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. IV ' , - . - - tv *. V"r< i \ (Vk. The HANDBO ON PAINT Trademark Rea. U. S.Pat.OC. NATIONAL LEAD CO 111 Broadway, New York 6 * 400 Bishop Street N Albany Street, Boston 6 * 116 Oak Street* Buff 18th Street, Chicago 8 659 Freeman Avenue, C Columbus Road, Cleveland 13 * 959 Terminal Stre East 26th Street, Los Angeles 23 1376 Rive 12 2607 East Cumberland Street, Philadelphia Glisan Street, Portland 9, Oregon 722 Chestnu 2240--24th Street, San Francisco 10 * 1128 W. Sp INTRODUCTION AINTING is an art in which the printed word is only a Pbeginning and a guide. It requires practice under actual working conditions combined with study and intelligent observation. This is why the trained painter gets results that satisfy and please his customers. This Handbook on Painting is not designed to convert an amateur into a skilled painter. Bather it is a storehouse of practical paint knowledge and, as such, is a valuable guide and reference work for the painter, the architect, the builder, the engineer, and the building manager, as well as for many other users of paint. The materia] on paint formulations is for the professional and those who are accustomed to mix their paints with white lead or red lead paste. The painting instructions apply in full in these instances as well as for the many -- including professional painters -- who prefer ready-mixed Dutch Boy products. Brief descriptions of Dutch Boy ready-mixed paints are included in the following pages. Copyright 1950 High-Hiding ( BRIGHT W "Blended" to: Sta pfllN Here's a really "Bright White" . . . t stay white ... blended to be setj-cleanin It 6ms ON White . . . because of its ex power. Gives a dean, sparkling, unifo kind that stands right out. It Goss ON STAYING White . . . because i action lets the surface continually re permits rain to wash away dirt. It Gms On EASY . . . you'll like the way spreads ... the yardage it gives ... its Dutch Boy BLENDED Dutch Boy Blended Paints are prepared under continuous laboratory control, in modern plants staffed with experi enced paint makers. At the Sayville, L. I., Testing Station, the largest of its kind, Dutch Boy Paints undergo comparative and competitive tests 24-hours a day. Quality oils and pig ments are tested before blending by Dutch Boy technicians, and again after formulation. The steadfast determination by the makers of Dutch Boy Paints to market the best possible products has made these Blended Paints the choice of those-who-know. Master Painters insure their work by using a Dutch Boy Blend--the Paint that proves itself under the time-and-weather-test. BRIGHT WHITE HOUSE PAINT-- the brilliant, durable white that is self-cleaning. TINTED HOUSE PAINTS-rich, uni form shades. Body colors that retain their beauty and give top protection. PRIMER-UNDERCOATER -- the bedrock for every house painting job. Provides a sturdy foundation that seals and hides. PAINTS packaged und Blue and Whi SASH AND TRIM COLORS-bright, gay colors for outside trim and acces sories. Beauty with a rugged, smooth, and even finish. < PORCH AND FLO blended to retain, a constant wear and a ing--long wearing. WONSOVER--the interior oil flat that is washable. Cives mellow, lasting beauty with one coat. WALL PRIMER AND SEALER- primes and seals interior surfaces. A quality first coat that insures painting perfection. ' METAL PAINT -- 030 Metal Primer is An excellent finish coat, too, where colo xJuJkJkkku ILLUSTRATIONS "Br u s h -k eeper " .............................................................. 12 Sel ec t io n o k p a in t br u s h es ............................................ 13 Spec ial pu r po s e br u s h es ................................................ 14 Su r f ac e ar ea d iag r ams .................................................... 16 Pa in t mix in g d iag r ams ...................................................... 18 St r ain in g p a in t ............................................................... 20 Co r r e c t me t h o d o f h o l d in g b l o w t o r c h .................... 26 CuTTINC OUT PLASTER CRACKS.......................................... 45 Us e o f mas k in g t a p e.......... ............................................ 54 St e n c il u s e d iac r ams ........................................................ 55 Leaf s t e n c il d es ic n .......................................................... 55 Bu bbl e s t e n c il d es ic n ...................................................... 