ye Mustard and Sage, mixed with and Medium Gray. Maroon pro Plum and Mauve, and you ca endless range of other soft tints. YELLOW , r ose MEDIUM BROWN See nest page for suggested Color Mixtures M The Enameloid Three-Coat System for Furniture and Woodwork This system makes it very simple and easy to produce a smooth, attractive and durable enamel finish for furniture and woodwork surfaces about the home. The panel reproduced in the illustration at the left represents the three-coat system and that shown at the right the Enameloid Five-Coat System, recommend ed for finest work. THE BARE WOOD Sandpaper smooth. Antahlng with No. ^ sandpaper. Protact from moisture and dampness. "Beckpelm" with lead and oil all woodwork be fore installing. TICE PRIMING COAT Flat-Rite Enamel Un* dercoater thinned with I pint raw Uneaad oil and I pint pure turpentine to the gallon. Apply Just aa eoon at new wood* work le prepared. Will exclude moisture. THE SECOND COAT Enameloid fin ooktr desired) end Flat-Rite (Whitt) mixed in equal parte. Sandpaper with t)0 sandpaper when hard. THE THIRD COAT Enameloid In the de sired color applied with out reduction. USE A GOOD BRUSH. Enameloid Three-Coat System A most practical ail around method The system described here is the simplest method possible to employ for good results. For the best possible enamel finish--for thet rich, full, tlle-like finish which reminds one of fine chins--two Additional coats of Flat-Rite Enamel Undercoater are necessary, aa illustrated in the five-cost system shown at the right. These coats follow directly after the priming coat and are fol lowed by the coat of equal parts Enameloid and Flat-Rite (second coat of the three-coat system.) Importance of a Good Brush Brush marks become especially conspicuous In enamel work. Two precautions will help avoid them: First: Purchase the best quality fine bristle brush you can get. Even a professional finisher cennot produce a good enamel finish with s chesp, coarse brush. Second: Use the correct enamel undercoater, Flat-Rite. Stir it thoroughly and add oil and turpentine aa directed so that the materials will woric as they should and flow out aa smoothly aa possible. Importance of Sandpapering The big difference between the finish on your piano and the average amateur lob of woodwork or furniture finishing is simply the result of care ful sandpapering and the use of clean brushes. Take time to sandpaper carefully. Rub out all rough spots or specks of dust and level off brush marks. Avoid sandpapering through the edges. Note: Be sure that your brush Is dean. New brushes arc usually dusty. Tinting the Undercoater Use S-W First Quality Oil Colors when special tints of enamel or undercoater are desired. Tint ing the Flat-Rite Undercoater to match the color of the enamel gives a more beautiful, richer finish. THE BARE WOOD Sandpaper carefully to a smooth surface finish ing with No. 'A sand paper. Protect from moisture and dampness. "Bet*paint" with lead and oil all woodwork be fore Installing. THE PRIMING COAT FUt-Rlte Enamel Un derooster thinned with I pint raw linseed oil and I pint pure turpen tine to the gallon. Apply Just as coon as new wood, war* le prepared. Will exclude moisture. THE SECOND COAT Rat-Rite Enamel Un dercoater. If neceeeery, thin with turpentine only. Sandpaper smooth with No. eandpsper. THE THIRD COAT Same as second coot. THE FOURTH COAT Enameloid (in aetor desired) and Flat-Rite (White) mixed In equal parts. Sandpaper smooth when hard with No. 00 sandpaper. THE FIFTH COAT Enameloid In the de sired eotor applied with out reduction. Enameloid Five-Coat System For finest results on woodwork 0007-SW P-000008644 The same methods described here will produce superior results with Old Dutch Enamel 143 S-W Enameloid Color Mixtures > There is a pleasure in having something that is all your own, something you have produced looks "good enough to eat." You it. No one else in the world has yo and which no one else has. Suppose you buy All the colors of Enameloid can some Enameloid Ivory and a little can of Enamel We will give you a wealth of sugg oid Killarney Green. Into the Ivory you stir some book, but you can vary them to s of that loveliest of greens and what happens? You as to produce a color which is jus have produced a dainty green which positively as is your own namel CANARY Whit* tinted with Yellow APRICOT f It POACH taqr dined wfeh PARFAIT Ivory tinted with SAGS BURNT ORANGE 2 ports of Chinese Red to t port of Medium Brown Special Note: When adding the tinting color, pour it into the other color VERY SLOWLY, stirring con stantly, until the desired tone appears. Use the color card sample as a guide. A quarter-pint can of the "tinting color" will usually be sufficient to buy. Pro portions given are approximate quantities. 0 0 0 7 -SW P-000008645 Sh e r w in -Wil l ia m AUTO EIHA RAPID II r y I n FOR ,%I.L ENAMELED MJRFAI'EK II E XV K .% T The Sherw Ename variet it an article on the home, shop. for me or it for doi In sho expres surfac ename expose S-W Auto E CAN BE USE Automobiles Gas Engines Tractors Canoes Lawn Mowe Pumps Store Fronts Farm Imple Yachts Garden Too Lawn Furn Bicycles Motor Cycle Trucks Boats Wagons Mail Boxes Baby Carria Washing M Fire Hydra Croquet Se 146-A 0 0 0 7 -SW P-000008647 S-W AUTO ENAMEL 1 (Rapid Drying) For All Enameled Surfaces Exposed to the Weathe Sherwin-Williams Auto Enamel is a finish intended for use on all enameled surfaces exposed to the weather. It is an enamel that is not harmed by hot or cold weather and which may Ik washed repeated ly without injury. One of the great advantages of Auto Enamel is the almost unlimited number of uses to which it can be put. It is the ideal finish for all sorts of general work arourtd the house, farm or workshop where outside exposure is to be experi enced. The farmer will find it invaluable for keep ing his tractors, wagons and otner implements attractive and in good repair. He will also find that it provides a handsome touch of color, and a mark of identification, for milk cans, pumps, benches and numerous other things which eventually useless, for the wa tion. The housewife has an es 6f things that need painting fr as porch furniture, swings, g sprinkling cans, croquet sets, Sherwin-Williams Auto Enam in 3 to 5 hours depending upo tions and may be recoated the nished in ten attractive colors which may be intermixed to attractive shades and which a ous tints when mixed with Au 0 0 0 7 -S W P -0 0 0 0 0 8 6 4 8 DIRECTIONS PREPARING SURFACE . Surface to be finished must be free of dirt, grease, oil or loose paint. Be sure no dirt or grease remains in comers and crevices. Wash with benzine. Remove all rust spots with sandpaper. OLD SURFACES Refinishing (Either Wood or Metal) Bare or very badly worn places should be sandpapered smooth and "touched up" with the Finish thinned slightly with turpentine. When these