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0007-SWP-000006355 I * Paint Catechism for Paint Men t i *r a B. HECKEL Editor Ococfa OU> nd Pultili 5*cr*(*tjr Pttst MwdKtNirt' Aual*tlu of tho U. S. Socwwy NttMul Vnmlli Mndmwi' AnWMti Srcrrtafy EfccuM Point tinri' Anoeionon of tfcr U. X and NotMaoi 1 VtnMi Mudiehiitn' Ab-- i Mrabrr Antilaa Joafty for TnHat KUmtola Wraikor MwikM QanHil fanny, rcc.. tc. \ iI SIXTH EDITION 1925 Coy>TTlbiMt *M) VrU. HECKEL i i 0007-SWP-000006356 , PREFACE TO SIXTH EDITION | Tbit sixth toss been nude necessary by the fxhsastioe of the preceding editice, Advasuaga hu been taken of tint opportunity { for gasenti revision, to brine the text into eon* fonnhy with the latest developments in technology ^ti<< encsice, j Phils-, Hatch 2, 1925. j PREFACE TO FIFTH EDITION I This fifth Edition it issued is response to ia MUtmt dcauad. The revision* involved, while ; not cxtnrive, serve to keep the Catechism up to , date, j Philadelphia, Jiawy 15, 1922. i PREFACE TO FOURTH EDITION j The Great World War lost ended, has brought many advances in the practice and techaologay of the pant ioduttry. The rate of progress and re search oe certain specialties of paint manufacture, necessary to the condnct of the war, fat* been periapt five tones the rate of sach progress in \ normal times. Tens and, in some cases, hundreds of thousands of fallens of specfcBy designed and specified pants have been applied to ships-of-war, csnnnitwsu buildings, ordinance equipment, aero* pines, vthides for transportation, etc, etc. The results of these gigantic experiments are being observed with the keenest interest. The sale of nearly a million copies of this "Catecbam," siatt its first edition, involves the necessity of constant revision. The eosdial reception accorded previous edi tion*. warrant* foonnned attestien to detail in its preparation. Phila. Pa, February 5, 1919. Thanks are dae for the present revision to James , . HedceH | PREFACE TO THIRD EDITION , During the past ten yean the paint industry has I advanced more than a the preceding half cen( tury. Conditions change from day to day. For ' example, the litbopooe industry, which is this ! country is not yet a quarter of a century old, has become one of the most important connected with the paint trade the amua) output being over 100.000 tons. Other prodacu, introduced within a few years, are full of promise, and the tech-' oology of paint is daily became more definite. This "Catechism," from its first issue, has met with a gratifying reception, and the continued demand involves the obligation of keeping it abreast of development in the industry. With this obligation in mind, the present re vision has been undertaken. It is hoped that it may meet with the approval accorded to its pred ecessors. Fhiltn Pa. February 1, 1917. PREFACE TO SECOND EDITION The first edition of this little compilation met with a reception that proved its acceptability. The first issue of twenty thousand conies was ex hausted almost before it was off the press, and rapidly succeeding reprints have been taken, un til the total cumber of the first edition amounts to 250,000 copies. As orders are still being re ceived, it has become necessary to replenish the supply. Four years have elapsed since the booklet was written, and in the meanwhile the naint industry has rapidly advanced. New materials have been made available, new methods of using old mate rials have been discovered and field tests have given us more definite information regarding the comparative value of paint combinations. Among the new technical discoveries is the rev olutionary work on corrosion and the resultant theory of inhibition developed by Cushman. Welker, Gardner and others, whose investigations have profoundly affected the practice of manu facturers in this field. Among the new materials tentatively or defi nitely in use is soya bean oil; and among the old materials for which new or more defame uses have been found, are lithopooe. menhaden oil and benzole. 0Q07-SWP-000006357 It has seemed desirable that these technical ad vance sbottld be included in a new edition of the "Paint Catechism." These additions, therefore, and some desirable modifications hi the remaining text, constitute the present revision. It is hoped that this new and revised edition will prove as acceptable as the old edition more could not be expected. Fhila, Pin October 1, 2911. INTRODUCTION TO FIRST EDITION The compiler of the following questions and answers claims no originality in subject or sub stance. It has seemed desirable that idlers of paint should have available, in compact and convenient form, the technical knowledge of their specialty which has been acemnulatin* duritur the put half century. This "Paint Catechism" is. therefore, a compendium of each information, gathered from many sources, and condensed for quick reference. Where actual quotation has been made, the au thority is given; but those definitions for which no authority is cited, while m no ease original except as to language, must be credited to the writings of paint chemist* and technical authori ties in general. It is hoped that the booklet may prove a real convenience for those for whose use h is intended^ 4 THE PAINT CATECHISM 1. What is paint! "Any liquid or semi-liquid substance applied to any metallic, wooden or other surface to protect it from corrosion or dear, or to give color or trios*, or all of these qualities, to rt"--Wood. More properly speaking, paint is a mixture of opaque or semi-opaque substances (pigments) with liquids, capable of application to surfaces by mean* of a brush or a spraying machine, or by dipping, and of forming an adherent protective or decorative coating thereon- 2. What is the parpens af paint? To protea or to beautify surfaces, or to perform both offices. Paint it also valuable as a sanitary agent 3. What it house paint? House paint is paint designed to preserve and to beautify the surfaces of material* used a the construction of buildings. 4. Vkit is the best house paint? That paint which most completely fulfills the offices named. 5. What am the matarfali asad in manufac turing hauao paints? Pigments, drying oils, volatile oils or "thirmers," drier* or "Japans" and varnishes. fi. Hew may those pigmanta ba divided? Into white bases, inert triafwas* pigment*, natural earth eolors, chemical colors, lake colon. ere. 7. Name the white buses. Zinc oxide, basic carbonate whim lead (or cor roded white lead), basic sulphate white lead (or sublimed white lead), leaded tines and IHbopone; titanium oxide: together with certain inert or re inforcing pigments (described herein under their proper mica). Other white pigment* ere at pres ent under investigation. f ', i , ' ! j ; ! [ i ( ! , 0007-SWP-000006358 8. What is Zinc Oxlda? Zinc oxide is s combination of one atom of metallic zinc with one atom of oxygen. It is pro duced by two methods* one known as the French and the ocher as the American process. In the French process, the vapor of metallic zme (or 'spelter'*) is homed in a earrent of air and the product of combustion, zme oxide, is collected in dosed chambers, la the American process, ores of zme mixed with finely powdered anthra cite are volatilized in a dosed furnace, having perforated grate bars, and the resultant zinc oxide, after being blown through a series of cool ing flues, is collected in fabric bags. 9. What are the characteristics of sine oxide? In texture h is the finest oi all white pigments and in color the whitest A pound of dry rinc oxide occupies about 5077 cubic inches, while a pound oi corroded white lead in the same con dition occupies only 14.69 cubic inches. In con sequence of its extreme fineness it requires more oil than any other white pigment to fit it for ose with a brush. In one hundred pounds of zioc oxide paint ready for use there are about 46 lbs. of oil .and, 54 tbs. of pigment while the propor tions in i corroded white lead paint of similar consistency are about 75 lbs. of .pigment to 34 lbs. of oil Zinc oxide is unaffected in color by any gases presort in the atmosphere, has no ef fect upon any pigment with which it may be mixed, and is non-potsonons. 10. What are Leaded Zfses? Oxides oi zinc produced from ores of ame which contain in association a certain proportion of lead Sulphide ores. In the process of manu facture the lead sulphide is transformed into basic lead sulphate (sublimed white lead) and inti mately united with the cine oxides. These pig ments are made with definite percentages of basic lead sulphate, ranging from about five to about thirty-five per cent, according to the purposes /or which they are to be used. The recognized grades contain respectively under five per cent; ten per cent: twenty per cent; and thirty-five per cent, of basic lead sulphate. Other types of leaded zinc are produced is which the lead supplied is not basic. i 1 1 j II. What are the Characteristics of Leaded Zincs? In fineness they are similar to other zinc oxides, in whiteness slightly inferior. Their opacity and "body" are measurably greater on account of the contained lead sulphate. All westers zinc orc contain some lead. ' , j, t 12. What fa the effect of a small percentage of Zme sulphate in paint? "Nearly all zincs contain a small percentage of zme sulphate. Much unnecessary trouble has been ' caused by the criticism against rmi> sulphate. Where a paint contains moisture or where water >s added in a very small amount to a heavy paint m order to prevent it from settling and not more than one per cent, of actual water (net water of hydration) is contained in the paint zinc sulphate forms an excellent drier, partitmlarlv where it is desirable to make shades which contain lamp black. The outcry against zinc sulphate is unwar ranted because as much as five per cent is osed ' in malting a patent drier. The amount of zinc sulphate, however, in most of the dry zinc pig- ' ments. decreases with acre. * * Jn the enstnti paints, the presence of sine sulphate is not a detriment and in floor paints it might be con sidered as a slight advantage, for it aids in the drying and hardening."--Took. 13. What is baaie carbonate or corroded white lead? It is a compound of metallic lead with carbonic acid gas (carbon dioxide), oxygen and the ele ments of water. It is usually described as a combination of hydrated lead oxide with lead carbonate, in the proportion of about two parts t j t i 7 0007-SWP-000006359 of the tatter to one part of the former, though these proportions vary. Corroded white lead of the thawtiitafly correct composition is very opaque and dense, and though not so white as rinc oxide. if quite white An excess of either chemical con stituent impairs its good qualities or its color. It is prepared is this country by three processes, known ss the "old Patch" or "stack" process, the cylinder or "quick" process and an American modi fication of the Dahl process (Matheson). 14- What la old Dutch ptoeeaa White Lead? The process generally known by that name is an English modification of the original Dutch process. The process as used in this country is in outline as follows; Metallic lead melted and cast into perforated disks, called buckles, about six inches in diameter, which are piaeed in pots enntainintr. in wells, about one pint of dilute 3% acetic acid (vinegar). These are olaced in rooms holding several layers, or tiers. 