56 Simp l e s t e n c il bo r d er .................................................... 56 Lan d s c ape s t e n c il bo r d er ............................................. 57 Cr u mpl ed r o l l f in is h ...................................................... 58 Spo n g e mo t t l e f in is h ...................................................... 59 Tif f a n y d es ic n ........................... 60 Pl as t ic p a in t f in is h ........................................................ 61 Ch ec k in g ......................................... 65 Al u c a t o r in c .................................................................... 66 Cr ac k in g an d s c a l in c ...................................................... 67 Bl is t er in g ........................................................................ 68 Pe e l in g ........................................... 69 Was h in g ............................................................................ 70 Spo t t in c ........................................................................... 71 Dir t d is c o l o r a t io n ..........................................J............. 72 Dis c o l o r at io n f r o m me t a l .............................................. 73 Wr in k l in g ........................................................................ 74 Bl eed in g o v er k n o t s ........................................................ 75 Dis c o l o r a t io n o v er c ed ar o r r ed w o o d .......................... 76 Ru n n in g an d s ag c in c ........................................................ 77 Mil d ew .............................................................................. 78 l:* wm , t vj ft/I . 't CONTENTS c hapt er I Materials for Painting................. II Estimating Amount of Paint....... III Mixing and Tinting Paint........... IV Preparing the Surface and Applyin V Interior Decorative Effects........... VI Avoiding Painting Troubles....... Appendix.................................... Index.............................................. THE DUTCH BOY TRADEMARK This famous character is put on our products as a means of identification and as a protection to the buyer. Look for the Dutch Boy trademark as well as the Dutch Boy name. It assures you of high quality products made to fit the needs of the job. ____________________ CHAPTER 1 Materials for Painti EFORE taking up the actual mixing B may he helpful to review briefly the va ployed in painting. After checking ov painter will he able to decide intelligently do the best job. White Lead White lead is derived from the metall to everyone. Acetic acid and carbon diox convert the metallic lead to basic carb This basic carbonate white lead, after a and sorting operations, is reduced to a while powder that, when mixed with the comes white lead paint--the white lead p used on American homes since the earlies Pure white lead paint has an enviabl reputation for durability. On exteriors i bornly against the attacks of weather and by, a very gradual chalking of the surfac ideal surface for repainting, free from cr other defects that might interfere with the of new Paint. The cost of repainting is the stantially because burning off or removin sary when the old paint has scaled, is ex On interiors white lead is desired for i and solid beauty of finish- Also, the d lead paint enables it to stand up under fre big money saver in such places as hospita c t. n . . ,, Dutch Bo Soft Paste and Heavy Paste i.s eas.i.ly m mixing with oil--either linseed. Lead Mix --and in some cases thinner and drier be brush on the surface. MATERIALS FOR PAINTING The paste is sold in two forms -- soft and heavy. These terms refer to the paste's consistency. Both forms are ground in oil but the soft paste has thinner added and is more quickly mixed into paint than is heavy paste. The resulting paint, however, is exactly the same in either case. Dutch Boy paste white lead may be obtained at practically any store stelling paint. It is sold by the pound and comes in 100, 50, 25 and 12l/2`Poun^ packages. In addition to the Dutch Boy Pure White Lead Paint paste form, Dutch Boy white lead is also sold as a paint already mixed. It is the same pure white lead mixed with the proper amounts of oil, thinner and drier to make it ready for the brush. There are two forms -- an exterior primer and an outside white -- especially designed for use together. They make a combination