places are dry, one coat will cover solidly on any proper surface or over any color and give excellent results, except White, Ivory and Maroon, which will require two coats unless applied over a similar color. One coat must be thoroughly dry before applying another. Sand lightly between coats with 00 sandpaper, and be sure to dust clean. NEW SURFACES New or unfinished metal surfaces should be given a first coat of S-W Auto Enamel Primer. New or unfinished wood surfaces should be given a first coat of Auto Enamel thinned slightly with pure turpentine. Then when dry apply S-W Auto Enamel as directed. DRYING TIME Under normal drying conditions S-W Auto Enamel will dry to handle in three to five hours and may be recoated the same day. Cold, damp or muggy weather slows up drying. GENERAL HINTS It is desirable to apply the Finish in a room free from dust. Dampening floor and walls of a garage will prevent dust. We recommend a good 2" or l}.'" bristle brush. Make sure that brushes used are clean, free from dust and grit. If the Finish becomes too thick to brush freely, add a very little turpentine well stirred in. ' 0 0 0 7 -SW P-000008649 I4t-B S-W AUTOMOTIVE SPECIALTIE > I o o o ) SHERWIN-WILLIAMS AUTO TOP DRESSING Sherwin - Williams Auto Top Dressing is a rich black finish that dries rapidly leaving the autfaoc covered and in a flexible condition rather than hard and stiff. Thia dressing may be used successfully on all kinds of auto tope as well as on tire covers, side curtains and other objects made of or coveredwith imitation leather, mohair, penta- sote, etc. It brushes out very easily leaving a nicely smoothed surface free from all brush marks. It is advisable, when the article to be done is dirty, to wash it thoroughly with soap and water allowing plenty of time for the surface to dry so the dressing will get a good hold on it. On a warm day S-W Auto Top Dressing requires only about two or three hours to dry to a hard, usable finish. When applied to mohair, Auto Top Dressing dries to a rich dull black. Over imitation leather it produces an egg shell lustre. QUANTITY REQUIRED One pint of S-W Auto Top Dressing will refinish top and side curtains of an ordinary touring car, and provide two finishes for the average roadster. One-half pint will refinish tht top of the average closed car. : SHERWIN-WILLIAMS AUTO SE Sherwin-Williams Auto Seat Dressi lated material which is designed for irtlttatkm leather, automobile Heats. acteristic fa that it will not soften un not come 6ff and soil the clothing un The application of Auto Seat Dres it dries hard in an hour or two produ that gives the interior of the car a f It may be washed freely with soap an renews worn spots and tones the en color. In addition to renewing seats, th for leather bags, seats of chairs and made of imitation or real leather tha touching up. The application of Auto Seat Dre the interior of your car and im part to it the same "dressed-up" appearance that Auto Enamel gives the exterior. QUANTITY REQUIRED One pint will be sufficient for re finishing the interior of a touring car, while one-half pint will renew the interior of a roadster. SWP -0 0 0 0 0 8 6 5 0 Sherwin-Williams Auto Enamel Helpful Suggestions for the Person Who Intends to Paint His Own Car Sherwin-Williams Auto Enamel is made especially for the refinishing of automobiles by the owner. To secure the very finest finish, a car should, of course, be sent to a professional finishing shop. However, this frequently is not possible on account of the fact that the use of the car cannot be dispensed with by the owner for a sufficient length of time to have the work done. If the following suggestions and directions are followed, the automobile owner can refinish his car himself and secure results that will compare favorably with jobs turned out in the average paint shop and still only be deprived of the use' of his car for a day or two. Experience is not necessary, but it should be remembered that in refinishing a car, as in everything else, the beauty of the finish and the success of the job will be commensur ate with the amount of care taken in preparation and fin ishing. DIRECTIONS PREPARING THE WORK ROOM--First remove any old tires, oil cans, etc.; knock down sny cobwebs, then sweep the walls and floor, see that the windows are closed and sprinkle water on the floor to lay dust particles. PREPARATION OF CAR FOR REFINISHING--Remove door hand les, curtain fasteners, top brackets and spare tires. Next wash the body thoroughly with a pure linseed oil soap, such as Sherwin-Willisms Flexoap, and remove all tar and pitch with kerosene. Clean the chassis and underparts thoroughly, and remove all grease from around the hubs, springs, axles and joints with gasoline and an old brush. If possible, have the car steam cleaned. It will save time. SANDING AND "TOUCH UP" WORK--Remove the hood, and thor oughly sand all surfaces with No. ^ sandpaper to level off any broken, rusted or raised spots. Dust off carefully all bare spots and touch up with Sherwin-Williams Auto Enamel of the desired color, using a camel's hair pencil. Where the finish on the automobile is badly checked and cracked, a coat of Sherwin-Willisms Auto Enamel Primer should be applied with a two-inch camel's hair brush. When dry, sand lightly with No. \\ sandpaper and dust off thoroughly. SPRINGS, AXLES AND UNDERPARTS--Next apply a coat of SherwinWilliams Auto Enamel, Black, to the springs, axles and underparts of the fenders, being careful not to smear the wheels. This is their only coat, flf a mixture of three parts denatured alcohol and one part shellac is applied to these parts and allowed to dry for about five minutes before painting, it will prevent grease becoming mixed with the Auto Enamel). TOP BOWS, JOINTS, WINDSHIELD FRAMES, ETC.--Sand the top hows, joints, windshield frames, etc., thoroughly with No. H sandpaper, dust off and apply a coat of Sherwin-Williams Auto Enamel Black, one coat only being necessary for these parts. BODY AND WHEELS--Dust off thoroughly and apply a liberal coat of Sherwin-WUIiama Auto Enamel to body and wheels, using the desired color for each. In doing the wheels they should be jacked up one at a time. THE HOOD--Having previously removed the hood, wash it thoroughly inside and out with gasoline. Sand thoroughly with No. sandpaper, wipe off with a clean dry cloth, and apply the shellac-alcohol mixture previously referred to, around the hinges, handles, crevices and other places where pease is liable to lodge. Then apply a liberal coat of Sher win-Williams Auto Enamel of the desired color. When finishing the hood, stand it on a barrel or box, small end down, and fold it inside out to dry. RADIATORS, LAMPS AND FENDERS-Give these parts one coat of Sherwin-Williams Auto Enamel Black. NOTE--Usually the hood, lamps, radiator frame and fenders are finished with a baked japan finish. If