600 to 1000 pots each. The pots are cov ered with boards and layers of tan-bark, placed between each tier. The rooms, technically oiled "stacks." an kept closed. During a period of about 120 days the heat and the carhrtnic arid gas generated by fermentation of the tnn. together with the arid vapors, combine to transform the lead more or less completely into a white, flaky substance (basic lead carbonate). This, after it is . crashed, screened, floated, ground in water and dried, forms the white lead of commerce, and is either sold in the dry state to paint and color manufacturers, or *rotmd in linseed oil and sold for general palming purposes. White lead thus produced is a compound of lead hydroxide- and lead carbonate. It is somewhat . variable in composition. Thus, in four analyses reported by Prof. Hurst, the proportion of carbo nate ranged from 63.35 per cent, to 72.15 per cent: and that of the hydroxide from 25.19% to 36.14; and that of the moisture, from 0.42 to 3 nothing. Prof. Church gives the ideal propor tions as. 70 per cent of the carbonate to 30 per cent, of the hydrate. Fifteen different American brands of pure old Dutch Process White Lead analysed by Dr. S. P. Sadtier varied from 6070 to 81-90 lead carbonate and 17.03 to 3&60 lead hydroxide. The samples analyzed were commercial leads extracted and dried. Church reports as high as eleven per cent, of normal lead acetate in Euro pean flak* white. The color is also somewhat variable. White lead combines readily with linseed oil, works easily under the brush and increases the drying properties of linseed oik ' I 15. What is Cylinder or "Quick Process" White Lead? la this process the meltrd lead is blown into flue granules by means of a jet of air or super heated steam. This powdered lead is charged into large, slowly revolving wooden cylinders or drams, moistened with dilute acetic arid and subjected during several days to the action of air and puri fied carbonic arid derived from burning coke The subsequent procedure remnblrt closely the methods of the old Dutch process. The whit* lead produced b generally finer, whiter tad more uniform then Dutch process white lead. Chemically it resembles the Utter . very doeriy, and b essentially the same, but owing to its greater subdivision, requires more oil to prepare it for use. r . 16. What is Dahl *r Math--on process White Lead? In the modified Dahl (Matheson) process the metallic lead b first reduced to a fluffy or feath ery condition by pouring the mob-- octal into water. It is that placed iu stationary tanks and by the action of dilute acetic add, air sad steam. converted into a basic acetate of lead. The passage of a stream of carbonic arid gas through this solution preeprtstes the lead in tge form of the 9 ! I f I j j j 0007-SWP-000006360 basic carbonic (white lead). Washing, drying and grinding follow, as in other processes. The lead prefaced in this manner is exceptionally white, hoe and unisons, and the panicles are amorphous and not crystalline, as in other predpitattoo processes. Owing to ils fineness it re quires more oil to grind than other leads, exceed ing "quick process" lead in this respect as the latter exceeds "stack" lead. The obscuring power of precipitated leads is generally lower than that of corroded leads. 17. What are the characteristics of Basic Carbonate White Lead? "It is scarcely necessary to point out that, as white lead is made by many processes, it must necessarily vary in composition; indeed, the white leads yielded by the same process do not always hare the same composition."--Hunt. White lead is one of the most opaque of white pigments, a fact due largely to the small proportion of liquid required to reduce it to painting con sistency; its spreading power, however, is corre spondingly reduced. The lead hydrate contained in it may unite, under certain conditions, with the adds of linseed oil to, form a lead soap, which, while improving its brushing qualities, reduces its durability, h changes into the black lead sulphide on exposure to hydrogen sulphide gas, but further oxidation yields lead sulphate, which is, - again, white. While a most useful and valuable pigment on account of its opadty and working qualities, it is subiect to somewhat rapid disintegration. The durability of a good white lead paint may be tram three to five years, but in die meanwhile the paint wilt have disintegrated on the surface and begun to wear off in the form of a fine pow der ("chalking") or to come away in minute flakes ("scaling"). Another technical defect of white lead, as gen erally used, is that it is sold in the form of a very thick paste, containing only about ten per cent, of oil. The purchaser adds the necessary Squids to fit it for use, stirring the mixture with a paddle. 10 Uniform consistency is not obtainable in this way, and the paint produced is inferior in that respect to that produced by means of mechanical mixers. 18. What is Pulp Ground Whit* Usd? As explained in connection with the manu facturing process, white lead in its final stage, before drying, it floated in water and allowed to settle. When the excess water has been decanted from the settling tanks, the residue it known as pulp lead. If this paste be intimately mixed with linseed oil, the oil will gradually displace the water, which can then be drawn-off. Pulp ground white lead is pulp white lead which has been mechanically mixed with oil, without previous drying; the mechanical process facilitating the displacement of the water by the oil The com pleteness of this displacement depends upon the duretion of the process. Iff, What fa Sublimed or Basie Sulphate White Lead? "This product ts to named bemuse it is ob tained by a sublimation or `fame* process from lead sulphide (gaknite or 'galena') ores by a process analogous to that used to produce Amer ican zinc oxide and the leaded sines. The product U obtained directly, without grinding,aa a very fine, impalpable white powder. Chemically, it is differ ent from ordinary white lead, being apparently a basic sulphate and * * * has approximately the following constitution .* Lead sulphate .............................. 77% Lead oxide ........................................ 15% Zinc oxide ......................................... 8% "It exceeds in the fineness of the particles the ordinary grades of white lead, and is at least equal to them in whiteness, body, coming power and wearing qualities. It differs from ordinary white leads in being oon-poiaonoas, and mists die blackening action of the sulphur compounds of sewer gas and of fuel gas to a ranch greater de gree."--Ladd. n ; i 0007-SWP-000006361 "The lead sulphate and lead oxide are chem ically combined in sublimed white lead, iorming the true basic sulphate (approximately h'bj Si 0). This chemical combination of the sulphate and oxide iota the basic compound explains the high degree cl opacity which this pigment possesses. Its physical structure is entirely different from the ordinary lead sulphate, which has no pigment value, because it is crystalline and transparent in oil. The zinc oxide present is caused by the pres ence of a small amount of sine sulphate (spha lerite) in the ore used in its manufacture."-- ilugktt. 20. What ax* tha characteristics of Baaie Sulphate White Leud? ` Like all pigments produced by sublimation process, sublimed lead possesses in its ultimate pari'do a uneoess far superior to that oi pigments uinerwise produced. On account of the extreme fineness of its panicles it does not settle out of liquid mixtures. Being an oxysulphate, it resists die discoloring action of hydrogen sulphide and ocher harmful gases is the atmosphere longer chan does any other lead pigment it is unicorns in composition, noa-poisonous, and has no destructive effect on the paint vehicle. Expert paint manufac turers early recognized these characteristics and the paint manufacturing industry consumes prac tically the entire production." When used alone it "chalks" rather more freely than corroded white lead. 21, What la Sublimed Blue Lead? A sublimation product closely allied to sublimed white lead, the process of manufacture being simi lar, of somewhat different composition and color. A characteristic analysis follows: Per cent. Lead sulphate .................................... 52.92 Lead oxide................... 37.48 Carbon......... ............................... . 22S Zinc oxide ....................................... 2 to 4 Lead sulphite ................................1 to 1$4 12 22. What are the characteristic* of Sub limed Blue Lead? Being a "fume" product, its spreading power in oil is high (more than twice that of red lead). Its lead content is as high as in other lead pigments. It remains well in suspension and brushes well, having better tooth than most lead pigments, it is practically "inert" to linseed oil and is not atfected by atmospheric gases. The official tests place it high among the class oi rust-inhibitors. 23. What it Liihopone? Lithopone is essentially a combination of ccprecipitated cine sulphide and barium sulphate (blanc fixe or "permanent white"). It is pro duced by the simultaneous reaction on one another of solutions of xinc sulphate and barium sulphide, the two chemicals in solution being is the correct chemical combining proportions. Tbe two sub stitution products being formed and predpnated simultaneously, the union is very inornate. The process is . completed by dropping suddenly in cold water while hot, which is known as "quench ing." The product is washed, dried, finely ground, and bolted through silk doth. The pigment is very fine, white and amorphous, and if properly made has excellent body and most valuable prop erties as a pigment. Ordinary lithopone has the peculiar property of darkening in sunlight and recovering its color in the dark; and on exterior exposure it "chalks" very freely. This photo genic property, or sensitiveness to light, has now, however, been practically eliminated in the stand ard grades. It finds extensive use in the manu facture of "flat," washable wall finishes, in enamel paints and in hnptpvir and shade-cloth manufac ture. "When the material first appeared we examined it and it seemed to be the thing we were hunting for, something that was free from objections to white lead and sine white. * Experiments with it seem to indicate that it baa covering power, body, working qualities and chemical inertness." --DndUy. 13 0007-SWP-000006362 24. What arc thi characteristics of LithoPOM? Fineness, whiteness, body and opacity. "As an interior white, a first coat white, a ready-mixed fiat paint for a surface, or as a pigment in the lighter shades for floor paints, lithopone cannot be excelled for its body durability, hardness, fine* ness of grain, and ease of application. * The paint chemists should be permitted to decide when its value is the greatest As a marine paint, either as a first coat or for making neutral whites where other whites would be necessary, it is found to outlast both zinc oxide and lead carbonate."-- Teek. It is the chief pigment component of most flat wall paiots. and is coming extensively into use in exterior house paints. 25. What are Titanium Piamenta? The effective base of these pigments is titanium oxide, usually produced in the electric furnace irons rutile or other titanium*bearing minerals. As the electric energy required ior extraction make the pure oxide rasher expensive, it is com monly mixed with precipitated barium sulpliate (blarve fixe). In this form it is a very dense white pigment, highly inert and resistant to most chemical reagents. It is used commonly ,in armbination with zinc oxide for much the same pur poses as lithopone. The American product is marketed under the trade-name "Titanox." 