that even on new wood, produces a durable, high-hiding job in two coats. MATERIALS F Dutch Boy Pure White Lead Paint i While it comes only in while it can be Boy colors in oil just as can paint mad lead. It is sold in one and five gallon cont ' Red Lead Metal surfaces that are subject to rust an be protected with red lead paint. Bed le ment made from metallic lead through that oxidize the metal and turn it to the b so frequently seen on metal structures. iron and steel with at least two coats of p is a proved and tested method of preven truction from rust. Whether it is a costly metal surface around the house, red lead 1' *. i.f'` J, .i MATERIALS FOR PAINTING Dutch Boy Ited Lead i9 available in dry, paste, and ready to use form. 050-Metal Primer is most often used by the average painter. Tliis red lead bused metal protective paint also serves as u finish coat when the brownish-red color is suitable.' Red lead paints are also available as Liquid Red Lead, Semi Quick-Drying Red Lead, and Quick-Drying Red Leud. For industrial finish coats over any red lead primer, Dutch Boy Metal Finish Paint-Black, can be ordered. If you require more detailed information on industrial metal painting and corrosion preven tion please write or phone one of National Lead Company's branch offices listed on the flyleaf of this booklet. Oils Paste white lead is mixed with oil to make paint. For the average exterior job on a wood surface the oil used is pure linseed oil. On exterior masonry surfaces Lead Mixing Oil is recommended and for interior surfaces either Lead Mix ing Oil or flatting oil should be used with the white lead. Linseed oil when mixed with white lead produces a gloss paint for exterior use. The customary flat paint for interior work is made by mixing white lead with either Lead Mixing Oil or flatting oil. If a high gloss is desired on any interior surface, a prepared enamel should be used. The linseed oil used with white lead should be Linseed Oil of the best quality because poor oil will re duce paint life. Dutch Boy linseed oil is carefully manu factured to insure the necessary high quality and is sold in one and five-gallon containers that are sealed at the factory. Two forms are available -- raw and boiled. Both are pure linseed oil but differ somewhat in their characteristics. MATERIALS FOR d r , Dutch Boy raw linsee from selected flaxseed, settled to clear out the "foots" or jelly-lik present in fresh oil. White lead paint mix seed oil will dry by itself if given enough this is seldom practical and therefore drie paint to speed up drying. Boded Linseed Oil T.o make Dutch Boy the raw linseed oil d combined, at the factory, with certain dr in the presence of heat. Since boiled oil drying agents, it is not usually necessary t drier in the paint when boiled oil is used. Lead Mixing Oil Dutch Boy Lead Mi mixed with white lea proportions, makes flat paint that can be as well as interior surfaces. On surfaces of brick, concrete or stucco t erties of Lead Mixing Oil stop the surface s MATERIALS FOR PAINTING out dampness and moisture. Furthermore, white lead and Lead Mixing Oil has the sturdy wear and beauty of finish characteristic of all white lead paint, whether exposed to weather or used inside. White lead and Lead Mixing Oil can be used for all coats on plaster and wallboard. It seals the surface and provides a finish with the appealing richness that only a white lead flat possesses. It makes an excellent undercoat for an enamel finish. Dutch Boy Lead Mixing Oil can be purchased in one and five-gallon cans. Dutch Boy flatting oil is a special vehicle Flatting Oil intended for mixing with white lead to pro duce a flat paint that can be stippled to a sharp texture. It also pan be mixed with color to make an excellent stain for wood. In addition it is a good glazing liquid and is the proper vehicle to use with white lead and whiting for plastic paint. Dutch Boy flatting oil is packaged in quart, gallon and five-gallon cans. Drier Dutch Boy liquid drier was developed especially for use in white lead paint. Its formulation is properly balanced i MATERIALS FO to bring about efficient drying of the pain uniform in strength and quality. Comes in quarts and gallons. Colors The materials used for tinting white lea as colors in oil. These are various color yellows, greens, browns, reds, blues and linseed oil to make a paste. This paste buttery consistency that it can be readil white lead paint. Dutch Boy colors are