this finish is still in good condi tion, do not refinlsh with enamel. Merely touch up the rust spots with black enamel, allow same to dry, sand lightly with No. sandpaper, and then apply a coat of Sherwin-Williams Clear Auto Enamel in which onesixth the amount of Sherwin-Williams Auto Enamel Black, has been incorporated. THE TOP--The top should be refinished with Sherwin-Williams Auto Top Dressing (unless it Is a closed car with a metal top. In which case finish in the same way as the body). DRYING--The car is now ready to be driven, except foe the drying, unless an extra fine and durable finish is desired, which is secured by applying a final coat 6f clear varnish over the first coat. If car is not to be varnished allow 36 to 48 hour* for drying, if possible, but under no circumstances less than 24 hours. . FINAL VARNISH COAT, IF EXTRA FINE FINISH IS DESIRED-- If the car is to receive a final varnish coat after 48 hour* take No. 0000 sandpaper, dipped in a preparation of half Unseed oil and half gasoline, and sand the body, cowl, fenders snd lamps carefully enough to just cut the gloss. Wipe off thoroughly until dust free, then apply a coat of Sherwin-Williams Auto Enamel, Clear. A CAR WITH A GOOD ENGINE IS NO OLDER THAN ITS FINISH KEEP YOUR CAR NEW WITH S-W AUTO ENAMEL 0 0 0 7 -SW P-000008651 14t.D 0 0 0 7 -SW P-000008652 I S-W Antydamp FOR DAMP-PROOFING FOUNDATIONS Sherwin-Williams Antydamp is a very heavy black paint which is applied to the exterior of concrete and masonry foundations below ground level to damp-proof basement walls. Antydamp comes in proper consistency for application without heating, but in very cold weather the material is easier to handle when warmed. This should be done by placing the container into a tub of hot water, w- DO NOT PUT ANTYDAMP DIRECTLY ONTO A FIRE Antydamp remains elastic indefinitely and does not harden to crack, even in cold weather. It will effectively exclude moisture normally in the soil but where water is continually present in the soil around the foundation special treatment is required. DIRECTIONS FOR REGULAR USE OF ANTYDAMP Have the excavation made large enough to permit free access to foundation walls on the outside clear to the bottom. Let dry thoroughly and apply a full coat of Anty damp, using a threeor four-knot brush. Allow to harden for twenty - four hours and apply a second coat of Antydamp in the same manner, al lowing twenty-four to forty-eight hours for hardening before backfilling with earth. S-W Plaster Bo FOR DAMP-PROOFING INSIDE WALL Sherwin-Williams Plaster Bond is a bla plied without heating on inside brick, bu crete walls above grade, before plaster is a damp-proofing. Plaster Bond is full bodied but may b brush or spray method. One coat only ing the material freely. Plaster Bond dries rather slowly. after application it is in a tacky condi desirable for the application of plaste dries out, the Plaster Bond also dries r tenacious bond. The economy of using Plaster Bond waits are rendered proof against pene and resultant staining and loosening o WHERE WATER IS CONTINUALLY PRESENT IN THE SOIL There ia.no damp-proofing system possible which will take the place of proper drainage, with necessary drain tile placed outside of the foundation footing and con nected with the sewer. This is fundamental, just as it is necessary to provide soil drainage with a blanket of cin ders placed between the soil and the wall. THE MEMBRANE SYSTEM This consists of alternating coats of Antydanyp with felt waterproofing paper, applied while the Antydamp is tacky, to assure adhesion. This system effectively insulates the foundation wall with an impervious shell of water-tight material and is the only method that is dependable. COVERING CAPACITY: Antydamp covers approximately 40 square feet, one coat, per gallon. Furring and lathing of walls is el attendant advantage of disposing of fire ing places for vermin, to say nothing of the material cost of lathing and the ing it. Plaster Bond covers approximately 3 gallon, more or less, depending upon surface. Contractors and architects are invite of Sherwin-Williams' Architectural Form B-303, for complete building spec RIEg while you w a it * 0007-SWP-000008653 Rogers Brushing Lacquer How many times have you put up with a worn, shabby floor because you dreaded the "mess" of painting? And how many times have you window-shopped with hungry eyes, wishing that you might find courage to do over some of the furniture at home in the new vogue? Rogers Brushing Lacquer will do these things for you because it "Dries while you wait." It means that you can now-- Lacquer the floor and, in less than an hour, move the rugs and furniture back into place onto a hard, lus trous, durable and handsome floor. Lacquer the table, prepare the meal and serve it on the new finish. Put the kiddies to bed for their afternoon nap. Lacquer their toys and they will be ready for use when the children awake, brilliant, sanitary and enjoyable all over again. Lacquer the stairway, read the evening paper and walk up over the new finish when you're ready to go to bed. In fact you can Lacquer an endless number of things about the house. And you can Lacquer all these things conveniently, without the bother of sticky surfaces and without taking the things out of service. !. . Rogers Brushing Lacquer is not paint, is not varnish, although it does the work of these most conveniently. It is made of the finest quality of virgin cotton, nitrated and treated very much the same as in making of celluloid. The lacquers you have come to know about as used on automobiles are, of course, so exceedingly quick drying that they can' be applied only with spray equipment. Rogers Brushing Lacquer is a marvelous finish only re cently made possible through the perfect blending of rare solvents which cause the lacquer to dry slowly enough so that you can apply it with a brush as you have been ac customed to do with varnish and enamels. It's so easy to flow on that it makes painting real fun. Saves hours and even days of "tie-ups." Helpful Suggestions About Using Rogers Brushing Lacquer Stir it well, with a clean, broad stick. Rogers Brushing Lacquer Thinner may be added if the A good brush will give you a smoother finish than a cheap, lacquer becomes a bit heavy for easy brushing. coarse brush. The lacquer will also go on easier and quicker Floors are easiest to finish when you take the width of two with the result that one coat put on with a good brush will or more boards and follow the boards back and forth across cover better and look better than two coats put on with a the room. Start at point furthest from the door. poor brush. When you lacquer a chair, turn it upside down on a table If the brush you have is not clean, wash it out with Rogers and do the lower part first, leaving the upper part until last Brushing Lacquer Thinner. for a place to hold the piece. i When you lacquer, use the brush rather full of material, The panels of a door should be lacquered first and the / laying it on freely ami easily. You will be delighted to fhftd frames last, especially when different colors are used. that very little brushing is required to produce a full, even finish with Rogers Brushing Lacquer. When you are through lacquering, wash the brush out in Rogers Brushing Lacquer Thinner and wipe dry with a clean Several coats of Rogers Brushing Lacquer may be applied cloth. the same day providing about 30 minutes or more is allowed CAUTION: Keep away from a flame both Rogers Brush between coats. Ventilating the room) is not necessary but will hasten the hardening of the finish. ing Lacquer and Thinner. There is absolutely no danger where there is no fire present. Wax or grease on the surface prevents lacquer drying properly--clean off thoroughly. 