26. What fa an "inert or reinforcing pig ment?" An inert pigment, properly speaking, is a chem ically stable, solid substance used as a component oi paint--one which neither acts upon nor is acted upon by any other constituent. In this sense lamp black, graphite, carbon black, lead sulphate, smalts. ete_ are inert pigments. Commonly, how ever, the term is applied to certain white or color less substances added to white or colored paints for various technical purposes; especially to form the solid base on which staining colors are to be precipitated (as in the chemical lakes), to de* 14 crease the preponderance of chemically active pigmenu in the paint film (as where barytes or silica is added to basic carbonate while lead), to limit the excessive spreading power of a paint and thus to increase the thickness of the paint film, and to give it '`tooth" (as where crystalline barytes or silica is added to white paint bases). The word "inert" has come to be used in con nection with these pigments, because, speaking gen erally and in a broad sense, they have the advan tage of being cheaieaUy stable or "inert" and not affecting color nor destroying the life of the vehicle. "A more practical definition of the inert reinforcing pigments would be to state that they comprise a class of materials, each one of whichpossesses all of the valuable qualities of the true pigments with one or more exceptions; u for in stance, an inert pigment say possess covering power, proper performance in the vehicle, abso lute chemical stability or inertness, the main tenance o! tons while reducing the strength of color, and yet while bring deficient in great obscuring power or opacity as compared with white lad, for instance, this one drawback of inferior opacity will be mere than offset by the peculiar qualities and advantages to the resulting paint winch are entirely lacking in white lead and cannot be procured therefore!. Therefore, the manufacturer can obtain all the necessary obscuring power by a proper proportion of true pigmots and gain the peculiar and equally im portant advantages from the use in addition of such a reinforcing pigment."--Perry. 27, Which ar* tba inert pigmanta in com mon ana? Barium sulphate (barytes, blanc fixe, perma nent white) silica (silex, .rilirious earth), mag nesium silicate (asbestos, asbestine, talc), alumina (china clay, precipitated alumina, feldspar, kaolin alumina hydrate), calcium sulphate (gypsum. terra alba, burst gypsum or anhydrite), calcium carbonate (white mineral whiting, etc^ etc.). primer, Paris white, , \j i ! 0007-SWP-000006363 23. What ia Barium Sulphate, Barytes, Blanc Fixe or Permanent White? Barium sulphate cooes into .paint manufacture coder several forms dependent upon the method of preparation. Cbesnalij, it is a compound of an atom of the metal barium with one molecule of sulphuric add, the former replacing the two atoms of hydrogen normally existing in the latter. It is found as a natural prodoct m many parts of the world, and is a usual accompaniment of lead and ztoe ores. The principal sources of sop* ply in this country are in ifissotui Arkansas Ten* neasee. North Carolina and Virginia. The process of preparation consists essentially in grinding, removing impurities in an acid bath, and thorough washing. The finer grades are fur* thcr separated by water Seating. Precipitated barium sulphate, commonly known as blanc fixe or "permanent white" is produced by precipitation of a soluble salt of barium from so lution by means of a soluble sulphate. The barium sulphate is thrown down as an impalpable amor phous powder. The method is similar to that for lithopone, except that the substitution product here remains In solution. In the preparation of several of the more per manent bices, barium sulphate is thus precipitated simultaneously with the "striking" of the color, the union of base and "stabler" bring thus made more intimate and faming what is known as a lake color. 29. What are the characteristics of Barium Sulphate? Its chief characteristic is extreme chemical sta bility. It does not react with any other material used in paint --and remains absolutely unaffected by the elements or by any gases dr vapors found in the atmosphere. It is. in the full meaning of the term, inert. It is also prac tically colorless when mixed with oil, hence has no modifying effect upon colors mixed with it. It is. therefore, an excellent medium for diluting highly colored pigments without modifying their 16 tone; for diluting chemically active pigments and thus prolonging the life of the oil in a paint film; for modifying the spreading power of many finely divided pigments, and for increasing the thick ness of the individual paint film. It has beat long used for admixture with lead and cine hi white paints, and this addition, if moderate in percentage, is held by practically all competent authorities to increase the durability of such paints. 30. What ia Silica (or S0os>r It Is an oxide of the "metalloid" silicon, con sisting of one atom of the latter with two atoms of oxygen in the molecule of silicon dioxide or "silica." It is very abundant in the earth's sur face and exists in many forms, of which quarts, rock crystal amethyst, quartz-sand and flint arc the most familiar. For use m paint manufacture rt is prepared in several ways. By one`method the transparent cmartz rock is first disintegrated by heating and dropping into cold water, followed by grinding and bolting nr water floating. In another fine quartz sand is similarly treated. Still another source of supply is the aaaoecopic skeletons of diatoms found in the dry beds of geologic oceans. This grade is known as silidous earth, and re quires only clesnsing and bolting to fit for use. 31. What are the characteristics ef Silica7 Hardness, inertness, eolorlessneu and "tooth." dues to the sharp jagged form of particles. In oil it has even less color than barytes. It is used for practically the same purpose as the latter, and very widely as the mineral base of paste wood fillers, for which purpose it is generally held to be unequaled. In paints, it is held by some manu facturers to be superior to other inert pigments because of what is termed its "tooth," meaning the firmness with which-it takes hold on a wood surface or adheres to other coats of paint i 0007-SWP-000006364 32. What is blagaaatam SUicaU? A complex combination of lilidc acid with the metal msguoium and water of hydration, combi* nation or wystailizatieft. Serpentine, ubuioi, Jade, and chrysolite are tome of the forma under which it appears in nature. There forma are of great variety aod shadt into one another, both in chemical composition and physical properties. The forms used m paints are generally modifications of talc and asbestos. For such use it ia purified and ground to impalpable fineness. 33. What are the eharaeteriatica of Magneaiutn Silicate? Inertness, fineness, unctnosity, lightness of grav ity and a sort of physiol "flutfiness," which tends admirably to keep it in suspension. Id its prop erties as an inert pigment it resembles those al ready considered, but physically it is very different It is much softer, nukes a very smooth paint and is held by those who use it to prevent "settling in the can" to a greater extest titan the other pigments of this class. The hair-like structure of the asbestiform varieties is also held to be mechan ically advantageous. It is of especial importance in the production of fire retardant shingle paints. 34. What la Alumina? An oxide of the metal aluminum, consisting of two atoms of the latter combined with three atoms of oxygen. In this form it occurs in nature as corundum, emery, ruby, sapphire, etc Alum, which is a sulphate of aluminum, under certain conditions precipitates a trihydrate of aluminum, which is a powerful absorbent of organic dyes. This fact is taken advantage of in dyeing fabrics and the preparation of several of the lakes. The silicate oi aluminum--China day, kaolin and feldspar--is usually, though incorrectly, called `sitimi'fia1' aod hence is described here under this heading. These substances are complex hydrated silicates of aluminum (kaolin or China day being fddspar which has undergone decomposition by age-long action of the elements, known as meta morphosis). The former is taken from the earth, washed and floated to prepare for use 1 35. What are the eharaeteriatica of Alumi num Silicate? Inertness, practical absence of color--though iu this the days are inferior to barytes and silica, while fddspar is about the same--impalpable fine ness ia the case of kaolin, appreciable "tooth" iu the case of feldspar. Otherwise the material is comparable, to the silicate of magnesium in its properties. An important eastern railway com pany has for years specified China dsy as a com ponent of its station paints. 33. What ia Calcium Sulphate? The hydrated sulphate of the metal calcium, consisting of one atom of the latter combined with one molecule of the sulpfasric add radical and two molecules of water of crystallization. When a past of this water is driven off by high heat the substance becomes "plaster of Paris," which again hardens oo absorbing water. A similar phenom enon is familiar in Portland rrnirnt Caleus sul phate in its native form is known as gj'fii mu -- when transparent, as srieuite. When completely, dehydrated by fMw m this property is destroyed. For use in paints it is carefully gromd. so as to avoid driving off the water of crystallisation, and bolted. 37. What are tho characteristics of Caldum Sulphate? Inertness, medium softness, eolorkeaness, and ease of manipulation. It is soluble in SOO parts of water; that is, one pound will be dissolved by about 63 galkau of water, sad tins psopeny im pairs its value. If the hydration be complete gypsum is fairly dfident and for some purposes would appear to be preferable. Dr. Dtmlcy, of the Pennsylvania R. It, gave it full preference. 38. What is Calcium Carbonate? A combination of the metal calcium with the carbonoic add radical in the proportion of one molecule of the former to one of the latter. It is familiar m nature as marble, chalk (from which whiting is produced by grinding, washing and i9 * * "l * ** < 0007-SWP-000006365 floating), Mexican onyx, crystalline ealeite. etc. For use in paint it comes in the torsi of the finer grades of whiting, Paris white (both made from floated chalk), mineral printer (made by grading and bolting a natural cakite or dolomite), etc. 39. What are the characteristics of Caltinm Carbonsta 7 Eyh of these forms of cateiua carbonate has its own peculiarities. The finer qualities of chalk produced from ancient shell deposits, when finely washed and floated, produce a product known as "Paris white" or "bolted whiting." This is prac tically amorphous and is extremely fine, tends to hold pigments in suspension, .neutralises any free mineral acid in the oil or pigments, spreads well and is useful with heavy oxide pigments. Another type of calcium carbonate is white mineral primer. This has a definite structure, but is ground ex tremely fine and floated. Both of these forms of calcium carbonate are found useful in many types of paint where advantage is taken of their physical as well as their chemical characteristics. Thus any residue of sulphuric acid remaining in linseed oil from the refining process, any traces of mineral add remaining from bleaching barytes, and excess of sulphurie acid in the iron oxides, can be most safely and effectually neutralised by an addition of calcium carbonate to the paint For this purpose the Pennsylvania R. R. specifica tions require the addition of a small percentage of this ingredient It is worthy of note that the old-time putty, which was made of linseed oil and calcium car bonate alone, has been known to endure, witlxuit apparent deterioration, for half a century. 