carefully manufa clean, clear tints. They are also high in t that a little goes a long way. And to ma will stir into the paint easily and quickly exceedingly fine in pure linseed oil and th a small amount of volatile thinner. Dutch Boy colors can be purchased in and gallons. Some of the commonly use available in tubes holding about two liquid Detailed instructions on tinting, toge color formulas, will be found in Chapte page 21. Wall Primer Walls, of plaster or wallboard, that have and have not been previously painted ca with Dutch Boy wall primer. Not only Boy paint product stop the surface suct cracks but it hides the surface as well. I a paint coat combined that provides an for the succeeding coats of white lead Hat p It is sold in quarts and gallons as well cans. . ih m i miMir rn MATERIALS FOR PAINTING Volatile Thinner The term volatile thinner refers to the liquid portion of the paint that evaporates before the paint dries. It per forms a very useful function in making paint brushable. For example, a combination of one and one half gallons of linseed oil and one hundred pounds of white lead is re quired for the second coat on new wood to produce a sufficiently hard film. Yet this mixture by itself would be entirely too heavy to brush. When one and one-half gallons of turpentine are added, however, the paint can be easily applied and the resulting paint film, after it has dried, will still contain the proper proportions of white lead pigment and linseed oil. Turpentine, derived from the pine tree, is one of the most widely used thinners. It is sold by every white lead dealer. Varnish Varnishes may be roughly classified in two groups -- spirit varnishes, which are solutions of gum or resin in volatile solvents, and oleo-resinous varnishes, which are combinations of resins and drying oils, also in volatile solvents. . A common example of a spirit varnish is shellac. Shellac is widely used for hardwood floors and, when properly applied, is a very satisfactory and durable interior finish. Most stores carry two types, orange and white. The latter, being much lighter, is used for work where the darker orange color might be objectionable. Stores usually carry the 4-pound cut, which means four pounds of shellac gum to a gallon of denatured alcohol. Oleo-resinous varnishes are made for various purposes. Spar varnish is the term generally applied to those re sistant to exterior exposure. However, there are wide varia tions in quality among varnishes so the best guide is to MATERIALS F select a reputable brand and follow the commendations as to the product's use. Clear varnish is not as satisfactory as exposure on surfaces that are not to finished. Exposed to weather, varnish so and compared to white lead paint, its life Enamels The characteristics of any enamel finis and hardness. The degree of gloss or s upon the type of enamel used and there tions available. On interior work, where be desired, an enamel should always be linseed oil paint. Enamel should be applied over a flat produced with white lead and Lead Mixing should also be well hidden before ename Stains There are several types of stains class the vehicle or liquid used. Creosote stain is an effective preservativ been used the surface cannot be painted a light colored oil paint. Usually the s through and discolor any paint applied true even when the old stain is well weath Oil stain is generally most satisfacto terior or interior use. It is durable and over if it is desired to change from a sta surface. For the exterior, use a mixtur Dutch Boy Lead Mixing Oil and one pa seed oil (raw or boiled) or, if preferre pentine and two parts Dutch Boy boiled MATERIALS FOR PAINTING SHINGLE STAIN COLOR FORMULAS (quantities of Dutch Boy color* in oil per gallon of liquid) Gray 12Vi lbs. white lead touch of lampblack Ned 1 pt. Venetian red Deep Red Brown 1 pt. indian red Dark Green 1 '/j pts. medium chrome green Seal Brown 1 pt. raw umber Golden Brown Vi pt. raw sienna % pt. burnt umber Permanent Green Vi pt. chromium oxide Deep Brown 1 pt. burnt umber Straight Dutch Boy Hatting oil is an excellent vehicle for an interior woodwork stain. A mixture of one part Dutch Boy raw linseed oil, one part turpentine and one half part Dutch Boy liquid drier may also be used. Color formqlas for oil stains will be found on page 40. MATERIALS FO The use of penetrating stains, like wa stains, is mostly confined to inside woodw In this type of stain, the dye used to rep or walnut