0 0 0 7 -SW P-000008654 DRIES WHILE YOU WAIT ROGERS BRUSHING LACQUER THINNER The only liquid you can use for thinning Rogers Brushing Lacquer. Use it for cleaning brushes. Use it to remove Lacquer from any sur face. Takes spots off your hands and clothing. DRIES WHILE YOU WAIT I7 ROGERS BRUSHING LTlCaoe REGULAR COLORS INDIAN YELLOW ORANGE RUSSBT TAN SAGE GRAY 0007-S W P -000008655 > t Rial WINE SEE PAGE 1SI-ISJ FOR ADDITIONAL COLOR SUGGESTIONS. CINNAMON BROWN . ALSO FLAT WHITE. GLOSS WHITE. BLACK. CLEAR R0G6RS BRUSHING CACQUCR A FEW SUGGESTED COLOR COMBINATIONS bo dy c o l o r t r im c o l o r Indian Yellow Orange Russet Tan Chinese Red Carmine Rich Wine Ivory Sahara Sand Sage Gray Rattan Oak Cinnamon Brown French Gray Slate Turquoise Rich Blue Forest Green Stem Green Black. Orange Plum, Black Chinese Red. Black Black, Gold Black, Gold Black, Gold Turquoise, Gold Chinese Red. Italian Blue Cinnamon Brown, Forest Green Italian Blue. Chinese Red Orange. Black Italian Blue. Rattan Rose, Italian Blue French Gray, Sahara Sand Ivory, Rich Blue French Grav. Orange Sage Gray. Rattan Russet Tan, Sage Gray Jersey Tendril Apricot Fawn Mustard Olive Flesh Orchid Amethyst Rose Gray Plum Elephant Poudre Blue Rose Lettuce Midas Jade Italian Blue Jade, Cinnamon Brown and Black Ivory, Black Sage, Black Russet Tan, Maroon Sage, Chinese Red Peacock Blue, Gold French Gray, Ivory Ivory, Sahara Sand Jade, Apricot Rose, Sahara Sand Sage Gray, Russet Tan . Cinnamon Brown, Sahara Sand Sahara Sand, Fawn Sahara Sand, Gold Ivory, Plum Apricot, Amethyst Sage Gray, Plum Orange, Cold NOTE--Second trim color may be omitted if desired. IT COMES IN WHITE. BLACK AND EIGHTEEN COLORS. ALSO. CLEAR FOR VARNISH FINISH ROGERS BRUSHING LACQUER COLOR BLENDS ROGERS BRUSHING LACQUER IS VERY HANDY FOR hiANY DIFFERENT THINGS Floors Woodwork Doors Window Sills and Sash Furniture Porch Furniture To}* and Wagons'* Broom Handles, Etc. Cloect&eata Toilet Articles Refrigerator* 1 Metal Washing Machines Flower Pota. Jardiniere Baby Carriages B^th/Juba (outride)> Lighting Fixtures Golf Clubs, Fishing Rods, Etc. Athletic Good* Electric Fans . Desk*, Office Furniture Garbage Cana Benches and Scats Clothes Hangars, Beth and Kitchen Flxttirss Ornamental Metal Work Picture Frames Lawn Mowers Pumps, Auto Tools, etc. Steam Radiators Shelving Store Counters Sleds Sprinkling Cans Steps Show Windows (inside) Porches Sun Rooms Linoleum Cabinets Book Cases Industrial Finishing Office Partitions Bedroom Furniture Breakfast Room Fumicutc Big Building Finishing Hotel Finishing School Finishing Manual Training Work Hospital Sanitary Finishing Theatre Finishing Scenery, Furniture. Etc. Show Room Finishing Church Pews, etc. Lodge Room Furniture, etc. Dairy Equipment Bakery Equipment Department Store Shelving Counters, Furniture, etc. ROGERS BRUSHING LACQUER TRANSFER PATTERNS Ask to see Rogers Transfer Patterns, selected to be used in decorating surfaces finished in Rogers Brushing Lacquer. The designs are easy to apply, being simply cemented to the surface with library paste. The paper backs are slipped off after moistening with water, just as we used to do in school. These patterns all possess individuality and character. An enjoyable process by which soft, off-shade blends are produced to suit your fancy. Eighteen suggested blends are shown in the panel of color chips. The proportions given are approximate. Pour the tinting color (the smaller quan o O O tity) slowly into the other color, stirring constantly until the desired tone appears. No. *14 i Frequently you will strike soft, agreeable tones you will prefer to those we have suggested. In doing so, you will Patterns range in size from small designs such as this one to large centerpiece patterns. experience ail the joy of creating a new, individual thing all your own. Write our Decorative Studios for Catalog DRIES WHILE YOU WAIT iso DRIES WHILE YOU WAIT ! 000008656 Rogers Brushing Lacquer for Exterior Surfaces JUNGLE GREEN BUCKINGHAM GRAY NA JADE Rogers Brushing Lacquer Vogue Finishes Stipple Color Platinum Ton* Fire Glow BU CINNAMON BROWN RICH WINE 0007-S W P -000008657 0 0 0 7 -SW P-000008658 ) I> r o g c r s e r g s h in g cacaoe Regular Qlors Produce these (olorjK(ixturcr. JERSEY TENDRIL APRICOT Ivory Orange Parts 10 I Turquoiat Indian Yellow 2 I Ivory Ruaect Tan FLESH ORCHID 1 WWea so Rich Wlna 1 Rich Blue 1 AMETHYST RO LETT MUSTARD OLIVE SEE PAGE I49-IS1 FOR ADDITIONAL COLOR SUGGESTIONS. ELEPHANT MIO JAD THESE PROP S-W Commonwealth Paint (The Ideal Utility Paint for Garages, Bams and Buildings i Grttn Sherwin-Williams Commonwealth Bam Paints have been famous for years. Cer tain sections of the country have preferred Bam Red, others Bam Gray, whereas Bam Yellow has predominated elsewhere. The full line of colors is listed here for your convenience. Yellow Bam paint must remain elastic for the even on one-coat wor does not permit the than one coat of pa owner may understan applying two coats. In addition to being "good paint" Commonwealth Paint possesses two characteristics which Sherwin-Williams recog nizes as essential to a successful "bam" paint. These two characteristics make this paint unusually valuable for other uses besides on the bam. ' The lowest price per gallon is desira derstands it is not possible to buy th paint for $1.50 a gallon as is furnished Nevertheless it is better to protect p paint" than it is to allow it to go unpr of the "best paint." How to Estimate the Amount of Bam Red You Will Require Just how little paint it requires to tected and looking their best with Paint is indicated on the table to the le U J ilu -4\ S-W Commonwealth Paint is re many uses where an inexpensive pain colors shown here. Farm buildings, m Oes, coal yards and all similar co ings and fences to protect and k aSS--. Yooo 10 able win find this splendid paint m factory. /X qal. SUGGESTED COLOR COMB Mo mA Auuutof These colors all trim well with Wh binations of the colors themselves are Measure the total distance around the building, multiply by the height and divide by 300. This will give the number of gallons for two-coat work. BODY COLOR Red Gray Yellow Green TR Green, G Red, Gre Red, Wh Red, Wh Divide by 500 for the amount required for one coat. One - fifth of this amount will be enough for the trim color. DIRECTIONS FOR U FIRST or PRIMING COAT: Thin C with one-half gallon raw linseed oil to 500 square feet, one coat per gallon. 