40. What axe Natural Earth Color*? Colored compounds found as deposits in the earth and utilized as pigments, either in their natural state after grinding and purification, or after further treatment, such as oxidation by burning, calcination, etc. The principal varieties .ire the mineral browns (Prince's mineral), ochres, umbers, siennas, natural iron oxides, mineral black 20 and a few allied substances. Of these. Prince s WMMre/ is a natural iron carbonate (Sidertte) which is changed to ferric oxide by fumaang in a current of air r raw umber is a similar natural non oxide containing manganese and burnt umber the same, changed by heat Raw sienna is an allied mineral and burnt sienna the same further oxidized by calcining. Siennas and umbers are similar in composition and origin. Similar to these are the so-called "asides" pro duced by grinding the natural iron oxides (he matites) iron various localities. They range in color from a warm brown to a brilliant scarlet, dependent upon the composition of the original mineral and the degree of oxidation. Similar highly colored products' arc produced by driving off the sulphuric arid and water from sulphate of iron (green vitriol). FcnrhcH m/, an allied product is produced by precipitating the iron oxide from a green vitriol solution with lime water and afterward oxidizing in a furnace. The resultant product is a dose combination >f iron oxide with calcium sulphate. Veoetian reds nf similar character are also produced by grinding high-grade iron oxide with inert bases, such as caichun sulphate Ocfcm are hydrated iron oxides permeating clay base They are produced by age-long perco lation of water through a body of iron ore iuio adjacent veins or beds of day. They differ widely in color, toee and composition. 41, What art Chemical Colon? Chemical colors are pigments produced by chemical action of one suutanee (usually in solu tion) upon another, resulting in the precipitation of a colored compound. Following are the prin cipal chemical colors in common use: The various Prussian or cyanide blues (Chinese blue, Antwerp blue, Mtiori blue, brense bine, etc.), made by precipitation of a solution of a soluble salt of iron (ferrous) l>v a solution of potassium; or. more recently, sodium ferro-cyaside, and subsc- 21 0007-SWP-000006366 quern wrwtpinw of the precipitate (which is a first white ia why tad is Imown u Everett's salt or "migmi") to the hark blue ierri-cyamde condi tion. Tbt chromes or oks-Miot* yeliovt ire made by pteaptttnng a aolubk kid tab with soluble chrocate, the resultant product bemg a lead chro mic. The various shades (light, medium, deep, orange, etc.) ire produced by precipitating with the chromite soar modify*ag substance like lead sulphate or barium alpha? or admixture of white lod, etc., or by using hi some cases acetic add and is others nitric sad to dissolve the lead awn- oxide (litharge) used. There it also a very permanent ante chrome (used in "inhibitive" paints tor structural steel) in which the lead base replaced by rise Chrome or ehromete greens are combinations oi a specially prepared Prussian blue with chrome yellow, usually precipitated together and modified in the darker neutral shades by the type of chro mate used. These greens m their pure state are unsatisfactory as to permanence, diffosjbiiuy and color, hence it is practically the universal custom to precipitate on or grind with them some inert protective pigment--barium sulphate or silica pref erably--which diffuses and reduces the pigment without materially impairing its color or opacity. A hjgb*gnde of commercially pare green, there fore, usually contains 75 per cent or over of barytes. These greens should never be used with a white base containing lad carbonate, as the Prussian blue content may be bleached by it in the an. Oxide of troe, sublimed white lead, or -a leaded sine should be used as the white base. Chromium aside, the original "chrome green.'* is now but little need on account of its high cost. Where great permanence required, as on rail road signals, letter boxes, and the starboard light boxes of vessels it is still used to a limited extent Ultramarine bin#, cobalt blue, English or Chi nese vermilion, red lead and arm?* mineral, may also, ia a certain sense, be termed chemical colors, in dot they are the products of chemical trans feraapjn. The two blues art produced by a ape- 22 cial method of fusing together the components oi lapis lazuli (the original ultramarine), kaolin or China clay, sodium sulphate, sodium carbonate, sulphur, coal or charcoal, rosin, quarts and diatomaccous earth being among the materials used Nether of these colors should be used with any ether pigment or substance containing lad White lead, chrome yellows, chrome greens and eves oils containing lad driers are therefore debarred. Basie sulphate white lead (sublimed white lad) does not act so strongly as the carbonate in dis coloring the blue, but is thought to act aligbtly, The preferable white bases for these colors are zinc oxide, sublimed lead, "thaaox," or litbopone, with or without the addition of inert pigments. There are two tnx cobalt blues, of which one is familiar at Memalt,M a blue glass, colored by mans of cobalt oxide. The other is a compound oxide of cobalt and ahnftina. It is more familiar aa as artiifs color than u a pigment for bouse paints. The qmchsifarr vermilions are sulphide of mercury, produced either fay sublimation or by a precipitation process. Their color is appar ently doe to the form of the parades, and gradusually changes, on exposure, to the natural brown or black of the normal sulphide of mercury. They have bees largely replaced by the so-called American vermiUons and vermSvmettet; the later, being really a form of lake, will be described under that beading. American vermilion, sometimes designated as Chinese red, Persian teorlel, scarlet chrome, etc., wu for many yarn m pat demand, owing to . its permanency, but as it loses its brilliancy by the breaking of its crystals when milled, it is now largely replaced by the aniline scarlets, which are classed among the fastest of the vermiliottettes. In composition it is a basic chromate of lad, re quiring special treatment to develop its color. (It is as excellest "inhibitor" or retardent of corro sion on steel surfaces.) Prd lead and orange mineral, as well as litharge. are oxides of lead. The first-named is produce*! by further oxidation of litharge at a low bat 23 ..Hr 0007-SWP-000006367 in an open furnace. Orange mineral is usually produced by oxidation from the carbonate of lead instead 0/ pig lad, and is'-therefore amorphous in structure and not crystalline. This makes it much easier to hold in suspension, while in color is lighter and more brilliant. These lead oxides form a cement with linseed ell and tend to harden in the can. Freshly mixed, they form as excellent protective coating for metal surfaces, but in time they produce "livery" paint A fully oxidized red lead has. however, been introduced which is tree from thts objection. The addition of certain sub* stances in small percentages delays this action. Fine grinding impairs the color. 42. What are Labe Colon? A lake color or pigment lake is a pigment pro duced by the combination of a dye with a mineral base. The varieties are exceedingly numerous. The number of such pigments among artists,' litho graphers' and carnage colors is, however, much larger than among house painting materials, since many of the lakes are transparent or translucent. Some of the lakes are formed by simultaneous precipitation oi the mineral base from solution with the coloring rostier. The preferred base in such cases is usually either slamina or barium sulphate. The "para" redt (paraaitranaline lakes) which have come into extensive use on account of their beauty, durability and body, are more brilliant and more permanent than Quicksilver vermilion. Neither class of reds can be used with s white lead base without destroying die color. AlUarmc and toiuiditt* redt are preferred for some pur poses. 42. What ore the Carbon Blacks? The carbon blacks are practically pure carbon. They comprise lamp block, a rpecially' prepared soot from oil lamps; gas blacks (commonly known as "carbon blacks') from natural gas; and graph- 24 |vwwvt ouw uo produced arti&cially by means of the electrical furnace. Bone-black, ivory black (a fine booe-bUck), drop black, vine black, etc. also come in this cate gory, These, being produced by carboenmg animal or vegetable substances, contain propor tions of inert mineral salts and are accordingly modified m tone , ** ** the characteristic! of the Car- 00a Blacks? with the exception of those named is tbe last paragraph, they are practically pore arbons. They are. therefore, chemically inert lamp Myrk* and gas blacks are amorphous, tbe particles are extremdy fine and their specific gravity low; censequeatly they require a surprising preponderance of liquid (1. t, oil) to fit them for use. Their covering capacity in proportion to weisfat is enormous and their durability is a striking ex ample of the durability of inert pigments m getera! when wed in painting. Their tmtmg power is great They are seldom used alone as pere color. It bring deemed technically advisable to grind with them such a proportion of colorless mert pigment at will measurably increase the thickness of the paint fihn without perceptibly impatnng its opacity. Lamp black lettering on old signs bat been fre quently known to stand out in relief after the wood surrounding it has been deeply worn away by the elements. Graphite, among the carbon pigments, stands apart, its unctuous quality, familiar in stove-polish and lead pencils, distmguhhmg h- It comes in two forms* flalrr and amorphous. It is as dura ble as the other carbons, and like diem, is fre quently ground with silica or other colorless, inert pigments. Its chief use is m protective paints. The remaining carbon blacks are used prin cipally as tinting colors only. 25 0007'SWP-000006368 4$. What rt tha Drying 00a T Linaceri oil, poppy wed oil, out oil, tung or China wood oil, perala oil, lutnheng. or fcukui oil, luaflowo aeed oil and menhaden or "fish" oil To these may be added a few more inch as bemp- seed oil, chia oil and llaiemamia oil, some of whidi are now the objects of considerable experi mentation and interest The first named is oceasiceslly used m industrial paints, the second two in artisu' color and some special paints where extreme whiteness ia essential, the fourth finds extensive use for certain lines of varnish and for the manufacture of fiat interior and water resisting paints. The fifth and sixth have recently attracted much attention and give promise of important development. The seventh has been used m this country experimentally only. Menhaden oil is coming very extensively into use for special purposes and was used in appreciable pro portions in the liqsid portion of psints applied to cantonments during the war. To this list should be added certain semidrying oils, such as corn oil, cotton-seed oil and soya bean oil of which the last named has assumed considerable technical importance both for admix ture with' linseed oil and as a medium ia which to grind paste tinting colon. 4$. What are tha characteristics of a Dry ing on? Drymg oils have the peculiar property of absomag oxygen and forcing a tough elastic substance. They harden (with the exception of tung oil, which seems to "set" simultaneously throughout, like cement) from die surface inward. Certain metallic oxides and salts when incorpo rated with these oils by heat or otherwise, by acting apparently u catalytic carriers of oxygen, hasten the drying proems. On exposure the hardening progresses slowly until the material finally crumbles and disintegrates. The added metallic salts, etc* are (mown as "driers," the oil in which such driers have been incorporated as "drying oils" and if incorporated by beat, as "boiled oil*," A strongly content:tied drying oil as a | 9 * a * thinned with a volatile oil (turpentine, benzine, etc.) also known as "drier,'' and sometimes especially if a gum or resin be added to it, as a "Japan drier." 