will bleed through oil paint. T good shellac applied before any paint usually prevent such trouble. Brushes Buy good brushes and then keep the chasing a brush, see that it is well bris bristles are springy. A poorly made b hold paint nor distribute it evenly. This i of buying a cheap brush with the intenti away when the job is finished. "Brush-keeper" consisting of a 50-pound white lead pail partially filled with kerosene or turpentine. The brush is sus pended In the liquid by a heavy wire bent as shown. Bristles should not touch the bottom. Left to rights 3 inch varnish brush, 2 4*4 inch paint brush, 3 inch paint brush, 1 MATERIALS FOR PAINTING The secret of keeping a brush clean is to never let the paint or varnish dry in it. Once this happens it is very difficult, and often impossible, to clean the brush properly. During the course of a job, every brush out of use for more than an hour or so should be put in a "brushkeeper". A simple type is shown in Figure 5. When the job is finished, clean the brush in turpentine or kerosene. A brush used in shellac should be thoroughly cleaned with denatured alcohol immediately after use. If the brush has been used in nitro-cellulose lacquer it will be neces i \ sary to clean it with lacquer thinner. If the brush is not going to be used for some time, it is good practice to supplement the above procedure. Wash out the brush with a soap solution made with ordinary yellow laundry soap, rinse tvith clear warm water, and Figure 7 A few special purpose brushes. Upper row, left to right) 2 inch and 1 inch stencil brushes, painter's duster. Lower center i stippling brush. . 14 ' MATERIALS FOR after the brush has thoroughly dried, wrap paper to keep out dust and dirt. It is also important to select a brush tha size for the job. Using a two or three inch b surfaces not only wastes energy but it also p spread of the paint. On the other hand, th large brush will be spoiled by using the n paint in small surfaces that should be done two inch brush. Putty Putty is a very necessary part of the pain tically every surface he is called upon to holes, cracks, hammer marks and other defe be filled' in with putty and, when painted completely hidden. The type or grade of putty is important. on such surfaces as interior trim nothing white lead putty should ever be used. The c putty, made with marble dust or with petro not suitable for any job that is to be paint of putty will always soften and discolor the White lead putty can be easily made by Boy soft paste white lead and fine bolted w the whiting in throughly, kneading the mix hands as soon as it is dry enough to handl of whiting required will be about one-four white lead paste. Commercial white lead p'utty usually conta lead and more whiting than is given in the a ff putty has dried out or hardened in th can be softened up by mixing in a small qu seed oil. Never use a petroleum oil for this p Putty should be kept in an airtight co should be filled or nearly so. For periods o two putty will stay soft if kept under water. HOW TO MEASURE SURFACE AREAS Multiply A x B for iquxre fool area of each section of houae. For gables, multiply their widest part in feel (C) by half the height (D). Add together all these square fool figures to obtain the total area to be painted* For trim, figure one gallon of paint for each 300 feet of usual width trim. Multiply the sum of the (A) measurements in feel by the height of room In feel (B) to get the square fool ot the wall surfaces. For the ceiling multiply length by width. From the total deduct the square foot areas of doors and windows (D). For chair rail (C), baseboard, window frames and t"Hr trim, measure the number of running feet and allow about one pint of paint per hundred feet. 16 CHAPTER II Estimating Amount of Pai O determine how much paint will be r Tgiven job it is first necessary to measur of square feet in the surface to be pa panying diagrams show how this can be d the exterior of a building and the rooms insid The conversion of this data into gallons done by dividing the total area of each ty -- clapboard, wood shingles, plaster, concrete by the number of square feet each gallon cover. The spreading rates will be found in under each surface section. Of course, as wi spreading rate figure varies for the different for the different coats. This is because surfa the degree of absorption and also in smooth ample, plaster absorbs paint and metal does n surface of a wood shingle takes