3 SECOND COAT: Use Commonweal COMMONWEALTH BARN RED the can. One quart of raw linseed oil m HELPFUL SUGGESTIONS 3-Inch Brush, Orange Shellac for knots, Elastic Roof Cement, Ebonol Black Roof Paint, Putty K Oil, Ladders, Turpentine, 50 per cent Cresol, Fly Spray. 0 0 0 7 -SW P-000008659 S-W Concrete and Cement Hardener There are many concrete floors which cannot be suc cessfully protected with paint because of the severity of the wear or on account of moisture conditions. S-W Concrete and Cement Hardener is intended to take care of such re quirements. This is a chemical hardener which leaves no surface film but enters into the concrete, fills up the voids and hardens the surface. It does not color the floor. SECOND APPLICATION-Equal parts Hardener and water. , THIRD APPLICATION- Two parts Hardener and one part water. ' Painting is not recommended over Concrete and Cement Hardener. Mi* in a wooden pail, and ffua/i onto the floor, twoeping out with a long-handled bruth or broom. Each application ahould Book the floor, but all puddle* remaining on the Burface ahould be mopped up before leaving floor* to dry, which uBually require* 24 hour*. Concrete and Cement Hardener i of an acid nature and all barrel* are treated with a toft teate wa* to prevent the material teeping through the wooden *taoe* of the barrel, and attacking the metal hoop* and there thould fra no difficulty ordinarily in allowing Concrete and Cement Hardener to remain in barret* up to as month* after the barrel i* fitted. FLUSH ON SWEEP OUT The application is most simple. The hardener is poured onto the surface and swept out after being reduced as follows: FIRST APPLICATION--One part Hardener and two parts water. COVERING CAPACITY: One gallon of Concrete and Cement Hardener will treat from 60 to 100 square feet of concrete floor, three applica tions, depending upon the porosity of the surface. Seventy square feet is suggested as a safe figure to use in estimating. Aluminum Paint Liquid Gold Bright as Silver--Ready to Use ' Ready for Use o A lasting silver finish for use on radiators, ranges, water A liquid gold paint for use on radiators, hot air registers, 0 boilers, gas, steam and water pipes, gas stoves, machinery, steam and water pipes, sprinkler systems, also for picture engines, etc. Also adapted for outside use on gas engines, frames, wickerwork, basketry and other decorative uses. 1 boats, metal work, cornices, cupolas, oil tanks, etc. Gives Is not affected by heat, cold or moisture, and retains its Co most satisfactory results, because it is perfectly mixed and brightness indefinitely. S " finely ground, works freely under the brush, has great spreading capacity, is fast in color, stands longest on out side exposure. Extreme heat and cold does not crack, peel, blister or discolor it. One coat covers a clean black surface. It has no disagreeable banana-like odor found in many other Aluminum paints. The growing popularity of enameled and lacquered fur niture makes the trimming with gold very effective. Liquid Gold is also used as a ground color on walls and on fur niture for glazing over with Flat-Tone Glazing Liquid and glaze colors; is* -000008660 S-W Floor Enamel For Interior Wood and Concrete Floors Sherwin-Williams Floor Enamel is designed to produce a beautiful, last ing enamel finish for interior floors of both wood and concrete. It brushes out freely and any person can produce a good job without any difficulty. Floor Enamel dries over night but re quires 48 hours for complete harden ing, especially if drying conditions are unfavorable because of humidity. In the home the sun parlor, kitch en, lavatories and bathroom imme diately suggest the use of color on the floor. In the basement, however, the housewife will find outstanding benefit from the use of Floor Enamel because of the ease of keeping the room clean and attractive. Concrete floors and old linoleum offer opportunity for using Floor Enamel in two-tone effects with most striking results. These surfaces may be marked off in squares or blocks and a variety of border treatments can be employed. Our Decorative Studios will gladly assist any person wishing to work out a complete color scheme for the room. U|kt Oak Na. 4 FHa It*4 N. 494 Gray Na. Gra W SUGGESTIONS Unusual Effects Produced with Floor Enamel Dust Caler No. 4*4 M Tiled effect in large squares makes a large room appear smaller. Tiled effect in small squares makes a small room appear larger. THE BEAUTY OF ENAMELED FL A border painted around a room will also reduce the apparent size of the room. It used to be that a painted floor was a sort of a that one couldn't afford a new hardwood floor. T changed. Nowadays your floor in S-W Floor Ename A coat of Mar-not Floor Varnish ap plied once a year where traffic is heavy, will protect the color coat indefinitely. an appropriate color or in some desirable linoleum mark of distinction. Appropriately done, your floo Enamel has all the distinction of hand decorated wa woodwork and period furniture. While stressing its color, the neat practical value of its long wear, its ge tight, easily cleaned enamel film make Floor Ename ) (Directions are on the back of as serviceable and as economical as it is attractive in this page) 0 0 0 7 -SW P-000008661 USE SHERWIN-WILLIAMS CRACK AND SEAM FILLER FOR FILLING UNSIGHT Directions for Using S-W Floor Enamel NOTE: It is not tale to ute any kind of a finish on cellar concrete Hoars where the turtace it damp from water seep age. Satisfactory painting of- concrete depends upon the concrete being neutral or free from alkali. For an alkaline condition wash the concrete with a weak or 5% solution of sulphuric acid, rinse carefully with clear water and allow to dry thoroughly before painting. The surface must be dry, free from loose paint, grease and dirt. Brush the enamel out thoroughly into thin, even coats. Be sure each coat is perfectly dry and hard before applying the next coat. STIR THE ENAMEL THOROUGHLY If the pigment has settled, pour the liquid into a clean vessel. Stir the remaining portion with a clean paddle to a smooth, soft mass. Then work the liquid back into the enamel slowly, stirring constantly. NEW WOOD FLOORS . .. Thin the enamel by adding one pint pure turpentine to the gallon of enamel. Second and third coats are applied without thinning. PREVIOUSLY PAINTED FLOORS Touch up all bare spots as directedgfor new floors. Sand paper well when dry and follow with one or two coats without