47. Why are Drying Oila wed in Paint Manufacture? First, to give to the paint the necessary fluidity; secondly, to insure tljp uniform distribution of pigment on the surface; thirdly, to form a firmly adherent and coherent film of the proper character; and lastly, to produce in the paint the desired lustre. 48. Why ia Linaeed Oil usually preferred for this nsoT - First, because it is most abundantly obtainable of all the drying oils, and on this account its use is vepr generally understood; secondly, because its cost is usually moderate in comparison with that of other drying oila; and, thirdly, because in our present state of knowledge the results obtained with it are more uniform than with other oils. 48. An the asm* praportiaui of "Drisn" uood in all Paints? No. Some pigments themselves act as "driers" --such, in order of drying "strength," are red lead and the other lead prides, lead carbonate, the iron oxide points, of which the umbers are the "strongest,* the chemical colors fc^g'-rHg with the chrome yellows. Most of the lakes, the blues, ziae oxides, zinc-lead, sublimed white lead, lithopone have very little drying power--the carbon blacks none. Ordinarily white lead has moderately strong drying properties, varying in this respect according to its chemical constitution. 50. For what purpose are Driers added to Paint or to the Unsstd Oil wed therein? For convenience alone. In most circumstance* it is desirable that point shall dry within a rea sonable time, to avoid exposure of die wet film to ram, etc, to prevent the adhesion of dust and insects, to avoid dm danger of soiling of 37 0007-SWP-000006369 persoo or clothes, to enable additional coau w be applied quickly, etc. 51. Do Drier* improve the wearing qual ities of Paiftta? By no means. As the final destruction of the paint film is due to oxidation (which is merely a "slow" banting}- Anything which hastens oxi dation shortens the life of the paint Therefore, the addition of "driers" and the pro portion of drying pigments in a paint should be carefully limited to the practical necessities above indicated. I 52. It Tung or China Wood Oil need in Paint Maattfaetnre? Not so much as in varnish making; but ft has some remarkable and valuable properties which are utilized in saint manufacture, in the form of a "fiat" drying varnish it is extensively used in flat wall paints. It is also used very generally in modern varnishes and in making marine paints, 10 which it imparts valuable properties for resistjg the alternate action 01 air and salt water, the wearing and abrasive action of waves, etc. 53. What is Lnmbaag or Sakai Oil? A drying oft obtained from a tree (the candlenut--('oirun'fff luoiuceotuij indigenous to Poly nesia and widely cultivated in Asia. Hawaii, the Philippines, etc. In Hawaii it is imown as "kuku"; in the English trade as "cudVeaut.'* It grows well along our gulf coast, where it has been lately introduced. It is related to the tung tree, and the oil resembles tung oil in some of its properties, though it does not polymerize to a firm jelly like the latter, on heating. It has a very good color, a fairly high iodine number (262.0). it has been used to some extent in white lead light tinted enamels, for which use itholds prom ise of considerable importance. There are two varieties of 1tunbang most widely known, lumbang bsto, and lumbang banucalag. The baoucalag lias as acid somber of about 9, and is the less adapted 28 11 II i d n i- for use in paints. The Wo has an arid value >f 1-2 tad it very similar to linseed oil in many pi its properties. 54. What U PerUla OB? A strongly drying oil from the seeds of the Pmiie Mmjthwiuir, cultivated extensively in China and Japan, where it is of considerable com mercial importance as a paint and varnish mate rial Its color is excellent and its Iodine number high (approximately 200). Its high add number (10-12), does not seem to detract from its value as paint vehicle, nor do paints made from it harden in the can, as woat<| happen in the case of many other vegetable drying oils with such a high acid number. It has been found to he of exceptional promise for the manufacture o( both paints and varnishes. Its cultivation is being introduced experimentally into the United States, where it is known to be capable of pro duction over a wide area. 55. What fa Hemp Seed OB? The oil expressed from the seeds of the com mon hemp plant ranHabit sMfeo It dries nearly as rapidly as Kneed oil having an iodine number of about 155. as against about 180 fr linseed oft. The add number is always less than 4 and often below 2. It is used in Europe as a paint and varnish nil. and was formerly common hi "Black Sea oil" the linseed growers mixing hempseed with the flaxseed exported from that part of Russia. It is held to he one of the least objectionable of the cheaper substitutes for linseed oil 56. What Ja Fiah OB or Menhaden OB? Fish oft is the oil expressed chiefly from tlic menhaden, a fish which is found in vast numbers along the Atlantic coast. The residues from the presses are used in fertilizers. The special grade is known as "winter bleached" or "refined." is best adapted for paint manufacturer. It has an iodise value of about 150 (H. A. Gardner has found the 29 0007-SWP-000006370 "Winter Bleached" variety to run 11 high as 178). and is almost free from odor. A decided "fishy'' smell is as indication against the availability of a fish ofl for paint 57. It Fish or Menbadm OH admissible la Paint? "Paint made from fids oil can be applied to hot surfaces and will sot Mister or peel as readily as that nude from linseed oil. and for this pur*. pose--as a smoke-stack paint--it is very desirable. "A properly centralized fish oil prevents the hardeaku or setting of red lead in the package, and a paste made of this material on be trans ported a great distance, and will last for many months fit a freak- and soft condition. ''Menhaden oil should, of course, be used with a drier, and the best result* are obtained with a tungate (China wood oil) drier."--Toek. Kg. What are Semi-drying OfltT. Certain vegetable oils which, while possessing ,<nme of the characteristics of the drying oils, yet. nn account of their constitution, do not completely harden. They are usually defined as vegetable oils whose iodine numbers fall between 90 and 140, those below 90 being classed as non-drying mis and those above 140 as drying oils. Those com mon!y used are corn oil. cottonseed Ml and soya hcan oil $9. What are the sees of these Of)a In Paint Meimfactsr*? By special treatment their drying properties may he increased, and in this condition they are some times used with linseed oil in connection with strongly-drying pigments. They are also, to some extent, used in the grinding of paste paints, espe cially red lead, to prevent hardening m the pack age: and m the manufacture of puttv. a grade of cotton-seed oil known as "putty oil" is com monly used to retard hardening and to avoid the excessive ultimate hardness attained when linseed oil alone is employed. The qualities of soya bean . oil art discussed separately. 30 . ] , ' I 60. What fa Soya Baaa Oil? Soya bean oil is an oil derived from several varieties of the soya, toy or soil plant, belonging to the tame family as the ordinary pea and bean. Within the past few years its cultivation as an oil-prodarisg Math in die United States has made remarkable progress. Tbe principal source of seed for tbe oil used in industry is, however, still Manchuria. In its physical characteristic! it resembles tbe other semi-drying oils. Its acid number is very low (generally about 2) and its iodine cumber is about 135, which it high for a semi-drying oiL j 61.. la Soya Bean Oil admJsafble in Paint? Experiment thus far would indicate that the oil from the soya bean is, perhaps, the most satisfactory oi the vegetable oils ordinarily used in conjunction with linseed oil. Extosive field tests indicate that when properly treated in com bination with the drying oils, it is a valuable addition to tbe too meagre list of available paint liquids. 62. Are Petroleum Ofla ather than Bosaine and Mineral Spirit ever ueed in Paint*? In rare instances, except where they occur as an adulterant of linseed oil sold to painters and consumers, in some special paints for tbe protec tion of metal surfaces, heavy petroleum oils are used to a limited extent to retard the hardening of the paint film. As tbe linseed oil used in euch a combination require* special treatment, these oils should never be used except under expert supervision by the paint manufacturer. 63. What an Volatile Ofla or IWanara? Certain liquids which form a homogeneous solu tion with oils, and on exposure to dm air, evapo rate rapidly and more or leas completely. They are turpentine, wood turpentine, betaine, mineral spirits, benzol, alcohol, etc. Of these the first four aaaed are practically the only ones used in paint. Bcnaol, amyl acetate, methyl alcohol and a few similar products are used in specialties like varnish removers, bronxmg liquids, ett . , ; 31 0007-SWP-000006371 64. Wbzt are the characteristics of tha ' Volatile OIU? | i Of the four used in paint, turpentine is de rived by distillation iron the sap of pine trees, the residual product being rosin. Wood turpai- ; tint is distilled from pine wood waste, pine stumps ; and roots. Betunte a that distillate from crude j petroleum which has a gravity of from JS to 72 \ degrees by the Baumi hydrometer; the lighter products are gasoline, (60-62* B4), etc.; the lieavier products, fuel, oils, burning oils, lubri- ; eating oils, etc. The petroleums with an asphalt lose yield benzines of higher gravity and hence slower evaporation than the paraffine base oils of \ the Ohio valley etc. They are known as "min- crot spirits." Close regulation of fractional dis tillation produces similar "spirits" from the latter ' Turpentine, benzine and benzol have cadi a char- ; uciuristic odor. All are solvents of oils, resins, etc.-- urc from asphaltic oils bung superior in that re- pcct. Of the three, turpentine generally evaporates most slowly, though some mineral spirits surpass it in this respect. Turpentine, m the retail and jobbing market, is frequently adulterated with heavier, non-volatile petroleum oils, but benzine ( is never so adulterated. Benzine on evaporating ! leaves no residue and has no effect on the paint ) him... Turpentine, being a slight oxidizer, is thought to have some drying action and is also believed (because while the benzine can all he I recovered from paint by distillation, the turpen tine cannot) to leave something in the paint him. li so, it would seem that this residue must be somewhat of the nature of rosin. 65. What ia Wood Turpentine? Wood turpentine is the volatile distillate from pine wood waste--sawdust, stumps, pine leaves, etc. When properly refined, it s indistmgoishable in its properties, chemical or physical, from gum turpentine, having essentially the same com position. 32 { j ! 1 66. What are the uses of Wood Turpentine in Faint? Exactly the same as those of gum turpentine. 67. What ia Benzol or Bo bzest? benzol is that distillate of light oil from coal tar, having a boiling point of 82* C. (ISO* b./ It is a volatile liquid of characteristic odor, and best known for its great solvent power ior gums and resins. The pure benzol is seldom used by the paint trade, but several grades are prepared which are sufficiently refined for commercial use. and could not be distinguished from the purer grade as far as appearance, odor and action arc concerned, but are distinguished by the rangTM of temperature within which they distill. SB, What fa Toluol or Toluene? Toluol (methyl-benzol or toluene) is that d<tillate of light oil from coal ur having a tailing point of llr C. (264* F.). It resembles benzol m all its properties, except-that it is not so volatile on account of its higher boiling point, it alu iproduced in commercial grades suitable fur the paint trade. 