more paint t area on smooth clapboard. The instructions on these two pages for estim of paint as well as those in Chapter IV (startin relating to preparing the surface and applying the same for the paints in the Dutch Boy Blue a described in the frontispiece- The coverage per gallon of Dutch Boy Blend be found on the labels, or obtained from yo dealer. FROM PASTE TO PAINT IN TWO SIMPLE STEPS Figure 10 Stir the paste enough to mix in any free liquid on the top, then put aa much aa needed into the mixing tub. Reduce to paint by stir ring in--a little at a time --the liquid called for by the formula. Add colors if desired. A THOROUGH STIRRING AND DUTCH BOY WHITE LEAD PAINT IS READY Figure 11 LEFT: Pour off into another container all free liquid on top of paint. RIGHT: Pour back this liquid, a little at a lime, stirring it in thoroughly. 18 V fT* in I P r Hi CHAPTER III Mixing and Tinting Pai EAD paint is heavy, weighing from si L six pounds to a gallon, so make sure bucket is stout enough. It should ho more than the quantity of paint you expec should be clean and free of grease. Neve tub that has held butter or lard because th remove all of the grease. A good paddle is also needed. This can three-quarter inch wood of suitable width venient length and well smoothed up. If you are ma Mixing White Lead Paint paste white le to do is shown in Figure 10. Stir in the called for by the formula, a little at a tim The procedure to follow with Dutch Boy Paint is illustrated in Figure 11. Use of t save time in thoroughly incorporating the i M..i.x.ing Rned. L,ead, P_a.int rPeda.inlt.eacda,n in.be thm.e as that given for paste white lead. Dry red lead can be mixed into paint b lowing procedure. Into one quart of linseed pounds of dry red lead, a little at a time. to stand for seventy-two hours, then add a linseed oil and stir thoroughly. A few hours before you are ready to a stir in one quart of a mixture consistin turpentine and one-third drier. The total above quantities is about one gallon. Mixing Plattic Paint If the plastic pain with soft paste, fir ing with all the flatting oil (see Formula MIXING AND TINTING PAINT and mix thoroughly with the white lead. Then add the drier and such tinting colors as may be required. If heavy paste white lead is used, mix half the flatting oil into the white lead and use the remainder to thin the whiting. Then mix the two batches together thoroughly, adding the drier and colors in oil. Mix Sufficient Paint * SUreL ,0 mix e"oUeh Painl * do the job, particularly if it is a tinted paint. Left-over pure white lead paint, regardless of its color or its formulation, is always usable for odd jobs. Unused portions of paste white lead or red lead can be kept soft and free from skins if a one inch layer of water is poured on the surface of the lead and the keg kept tightly covered. The lead should first be scraped down from, the sides of the keg. Of course, the water should be removed before the lead is again stirred. Straining Paint Straining freshly mixed paint improves its brushing qual ities and, in the case of tinted paint, it prevents the possibility of color streaking. With paint that has stood for some time it removes skins and hardened particles. Straining painl through ehemeclolh. 20 IV ' ' Tf-tt" T' ".... 'w K MIXING AND TINT A section of fine mesh wire screening m paint strainer. Or a piece of double cheesec equally Well. The wire screening can be u again if it is rinsed in thinner immediat Tinting Paint White lead paint can be colored to a shades and tints, through the use of colors of the possible colors are suggested in the ing on the next page. These are based on th Boy colors, which are particularly designe venient and efficient tinting of white lead pain While it is the best practice to tint bef liquid has been added to the paint, Dutch so manufactured that they can be added e paint has been completely thinned. Always add small quantities of color at a stir the color in completely. This not only ing, but also avoids the addition of too m in a little color, stir thoroughly, then check that is being matched. If you get a color too dark it can be ligh adding more white paint and this will us entirely too much paint for the job. This i important to use care as directed above. The simplest colors to mix are those m one color in oil. If two or more are called relative proportions given in the formula a the colors, a little at a time. . ,, . , _ Even when the fi Tinting Pt.mlng