thinning. . If there are cracks or spaces between boards fill these with S-W Crack and Seam Filler AFTER the first coat of Floor Enamel is applied. LINOLEUM ' Wipe linoleum off 'with benzine to remove any grease or soap film. Thin the first coat of Floor Enamel as directed for new wood. If linoleum is badly cracked or chipping off, re move it and finish the floor beneath after cleaning and scrap ing smooth. Then finish as directed for new wood floors. NEW CONCRETE FLOORS The surface must be continually dry. (See note above). Thin Floor Enamel with pure turpentine in the proportion of one pint to the gallon of eHfcmel. Second and third coats are to be applied without thinning. If Floor Enamel should seem tbo heavy for easy brushing thin slightly with pure turpentine, only. For best results, use a good brush. S-W Flat-Rite Interior Enamel Undercoater Flat-Rite Interior Enamel Undercoater is the highest grade of lithopone undercoater which it is possible to pro duce. It is an undercoater of the long oil type, flows out well under the brush, levels admirably, has satisfactory spreading and drying qualities, and is very opaque. It will produce a very smooth, flat finish, which sands readily with out gumming the paper. This undercoater is intended for interior work only. It is furnished as the companion product and undercoater for our famous Old Dutch Enamel. For an undercoater for exterior enamel work, we recommend SWP Flat White. Packed in self-sealing cans in all sizes except five-gallon packages. 0 0 0 7 -SW P-000008662 159 0 0 0 7 -SW P-000008663 1 3 I S-W Kromik Metal Primer There are four reasons why Sherwin-Williams makes Kromik Metal Primer the standard recommendation for 1. ECONOMY: Kromik has the approval of the painter because it brushes out so smoothly that it is very easy to cover metal surfaces difficult to paint. Kro mik costs less in labor to apply and costs less in material because of its excellent spreading power. 2. INHIBITS CORROSION: Kromik is made on a lead chro mate pigment base. Paints con taining chromates seem to have the power to inhibit corrosion as evidenced by careful tests extend ing over five years at Atlantic City. the priming coat over metal: These based upon practical field tests. 3. IDEAL SHOP COAT: By this is meant that Krom hard film which stands mor handling and shipping than we know of. Steel protected thus protected from weather e coat is not applie 4. A TIGHT IMPER The proportions ments are so bala makes the tight Neither water no trate through to Kromik Meta) Primer Wherever there is metal to be protected against weather . or moisture, use Kromik .for the priming coat, followed by S-W Metalastic fir the fihtihing coat or, Where Special color is desired, use SWP Sherwin-William the finishing coat. SWP is.* pure l very highest protective valiST COVERING CAPACITY: Kromik covers approximately 600 square feet of metal surface one c S-W Galvanized Iron Primer It is well known that copper and zinc present surfaces that are difficult to paint satisfactorily because the paint does not adhere as well as it does to other metals. Because of its zinc coating this is also true of galvanized iron and in order to minimize these difficulties, Sherwin-Wil liams Galvanized Iron Primer was de veloped. Galvanised Iron Primer Before applying G be sure the surface grease and dirt. In t ing, oil is used so th is always more or le be cleaned off tho or gasoline, otherw retarded. Brush ou and apply the desir to 48 hours when e S-W Galvanized Iron Primer is supplied in Gray, which is a suitable color for finishing coats in any desired shade. It is remarkable for its satisfactory working qualities and, in view of its splendid spreading capacity, makes a most economical primer for use over surfaces of this kind. Galvanized iron, in both plain a makes a very practical building mate treated as to color, is as attractive fo ings as can be desired. After primin Iron Primer, any color or type of pa COVERING CAPACITY: Approximately 600 square feet of metal one coat per g S-W Non-Corrodible Graphite Pa Graphite paints possess characteristic water-shedding properties. Sherwin-Williams Non-Corrodible Graphite Paint has been famous for years because of its remarkable endur ance when exposed to the extremes of weather. The pigment is entirely of graphite with a high percentage of carbon and is at its best when used a structural steel and metal work ex Being a carbon paint, this product than other types of paints and re film for the longest possible time. COVERING CAPACITY: Approximately 600 square feet of metal one coat per g S-W Metalastic The AU-Round Metal Protective Paint This is a paint The Sherwin-Williams Metal stands a m Company has been making and selling as being well covered our best grade metal protective paint for paint is easy to app upwards of thirty years. It has always given uniform satisfaction. Sherwin-Williams Standard Recom mendation for the painting of structu Green to spread to a thin, Four colors are Brown, Green and lastic is used as th ral steel or tanks and other metal work exposed to weather the bare metal instead of Kromik, Meta or dampness is as follows: mended. It is then easy to inspect the PRIMING COAT: S-W Kromik Metal Primer. FINISHING COATS: (1) S-W Metalastic Brown. (2) S-W Metalastic Black. coats if Brown or Green is used for Metalastic Black for the finishing co one of the colors will harmonize bett than Black, and should be used for th CHARACTERISTICS: Make certain that the surface is Metalastic is a combination graphite paint and has the grease and dirt. water-shedding properties of carbon and graphite paints. Metalastic covers approximately 600 It brushes and spreads very easily and smoothly. per gallon depending upon the nature S-W Roof and Bridge Paint Sherwin-Williams Roof and Bridge Paint, as the name implies, is adaptable for use on roofs, bridges and all kinds of exterior metal, wood, brick or concrete surfaces. S-W Roof and Bridge Paint is known as one of the greatest values in the painting industry. It is really a high grade material, offered at a medium price, due to its source of manufacture. In producing the thousands of pr the Sherwin-Williams Line there are n of the many S-W Paints. These "ove into lots of Red, Gray, Brown, Green quantities of colors are then added to b shades. They are then reground and is a splendid and durable coating for su before. Ilrown Roof and Bridge Paint has a covering ca pacity of approximately 300 square feet to the gallon, two coats. It is put up in half gallon, gallon and five-gallon cans, also in barrels. y BUcIc SALAMANDER SMOKE-STACK BLACK FOR METAL STACKS, BOILER FRONTS AN 0 0 0 7 -SW P-000008664 S-W Ebonol Ebonol is a lustrous black paint suitable for use on a var iety of surfaces requiring an economical protective coat. It comes in black only. It is not intended to be mixed with other paints or