69. What is Solvent Naphtha? Solvent naphtha is that distillate of light oil from coal tar which boils principally between 130* C. (298* F.) and 160* C. (362* F.). It a)> corresponds closely in its properties to benzol, and. in fact, it is sometimes called 160* benzol. As its boiling point ts higher than that of toluol, it ia less volatile than either benzol or toluol, and for this reason is very'widely used. 70. What are tho use* of Baazei and similar products hi Faint Manufacture? They are powerful solvents and have been brought before the paint trade largely in paint and varnish removers. They penetrate wood with great **. and are used widely in oil sains on that account They are also used frequently for the sane purpose as turpentine or petroleum ben- 33 i j ' ; | i 00Q7-SWP-000006372 me. u a volatile thinner. They have bees highly mi<wi--aa as additioBal vehicle in the fim ecu on miaow or "greasy" woods, such as yellow pise and cypress. to facilitate the pene tration of the priming coat This latter recom mendation was first made by Mean. John Dewar sad Louis B. TitxtL 71. What la Creosote 007 Creosote oil, strictly speakmg, is Out o3 ditilled from coal tar which is beerier than water. It is frequently called "heavy oil," or dead oil'" of coal tar. Its greatest use in all parts of the world is aa wood preservative. Probably this fea ture first led to ia use is shingle stains, for which purpose it is ben known ia die paint trade. One of its chief drawbacks at first was the presence of a material which weald settle eat in cold weather, but more recently grades art available from which this sediment has been removed by chilling and titering before marketing. 1 i , 72. For what porpoMa are Volatile Oik added to Paint? For their mechanical effect alone: To facilitate the labor of spreading; to redact excessive proportioos of oil, to hasten the "setting" of the paint, to assist the penetration of the priming coat, to redact the gkws of tmder coats and thus improve the adhesion of mbaeqoent costs and to destroy gloat so as to leave a dull finish. ; 73. Baa Turpentine any advantage over Banrina /or these purpoaas? Seek advantages as it say have are largely de pendent on its lower rate of evaporation. This advantage ia reduced or elbnioatfd a the case of the mineral spirits, and with the rapid destruc tion of our pine forests the cost of turpentine promises eventually to be prohibitive for we in anything except toe - most expensive varnishes. 34 The only exception to this is in "fiat work." ior which beusine is not so satisfactory. Woodturpentine varies greatly ia quality, dependent upon the method of manufacture. The better grades which are properly refined are practically wenucal with sap-turpentipe. . 74. What art Varakhw? Varnishes as wed in paint manufacture are solutions of resins or of fossil gums in drying oils; or China wood oil vanishes prepared from tuny oil and esterised resin. Their principal application is ta enamels, vanish paints, such as door and deck paints, and similar specialties. 75. What are the charseteristics of Var nishes? .They yield a firmer, smoother and more lustrous coating than oil end are capable of being rubbed to a finer finish. Some "Japans," as already stated, have the character of a varnish. Some pigments, of which sine oxide is a conspicuous example, appear to form a tough elastic combination with the gum retina, eatirefr different from the compound formed with lkeaed oil This property is utilized is the preparatioe of enamel paints. 76. Can Yarakh ho --ewafuHy analysed? Thus far m satisfactory method has been de vised. Certain ingredients can be identified, some of them quantitatively; beg all methods tout far proposed have fallen ebon of completeness or accuracy. The qualities of vanish art most satis factorily estimated by means of physical tests. 77. In view of what haa been said, can there he a "Standard? Formal* for Batata? No. As may be inferred *t is possible with dif ferent formulas to produce practically the same results; hence any attempt to establish standard formulas merely tends to Barit investigation and improvement; to throw the pahs industry into toe hands of a iew producers of raw materials and to slide competition as wefl in quality as in price. 35 ! I j ; ] ! \ 1 j | > 0007-SWP-000006373 78. Is 1117 standard possible (or Points? Yes; the standard of quality as determined by remits. 79. What is s reasonable standard of qua!* ity ior House Paints? It is based on accumulated experience with the best grades of paints, and indicates the following as the requirements for a good paint under aver age conditions: L To cover upwards of 900 sq. ft, two costs per gallon. 2. To produce a surface that is neither too hard nor too so(t. 3. To have an average life of three to five years. 4. To he durable as to color. 5. To leave a surface suitable for repainting. 89. What is meant by covering upwards of 909 square feet, two eoats? These speculations all refer to paints applied to wood. This specification means that each gallon of paint, to.be satisfactory, should cover properly with two coats upwards oi 300 square feet of sur face. si. What is meant by producing a surface that is neither too hard nor too soft? A suriace that is too hard is subject to abrasion, cracking and chipping off; a surface that is too soft is subject to removal by rutting or scraping. This characteristic in extreme cases amounts to permanent stickiness; in another sense the phrase indudes "chalking," which see. 82. What fa meant by having an average life of throe to five yean? That, under average conditions of surface, cli mate and exposure, repainting shad not become neeessary ior surface protection more than once every four yean. In exceptional or favorable cases this life of a good paim may extend to ten or 36 fifteen years. Except for uncontrollable circumsuttees it should not fall below three years. Single pigment white paints, except in extraor dinary circumstances, will not last over three years. They frequently perish in less than half that time. 83. What is meant by "durable as to color"? That within the period fixed at the average durability of the paint, there shall be no marked change in the original color of the paint beneath any surface deposit of soot, dust, etc. "Pure*' paints, for example, may eot only darken on exposure to the gases of the atmosphere, but may have a bleaching or discoloring action upon many pigments m daily use. such as Prussian and Ultramarine blues, English and American ver milions and para reds. etc. By proper combina tion these defects may be eliminated, while the durability of the coating is enhanced. 84. What is meant by "leaving a surface suitable for repainting"? That when repainting becomes necessary the remainder of the old paint will present a prac tically unbroken surface and permit of firm ad hesion by the new coating. 85. How does -Paint disappear from a sur face? It may chalk, peel, scale, flake or wear away. 86. What is chalking? Chalking is that quality (most characteristic of the white leads and lithopocte) which sotm paints have of disintegrating, filling into powder and dusting or washing from the surface: irre spective of normal wear and tear. It is most commonly due to progressive oxidation of the component oiL The paint on a "chalking" surface will rub off on the clothing. Such paint has been included in a foregoing definition as "too soft/' 0007-SWP-000006374 87. What it pualinf? Peeling indicates an imperfect attachment of the paint film to the surface. The tens reflseseatly describes the condition. Any punt my peei if applied to a damp, greasy or resinous surface. Peeling may also be caused by interior artificial heat, driving moisture outwards under the paint film, by capillary moisture ruing into wood in eacact with the earth, etc Pure iiuseed oil pamtf are liable to this defect 88. What am scaling and flaking? The premature detachment of paint in small scales or ltrger flakes. A brittle paint, in the cir cumstances where a more elastic paint would peei, will sale or flake, according to its degree of brittleness. 89. What is meant by `'wearing away*? The normal wear of paint is both a chemical and a mechanical process. The actios of at mospheric oxygen os linseed oil, aa already stated, it progressive from a tough to a pulverulent suss. A coating of linseed oil alone disappears in this way. The addition of an inert, opaque pigment obstructing the penetra tion of air and light, limits this action to the surface of the paint film. As the. surface thus disintegrates, it is slowly and uniformly washed or worn away, exposing continually a fresh sur face to the atmospheric attack, until the entire film is thus wont away. 90. What fa tha meet desirable ante of disappearance? Naturally by normal wear, and it is oat of the chief objects of the weft-informed paint chemist and paint manufacturer so to compound and pre pare his products that they shall not chalk, scale, flake nor peek bnt wear away normally from the surface 91. How is this accomplished? By maintaining a doe chemical balance between pigments, oils, driers and other ingredients of the 38 pamt, as well is by a careful selection of the single ingredients themselves--care, lor example, that the iron oxides contain no free sulphuric acid; that the litueed oil is properly prepared and the tree tatty acid content not abnormal; that proper allowances be made in composition - for umbers with a high manganese content; that the chemical activity of the pigments selected be duly com pensated for by some other ingredient, etc 92. In view of the foregoing facts, is it possible, or if possible, advisable, to prepare all tints with a whit* baas of fixed composi tion? By no means. It will be understood, from what has been stated, that practically every tint or shade, if the ideal practice were followed, would require a separate iormula and special treatment But confining himself within rational practical limits, the enlightened paint manufacturer divides his tinting colors into groups with common charac teristics and varies ms white base and his for mulas according to the group. Thus, the welliuformed manufacturer may combine the ver milions, blues, para reds, etc, with zinc oxide, leaded zinc, sublimed white lead, lithopone, Titanex. tlw inert pigments, but he will be very chary of combining any of them with a base containing lead carbonate. 93. What it the cause of blistering of Paint? Heat vaporising underlying moisture Only new paint is subject to this evil unless the beat le excessive, and one paint appears to be as much subject to it a* another. Excess of volatile oil prevents it. Incompletely dried lumber would seem to be the chief cause. It may be partially due to a chemical action of light and heat on the oil. segregating glycerine under the blisters and partially to the expansion of the water in moist spots under the paint The blitters often dis appear in a short time, bnt the paint is detached from the surface brittle. They are merely a de tached covering, not an adherent coating of paint. 39 . 0007-SWP-000006375 94. What ia "Alligatoring"? Aa incomplete form of peeling, where the paint crack* into large segments, one end oi the segment loosening and curling back iron the surface, while the other end remain* firmly at' tadted, the surface remoter resembling the back oi aa alligator. When the aliigatonng i* tine and incomplete it is usually termed "checking." 95. What la the cans* of "AHigatoefag"? Heavy coat* of .paint applied to unsrasooed wood will alligator, especially if the paint be slow drying, tough and inelastic. Rosin drier in line paints is said by Tocb to be the chief cause of the forms known as ``checking.'' 96. What ia the remedy? Scrape or bum the old. paint off and repaint with thinner coats. 97. How may chalking, peeling, flaking. oUigateeing, etc, be avoided? By the selection of a properly prepared paint and its proper application to a surface ia fit condition for pawning. 93. What ia a properly prepared paint? A- paint is which the ingredients are selected with due regard to their physical and chemical characteristic* and thoroughly amalgamated into a homogeneous mixture proper grinding of the pigments being also essentasi. 99. What ia meant by the proper applies* tion of paint to a surface in flt condition for painting? The "proper application of paint" has reference to the consistency of the paint when applied, to the method of application, and to the time allowed to elapse between application of the several -coats. The fitness of the surface for painting refera to its cleanliness, the nature as well as the condi tion of the wood, and the state of the weather at the time of painting. *40 196. How should the consistency of the paint be varied for different surfaces; The painter should these require- sums. The priming coat, being the one on which tbe adhesion ol tne enure nun depends, should be most carefully considered. It should be sufficiently liquid to penetrate every pore and irregularity of the surface, carrying with it parti cles of the pigment; but this fluidity Bust not be obtained at tbe cost of the future strength of the dried film. For the priming coat it is customary to add a quantity of oil and some turpentine or henrine, or, in case of cypress, yellow pine and resinous woods in general, some form oi bcnwl. it is easy to overdo both. Only enough of the volatile thinner should be used to avoid a high gloss; to which subsequent coat* will not readily adhere. Hard, unabaorbeat wood* require a thicker pining coat than spongy woods, such as poplar, soft pine, etc. Resinous woods, like yellow pine, again, require special treatment--a prelim inary light charring, washing with turpentine, or varnishing of knots and miaous spot* with shel lac, and subsequent priming with a fluid priming coat containing a beaxol product Tbe seeood coat, which in many instances also (improperly) the finishing coat, should be tempered accordingly. If there are to be three coats (as there should be), the paint should be slightly reduced with turpentine or bouine, so as to promote amalgamation with the pruning coat, and to reduce the surface gloss, if it is to be the finishing coat; prepared paint of the average consistency can be used without reduc tion. but a very little turpentine is sometimes desirable to assist paetratioa and adhesion. The third or finishing coat should usually be employed as it comes from tbe can. la tbe case of all coats, thorough, hard brushing is essential, and a round brush is always preferable to a flat brush. Tbe failure of paint it frequently due to wau&Dcnt "elbow grease" with the brush. Every coat of paint should be completely dry throughout before the next coat is applied; but 41 0007-SWP-00000637.6 it it a mistake to aliov a priming: coat to "weather" and become weakened beiore painting is continued. Too much drier or japan, or cheap rosin japans are at the bottom of many paint failures. The manufacturer of a scientifically prepared paint will introduce the proper kind and quantity ol driers into his formula, and none sltould be added in use. 101. Bow is a fit condition of surface ob tained? First, by delaying the application of the priming coat until the wood is thoroughly seasoned, unless seasoning has been properly attended to in the lumber; secondly, by seeing that the plaster on the inside oi the building is completely dry beiore painting is begun on the outside. A. new house (except in summer) should have been heated some weeks beiore it is painted. In an old house leak ing spouts, etc, should be repaired and the adja cent wood allowed to dry thoroughly before re painting. Thirdly, by avoiding the application of paint tn moist weather or when the atmospheric moisture is high. Fourthly, by selecting a dry, mild season for the work. Fifthly, by seeing that sappy or resinous spots in new lumber are prop erly treated before painting. Sixthly, by due care on old work that all loose paint and dust are removed' by scraping, sandpapering, wire brush ing. dusting, or, if necessary, "burning off," before new paint is applied. As a rule, it should always be remembered that two thin coats, thoroughly brushed out. are better in most eases than one thick coat and that repaint ing should never be delayed until the under coats begin to loosen seriously. 102. Can the ordinary property owner ob tain satisfactory results with prepared paint hy applying it himself? Only when conditions are favorable. In any case he should study carefully the directions on the can. and unless they are found to apply to his particular job. should consult either the manufac turer or a practical painter for fuller advice. 42 103. Will a ehestiea) analysts determine the quality of a paint? No. To the expert paint chemist it will indicate whether the paint is property compounded or not; but of the method of preparation, which is quite as important as composition, it will tell nothing, ami oi die nature and quality of paint very little. Only a thorough and exhaustive physical examina tion will indicate the real value of the paint. 104. What is 'Flat Wall Paint"? "Flat wall paint" is the title usually applied to a type ot paint ior application to interior wall sur faces, drying to a Hat or lustreless finish and capable of being washed without injury, it some times contains some ingredient intended to neu tralize the free lime in plaster or cement. The white pigment base it usually lithopone. with zinc n.vitlc. in combination with some reinforcing pig ment, and the vehicles are specially prepared ol tung oil or other varnish compounds which dry "fiat" and become waterproof on drying. 103. What are th* merits of these finishes? They are more sanitary than other wall coating*, and. being more durable, are in the end far more economical. They replace with a material de signed on correct principles the old fiat finishes produced by painters by wishing the oil "binder" nut of paste paints with turpentine, which is both wasteful and unsdontific in that the paint is thus deprived of its essential "binding'' ingredients. 106. Why Is paint preferable to paper for interior walls? Briefly, because it can be washed. A pamphlet issued by the Institute of Industrial Research, at Washington, clearly shows that paint exposed under the same conditions, side by side with wall paper, remains comparatively free from bacteria, while the wall paper'swarms with them. Bac teria are the cause of infectious diseases, such as diphtheria, scarlet fever, typhoid fever, grippe and common colds. 43 -----.`--Vli--- 0007-SWP-000006377 10?. What art fire-retardant ahlagle paints? Experience has led to the classification by fire injurant* authorities of oapaiated shingles as extra hazardous risks, because of their inflammable natore, which is increased by the fibrous "fuzz** which gradually develops on their upper surface In warping also they are inclined to {onn cops, which catch and bold firing sparks or brands. The hare shingle in these cirramstaoccs readily takes fire. This hazard nay be entirely eliminated by properly painting the shingles before laying and by keeping the roof adequately painted thereafter. Any good linseed oil and mineral pigment paint is ordinarily efficient for this purpose, while special paints, containing large percentages of aluminum silicate, are. within reasonable limits, absolutely and permanently effective. 104. Sow may wood be made fire resistant? By treatment with a solution of sodium fluoride. This is also a wonderful germicide (preventing decay), and wood so treated may be successfully painted with paints of the ordinary type. 109. What la Cement Paint? A type of paint specially designed for the preser vation and embellishment of cement, concrete or plaster, surfaces. 110. What art its characteristics? In contradistinction to ordinary oil paints, it adheres permanently to the surface and retains its original color. 111. Bow may cement or plaster surface* be prepared for the use of ordinary ail paint? Mr. Charles Macnicbol. of Washington, D. C,, recommends treatment with a solution of zinc sul phate, in the proportion of eight ounces to a gallon, of water. The chemical reactions involved trans form the free lime in the cement to calcium sul phate (gypsum) and the zinc sulphate into tine hydroxide, both of which products remain in the surface-layer of the cement or plaster and retard absorption. Equally good results can be obtained by using- a paint designed for the purpose. 44 112. What are Mm.Whites? The term is applied to white oil paints, of aperial composition, used on factory and other com mercial interiors to enhance the illumination. They are commonly pure white in color, retain their color well, are washable and durable. A good paint of this type may increase the effective illumination upwards of 2i%. 112. What is the Electrolytic Theory f Corrwiea? Research has shown that corrosion of steel sur faces is largely due to a difference of electric potential between adjacent points. This difference of potential may be doe to uneven distribution of components (steel contains small percentages of various substances besides iron) or to differ ence of tension, etc The rule i.that where such difference of potential exist a current will pass from the higher to the lower whenever in elec trolyte (a liquid eapabte of conducting the cur rent) cawnfctt than. Ordinary moisture is suffi cient lor tine purpose. At the same time, the sub stance at the higher potential wiO pass into solu tion, carrying an ckccUal charge, and if means of neutralizing this charge he at tend the process will conrirmr indefinitely. In the ease of steel, oxidation neutralises the electric charge and en ables electrolytic corrosion to proceed. The de tails of this theory have been formulated by Dra. Cushman and Walker; and more recently have been confirmed experimentally by others, notably Mr. James Cobb, of the British Iron and Steel Institute 114. What it meant by inhibition? In uwmcction with the electrolytic theory, tt was found that certain substances act as retarders of local corrosion, and experiments, duplicated by a number of trained observers, indicated that cer tain pignsessU in common use possess this power. Chief of these are the chromites . sine, chrome, chrome yellows (lead chromes),' scarlet chrome, the compound chromates (had and thsc. tine and 45 0007-SWP-000006378 barium, etc.), and zinc oxide. Some pigments were found apparently to stimulate or facilitate corrosion. Toe entire matter has been investigated on-a large scale, and the remits, in a general way, appear to give ample coehrmatioc of the cor* rectoeaa of the theory. 115. What la aa JnMWtive Paint? A paint so constituted that it will resist or in* htbit load electrolysis is the presence of an elec* trolyte. Such paints usually contain a small per centage of sine chrome or other chromate, xme chrome being the most common, though the other chromates, when afimline or neutral in reaction, are believed to be equally efficient and tine oxide nearly so. Basie lead chromate, red lead and sublimed blue lead are usually classed as' "inhibi* tire." Other paints of this type are rendered inhibithe by a special treatment of ordinary bask pigments, in which the surfaces of the pigment particles are "cltromatired." 