to be repainted with paint of another color. A partial list of the many uses for Ebonol will suggest economical ways of finishing surfaces about your own property. Metal Roofs. Outside Foundations below grade. Metal Piping exposed to weather. Metal Piping below ground. Culverts. Water Troughs iboth inside and outside). Gutters. Metal Tanks. Steel Poles. Rough Timber and Construction Work. Metal Tools, Ploughs, Etc. Greenhouse Benches. Silo Interior. Refuse Containers. Steam Shovels and Tractors. S-W EBONOL--On dried out composition roofing or rough metal surfaces, estimate 1 gallon per ISO square feet. S-W Liquid Roof Cement This cement is a combination of refined coal-tar pitch and long-fibre asbestos. It is furnished in liquid consistency to be applied with a large roofing brush. Liquid Roof Cement is furnished in Red, Green and Black. It is intended to be used on all sorts of badly worn leaky roofs. It will stop leaks. Can be used over corrugated iron, shingle, gravel, tin or composition roofs with excellent results. Liquid Roof Cement remains elastic but does not run under hot summer sun or crack in extreme cold. The fact that it comes in three usable colors permits its use for re pairing of residence roofing as well as for roofs of bams, sheds, garages, out-buildings, etc. COVERING CAPACITY AND DIRECTIONS: S-W LIQUID ROOF CEMENT-On metal or non-absorb ent surfaces XtoX'A gallons per 100 square feet; on old com position or felt surfaces I 'A to 2 gallons per 100 square feet; on corrugated iron or tin surfaces 2 to l'A gallons per 100 square feet, and on gravel or slag surfaces 2 to I'A gallons per 100 square feet. S-W Elastic Roof Cement This cement is furnished in the right consistency to be applied easily and smoothly with a trowel. It will adhere perfectly to vertical surfaces, such as flashings, boiler set tings, skylights, dormer windows. It is also ideal for repairing gutters, coping stones, for laying and bedding slate and tile roofing. It is especially recommended for setting greenhouse glass because it does not shrink and fall out like putty. Use Elastic Roof Cement for all roof repair work where holes are too targe for Liquid Roof Cement. It is recommended as an ideal waterproofing compound for the outside of foundation walls below grade. S-W ELASTIC ROOF CEMENT--One hundred pounds of S-W Elastic Roof Cement will cover approximately 250 square feet of smooth surface one-sixteenth inch thick. S-W Quick Drying Ebonol Quick Drying Ebonol is similar to Ebonol but furnished somewhat lighter in body and prepared to dry quicker than regular Ebonol which becomes hard in approximately 24 hours. Quick Drying Ebonol sets in about 8 hours. 0 0 0 7 -SW P-000008665 S-W Ebonol Reducer Ebonol does not reduce with the customary paint thin- with Ebonol Reducer. This also causes Ebonol to become ners. When too heavy in body for certain requirements, thin quicker drying. ll FELT, RUBBER AND COMPOSITION PAINTING Fasten all looaa flashings, coat with S-W Elastic Roof Cement K'thick. Patch large crack* In eeama, hole* or Joint* with S-W Elas tic Roof Catnant H' thick and bntl edge* to meat the surrounding material. Finally apply a heavy coating of S-W Liquid Roof Cement, using a three-knot brush. RESATURATING For reaaturating dried out felt, rubber and composition roofing apply one heavy coat of S-W Bbonoi. TAR OR PITCH PAINTING If roof la In good condition apply a heavy coat of S-W Liquid Roof Cement to the entire surface, after having swept off ell loose ma terial. PATCHING Patten all loose flashings and cover with S-W Elastic Roof Cement fi* thick. For patching large hole* and leaks us* samt method# as recommended for Gravel and Slag roof*. VALLEYS CORRUGATED TIN AND IRON PAINTING If the roof dot# not leak apply one heavy coat of S-W Ebonol. PATCHING If the roof leaks patch the large holes with S-W Elastic Roof Cement; repair all flashing*, apply S-W Elastic Rd Cement Mm thick. Either S-W Liquid or Elastic Roof Cement* should be applied to th* entire roof depend ing on Its condition. TAR PAPER PAINTING For roof that doe* not leek we* S-W Liquid Rcof Cement applying a heavy coat over the entire eree. PATCHING Fasten *11 loose fleshings and eoet with S-W Elsstic Roof Cement if* thick. Fill ell large holes, cracks in scorn# end Joints with S-W Elastic Roof Cement. If th* paper Is worn be yond repair it should be replaced and th* Joints sealed with S-W Elastic Roof Cement to b* followed by a heavy coot of the Liquid. GUTTERS GRAVEL A SLAG PAUfTING If the roof does not leak S-W Ebonol a* a priming co a heavy coat of S-W Liquid PATCHING Fasten ell loos* fleshing $-W Elastic Roof Cement pair ell crock* In scams. Jo this materiel. Th* roof painting. SLATE PAINTING Slata roofs are never pain PATCHING Fasten ell loose slate* a one*. Use S-W Elastic Roo this and also repair the flashings. FLASHIN Where vellryt art In fairly good condition apply S-W Elastic Roof Cement with a trowel or putty knife thick over the lope, scam* end corroded Joints. In case of a bodly worn valley cut strip* of 4* pound felt to At the valley, coat underside of the felt with S-W Elastic Roof Cement shout H' thick; then cover the outer surface with a heavy applies- cation of S-W Elastic Roof Cement. If the gutters of your roof ere corroded re pair them with S-W Liquid Roof Cement 'i* thick. Use a stiff 4* brush. If th* holes in the gutter ere large apply S-W Elastic Roof Ce ment around th* edges; then cut piece* of felt somewhat larger then the holes. Nest eoplv S-W Elastic Roof Cement over them to At the form of th* gutter. Then cover the entire are* with s heavy coat of S-W Liquid Roof Cement. Loose or corroded fleshi cause of leeks. If th fles It down end coet with S-W ment i* thick. Double th 0 0 0 7 -SW P-000008666 ?i I S-W Save-Lite (Interior Eg-Shel White) READY FOR USE An intensely white finish for interior walls, ceilings and woodwork of factories, mills, dairies, stores, etc. Dries with an egg-shell gloss and is particularly desirable for its lightdiffusing qualities, without the objectionable glare reflected by a high gloss paint. On account of its heavy body, it has splended hiding qualities, covering dark or poorly painted surfaces with two coats. The first coat should be reduced 25 per cent with turpentine or S-W Universal Thinner, which serves as a size and sealer. Second coat should be applied as it comes from the can. S-W Screen Enamel Sherwin-Williams Screen Enamel is a finish especially made for wire screens. It does not clog up the mesh, yet leaves a durable and lustrous coating over the wire which prevents rust. It is made in green and black and is put up in half-pint to gallon sizes. Home-owners nowadays have learned that it is the easiest and the most economical way to dust off the screens and give them a coat of S-W Screen Enamel in the Fall before storing them away for the Winter. It is a real pleasure to have clean-painted screens all ready to use when fly time arrives in the Spring. 