125. Win the blow.plpe determine whether White Lead la good or bad! No. It will tell whether or not the material is a pure lead compound, but it will reveal nothing regarding its qualities as paint. The soluble salts n*f lead, such as the acetate or the nitrate, will yield metallic lead with the blow-pipe more readily than wilt the carbonate, but When found in white lead they are very detrimental. On the other hand, the more stable white compounds of lead, such as the basic sulphate, though they may be pure lead compounds, will not reduce before the blow-pipe without the use of a flux, except in the hands of a skilled operator. 117. In view of all the foregoing, what fa the true teat of paint value! Service. The conditions, physical, chemical aod technical governing the behavior of paint in any given cue are so numerous and so obscure that it is hopeless for anyone but an expert to attempt to comprehend them. House paint is designed to cover a wide range of conditions and the bet- 46 ter grades of prepared paints meet the average conditions with remarkable success. As between the many competing products, naturally, it is to the record of success rather than the composition of the paints that the consumer must look for enlightenment There is always a reason*-usually there are many reasons--why a certain paint under certain conditions meets or fails to meet the re quirements ; but these reasons are usually obscure and technical and quite beyond the range of com mon knowledge. It may be taken as axiomatic that no paint obtains permanent popularity except on the basis of substantial merit. Success begets success, and nothing could be more conducive to increased sale of a given paint in any locality than the ocular demonstration of its value on painter! buildings. It is this practical demonstration ni superior convenience, economy and durability which caused the consumption oi prepared paint to ex pand from the humble beginnings of the industry in the late fifties, to its vast proportions of tire present day. SUMMARY From the foregoing it will be seen that paint manufacture is a progressive industry, dependent for success open the knowledge and skill at the command of the manufacturer. The constant ad* dition of new pigments and other materials to the list of available products and the keen com petition between manufacturers insure progress. Sixty or seventy years ago there was hut one white pigment generally available as a paint basis. This was basic carbonate white lead. The fact that its o n precluded the use of many beautiful tinting colors. Its well recognised sanitary inconveniences and its deficient durability. led not only to improve ments te its handling and application, but also to its very general extension with inert pigments and to a diligent search for other white bases. This research has given ns zinc oxide, leaded zincs, suitlimed white lead and lithoponc- all white pigments of great importance to the paint-eansumiqg public. The field of paint production has thus been vastly 47 07-SWP-00000S379 extended, end the manufacturer hat it within his power tn vary hit paint bate u the conditions of use and the chemical nature of his tintin(r colors require. The history of zmc oxide in this connection is familiar. Since the middle of the lt century Us nwsumption has grown from nothing to ow ion,. hOh tons annually m the U. S. alone The history of saWuned white lead is another familiar instance The important and rapidly growing use of this pig. ment as one of the raw mtteraU depended upon hr the paint mahufacttrrer for orepared paint is an excellent itlustration of the advantages tn the public at large resulting from the development of the paint industry, for the reason that sublimed white lead would probably not be in use todav at all as a moment, if its use had depended upon its utilization in hand-mixed paints: white, on the other band, the paint manufacturer has been able to give the nubile the very real values and advantages of this, pig ment rh the an of paint. White lead--that is the ordinary basic carbonate --owing to the long-continned use of the tern to describe all hinds of white paints in mate form, has acquired an undue importance in the nopuiar mind. While an extremely useful and valuable pigment, it is only one of many, and in a large proportion .of., the dark shades commonhr used neither it nor any of the other white bases (except ing the inert pigments) has any place whatever. Expert testimony strongly inclines to the opinion that its value for painting requirements is con siderably enhanced by the addition of other white pigments and inert materials. In the present state of our knowledge it Is ab solutely impossible to assert with authority that any given formula is "the best** We can say, however, that many formulas in common use are excellent and that it is surprising that from so great a variety we should obtain results so nearly identical As before stated, the "best pamt" * that which produces the most uniformly satisfactory results-- for paint is bought to produce results, not to demonstrate technical theories. The widely cele- 48 hrated paint test fences, at the end of lour or five years were reported by the official committees to have demonstrated conclusively one fact which ij formulated as follows: "A combination of two or more of the prime white pigments, with Of without the addition of a moderate percentage of reinforc ing pigments, is superior to any one of these pig ments used alone." In conclusion, let os boldly and confidently assert that prepared paints are the sum of paint progress; that the hand of progress moves forward and not backward on the dial; and that the American people having once realized the economy, conven ience and common sense of the sealed can with its completed product, will not voluntarily return to the paint pot and paddle. 0007-SWP-000006380 CONTENTS <i**iorio*.................. ma.................... Chemical of Virnnh . .mI ........................................ Jtcfca, Carbon .................... . Blaao Pina .............. ......................... Biimrtat'.......................................... Olev-pipo Teat.................................. Calcinm Carbonate .............. CaJdo* Suiphot* .............................. Carbon Black*.................................... Cement Faint .................................. Chaikins .................. .......... .. China Wood nr Tons Oil .............. Color*. Chemical ........ ................... .. Color*. Earth .............. ..................... . Concrete or Cement Faint............ Corration. Electrolytic Theory of . Crm*M Oil* .................. ............ .. Drim .......................... ................... . Drytef Oila ................ ................ .. Earth Color* ........................-- Electrolytic Thoory of Corroeien Firo Retardant Sbinilc Paint* ... f w i oa .................................... FUkfttt ............................ ................ Formula*. Standard ....................... Gypmnn ..................................... Hompaeed Oa .................................. Homo Paine*. Standard ef Quality loon Pisawnt* .............................. InbOfeioa .......................................... ZaUMtto Palm* .............................. Interior FiairtteK .................... Japan Drier*...... ............................ Kuknl OH ........................................ taka* ................................................. Leaded Zinc* ................................... 50 I'.tr.i 40 18 43 33 16 13 34 24 16 37 4S IS 19 24 44 37 28 21 20 44 45 14 27 2d 20 45 18 IS 19 29 36 15 45 46 43 27 n 34 4 Linaood Oil........................................... ZAhapoao ............................. ................ Labans Oil ................................. Mmmiuai Silicate ........................... . Meahadm OU ..................................... ltiS-WMua ......................................... Mineral Primer ................................ Mineral Spirit ............ ..................... DO, China Wood or Tost................ OiL Cnaooto ....................................... Oil*. Dnrtes........ ............................. OiL Flak or Umhadce ...................... 03, Hampated .................................. OB, Liaimj .......... .......................... OB. Lsmbaa* ................................... 02. PmCBa ......................................... OOa, Petrol turn ................................ OUa, SomhDrymt .............................. 00. Soya Been ................................. 00*. Volmfie ....................................... Print ................................................... Paint, Crmrm or Conctut*.............. Fatal. Ciii'iMiny of........................ Paint. Bo m* ...................................... Paint. Flat WaB.................. .............. Paint, Material* Coot in ................ Paint, Vain* ................ .................... Paint **. W*B Paper ....................... Paiao, Pin Batardant .................... Paiota. Bona*. Standard i Qoaliiy Paian, InkOmir* ............................. Paine*, FYcpomion *nd Appimabon . Pam* Whim ...................................... Pabiaf ................................................ PcrO* Oil .......................................... Petroleum Oil* ................ ................ rnam* ............................................. Pifont*, Inert ................................. ScaKnv .............................. **......... Sead-Dryiaf Oil* .............................. Silas or Siliea ...................... ......... Soya Boon OS.................. ................ 51 Ml i; 15 29 45 20 31 33 3* 35 25 26 21 31 31 31 4* 45 43 4* 3e 4\ 4k- J* 3- 35 33 V 51 .,*** *** 0007-SWP-000006381 r*cc Solvent Naphtha ......................... 33 Standard far Patau ......................................................... 36 Sublnatd Sloe Laad ............................. ......................... Sublaaod Whitt Lead .................................. II Stcrfaco. Cpedsixs of ....................................................... *2 Timm, Volatile ......................... 32 Tilaanua Pifsefttl............................................................. U . Titaaox ............................................................................... >* Toluol or To Iu c m ............................................................ M Torptmtao ........ .............................................................. 3* Torpomioe. Wood............................................................... 22 Voraiaho* ................... 33 VoUtilo OiU ..................................................................... J Wall Paint, Plat ......................... *3 Wall Pop*?. Point t. ................................... * . White Load. Cyltadtr or Quick Proem ..................... 9 Whin Lead. Mathaooo Proem .................................... 9 Whit* Load 0M Ootefa Proton .................. 8 Whit# Lood, Palp Proem ......................................... 11 Whitt Ltod. SaMinod .............................. 11 Whamf .............................................................................. 2*> Wood TorptMtat .............................................................. 22 Zinc OfcUt ...................................................... 4 Ztae Stdphaw .................................................................... ? Ziae StdphtM (or C--nritPitattap ............................... ** Zmeo, Loodad ........................... * * 1 <t C Uk S m .a* 52 0007-SWP-000006382