0 0 0 7 -SW P-0 0 0 0 0 8 6 6 7 S-W Touch-Up Black Every car gets scratched at some time or other. And every car develops rust spots at various points, such as around bolt heads, wind shields, hinges of the hood, etc. No matter how well the car may be kept washed, these marks remain and are the evidence of age in a car. It is a simple matter to keep a car looking new if you have a can of enamel handy and a brush to apply it when these spots are first noticed, but the average man isn't so equipped. ' Handy Touch-Up Black is always ready for use. The brush is soldered right through the cap of the can. A screwdriver pries open the cover in a jiffy arid there is a dandy little fitch brush right in the enamel all ready to use. Touch up the worn spot, replace the cap in the can and Touch-Up Black is ail ready for the nest time--no trouble--no fuss and the brush won't harden. The Touch-Up brush is round and pointed so that it will neatly hit the smallest spot without smearing up the entire surface. It contains stock enough, however, to spread out for an inch-wide stroke if an entire door or panel must be coated. Touch-Up Black dries dust free in half an hour and hard in a couple of hours. Has a brilliant high gloss and is a thoroughly satisfactory piece of goods in every way. 164 S-W Wagon and Implement Paint Farm machinery, wagons, tractors and equipment are subjected to much hard usage, but exposure to weather actually destroys more farm machinery than does hard work. It should, therefore, be painted frequently. Put a shed over your implements with S-W Wagon and Imple ment Paint. Unless painted, wood parts take up water and split, warp and rot, while rust makes short work of unprotected metal, as everyone knows. Then, too, well painted equipment looks better and indicates intelligent prosperity and pride in your work, for a painted surface is easy to keep clean. The use of Sherwin-Williams Wagon Paint is a real economy for it keeps artic and more readily saleable if desired. Wagon and Implement Paint is made colors shown below. It dries with a good the film is tough, elastic and durable. I use of farm machinery, but is a most han for all sorts of work around the home a as pumps, water pipes, etc. Furnished in pints, quarts, half-gallon COVERING CAPACITY: Approxima :ly 400 square feet, one coat per gallon. > HELPFUL SUGGESTIONS 2J^-Inch Soft Bristle Brush, Sandpaper, Putty Knife and Scraper, Sponge for washing, Fla Commonwealth Bam Paint S-W Taxite The Reliable Paint and Varnish Remover Sherwin-Williams Taxite is a liquid paint and varnish remover for use in taking off alt kinds of paint, varnish and lacquer finishes, indoors and out-of-doors. It is a.scientifically made remover and should not be con fused with such dangerous solutions as soda, lye, etc., nor with other makeshift removers. Taxite does not spend its strength in evaporation. It is so made that a film immediately forms over the top of the liquid, when applied, which locks in the active ingredients driving them into the old finish. A relatively small amount of Taxite, therefore, does a large amount of work. Taxite is SAFE. It does not harm the hands and it will not bum or discolor the lightest grain woods. It does not warp the wood, loosen veneers, or raise the grain. These disadvantages are characteristic faults of lye, soda and similar solutions in water. Taxite is most simple to use. The old few minutes so that it comes off withou putty knife. Where the film is thick, mo . cation of Taxite js necessary. Mouldin accessible places are easiest to clean w dipped into Taxite. It is good practice, t faces in the same manner after the bulk scraped off. Wash surfaces thoroughly with gasol using Taxite as any of it remaining on t vent the proper drying of the new finish Put up in half-pint, pint, quart, hal cans andl is ready for use as it comes in t KEEP TAXITE AWAY FROM FIRE. HELPFUL SUGGESTIONS Wide Putty Knife, Gasoline (for washing after Taxiting), Small Vegetable Brush (for carvin 0 0 0 7 -SW P-000008668 S-W Wagon and Implement Paint Farm machinery, wagons, tractors and equipment are The use of Sherwin-Williams Wagon 1 subjected to much hard usage, but exposure to weather actually destroys more farm machinery than does hard Paint is a real economy for it keeps article and more readily saleable if desired. work. It should, therefore, be painted frequently. Put a shed over your implements with S-W Wagon and Imple ment Paint. Wagon and Implement .Point is made i colors shown below. It dries with a good v the film is tough, elastic and durable. It Unless painted, wood parts take up water and split, warp use of farm machinery, but is a most handy and rot, while rust makes short work of unprotected metal, for all sorts of work around the home and as everyone knows. Then, too, well painted equipment looks as pumps, water pipes, etc. better and indicates intelligent prosperity and pride in your work, for a painted surface is easy to keep clean. Furnished in pints, quarts, half-gallons COVERING CAPACITY: Approximately 400 square feet, one coat per gallon. HELPFUL SUGGESTIONS 2^-Inch Soft Bristle Brush, Sandpaper, Putty Knife and Scraper, Sponge for washing, Flaxo Commonwealth Bam Paint S-W Taxite The Reliable Paint and Varnish Remover Sherwin-Williams Taxite is a liquid paint and varnish remover for use in taking off all kinds of paint, varnish and lacquer finishes, indoors and out-of-doors. It is a scientifically made remover and should not be con fused with such dangerous solutions as soda, lye, etc., nor with other makeshift removers. Taxite does not spend its strength in evaporation. It is so made that a film immediately forms over the top of the liquid, when applied, which locks in the active ingredients driving them into the old finish. A relatively small amount of Taxite, therefore, does a large amount of work. Taxite is SAFE. It does not harm the hands and it will not bum or discolor the lightest grain woods. It does not warp the wood, loosen veneers, or raise the grain. These disadvantages are characteristic faults of lye, soda and similar solutions in water. Taxite is most simple to use. The old f few minutes so that it comes off without putty knife. Where the film is thick, more . cation of Taxite U necessary. Mouldings accessible places are easiest to clean wit dipped into Taxite. It is good practice, too faces in the same manner after the bulk o scraped off. Wash surfaces thoroughly with gasoline using Taxite as any of it remaining on the vent the proper drying of the new finishin Put up in half-pint, pint, quart, half-g cans andl is ready for use as it comes in the KEEP TAXITE AWAY FROM FIRE. HELPFUL SUGGESTIONS Wide Putty Knife, Gasoline (for washing after Taxiting), Small Vegetable Brush (for carving, 0 0 0 7 -SW P-000008668