CM ^ ^ raw umber to the priming paint improves th ance of the job. Use about one-eighth pint color to every five gallons of paint. FORMULAS FOR EXTERIOR COLORS (t tub* oquali X pint or ( of a half-pint can) COLOR DUTCH BOY COLORS IN OIL LEMON C. P. Chrome Yellow--Lemon IVORY Raw Sienna CREAM French Ochre LIGHT MAIZE C. P. Chrome Yellow--Medium LIGHT BUFF (French Ochre (C. P. Chrome Yellow--Medium MEDIUM BUFF Raw Sienna DARK BUFF* Raw Sienna PEARL GRAY Lampblack MEDIUM GRAY Lampblack SLATE GRAY Lampblack LIGHT TAN Burnt Umber PUTTY Raw Umber WARM GRAY Raw Umber MEDIUM TAN Burnt Umber CORAL Burnt Sienna TERRA COTTA (Burnt Sienna \ Burnt Umber LIGHT GREEN C. P. Chromium Oxide Green MEDIUM GREEN* C. P. Chromium Oxide Green OLIVE GREEN (Burnt Umber [C. P. Chrome Green--Light (Dutch Boy Blue SHUTTER BLUE* (Raw Umber QUANTITY Ptr too of Um. Pot OsHsn r WhUsUsd Paint XPt. XPt. 1 Pt. X Tube X Tube 2 Tubes X Pt. XPt. X Pt. X Tube 1 Tube 1 Tube 1 Q1 Gal. 1 Tube XPt. 1 QtX Tube X Pt. xn. X Tube 1 Tube XPt. xn. ipt. X Tube 1 Tube 2 Tubes XPt. xn XPt. XPt. 1 Tube 1 Tube 1 Tube 1 Tube XPt. 2Qts. %Pt. 1 Pt. 1QI. 1 Pt. 1 Gal. lQt. XPt. XH- 1 QtXPt. *Pint colored Dark BuH, Shutter Blue or Medium Green, requires additional vehicle due to the large amount of tinting material used. The quantity of additional vehide required is: Dark Buff or Shutter Blue: 3 quarts of linseed oil and 1 pint of turpentine per 100 pounds of white lead or 1 X pints of linseed oil per gallon of paint. Medium Green: 3 pints of linseed oil and M pint of turpentine per 100 pounds of white lead or pint oflinseed oil per gallon of paint 22 FORMULAS FOR INTERIOR CO Xf X(I liquid ounco uqualr pint or fub COLOR DUTCH BOY COLORS IN OIL SHADOW BLUE.............. (Dutch Boy Blue (Lampblack LT. GREEN BLUE........... 1C. P. Chrome Green--Dark \C. P. Prussian Blue (Dutch Boy Blue SILVERY BLUE.............. (Raw Umber (Lampblack FOG GRAY..................... (Raw Umber (Lampblack WARM GRAY................. (Lampblack (Indian Red SAGE............................ (Raw Umber \C. P. Chrome Green--Dark NILE GREEN.................. C. P. Chromium Oxide Green LIGHT GREEN................ C. P. Chromium Oxide Green GRAY GREEN................. (C. P. Chromium Oxide Green (Raw Umber TURQUOISE................... C. P. Chrome Green--Dark BUCKSKIN.................... Burnt Umber WINE............................ (Indian Red (Venetian Red ASHES OF ROSE............ /Venetian Red (Burnt Umber LIGHT FAWN................. Burnt Umber DUSTY PINK................. (C. P. Chrome Yellow--Orange (Indian Red SHELL PINK.................. Venetian Red PEACH.......................... C. P. Chrome Yellow--Orange LIGHT BUFF.................. (Raw Sienna (Raw Umber LIGHT CANARY............. 1C. P. Chrome Yellow--Lemon (C. P. Chrome Green--Dark LEMON YELLOW............ C. P. Chrome Yellow--Lemon YELLOW IVORY;............ C. P. Chrome Yellow--Medium PINK TAN..................... /French Ochre (Burnt Sienna CREAM.......................... (Raw Sienna [Burnt Sienna IVORY........................... Raw Sifenna n ix in g a n d t in t in g p a in t Trim Colors The following formulas produce complete paints suitable for use as trim colors. Because of their color strength they contain no white lead, but are simply Dutch Boy colors in oil reduced to painting consistency. These paints should be used for the finishing coat only. The regular white lead painting procedure should be fol lowed for the undercoats except that the coat immediately preceding the trim application should be tinted to a medium shade of the finishing color by using a much smaller quantity of the specified color in oil. For quick set and thorough drying, stir about three ounces of powdered litharge into each gallon of trim paint just before application. India Rad Yield: 1 gallon 1 qt. Venetian red 1 ql. Indian red 2U pta. linseed oil . 1 pt. outside spar varnish % pt. liquid drier Medium Green Yield: 1% gallons 2 qts. C.P. chrome green-- med. 3 qts. linseed oil 2% pta. outside spar varnish *4 pt. liquid drier Circus Red Yield: 1 gallon 1 qt. bulletin red 1 qt. indian red 3 pis. linseed oil 1 pt. outside spar varnish V4 pt. liquid drier Dutch Boy Blue Yield: 1 gallon 2 qts. Dutch Boy Blue 2 qts. linseed oil (no varnish or drier) 24 Bottle Green Yield: 1% gallons 2 qts. C.P. chrome green--dk. 2'/i qts. linseed oil 1 qL outside spar varnish *4 pt liquid drier Chromium Oxide Green Yield: 1 gallon 2 qts. CP. chromium oxide green 2Yt pts. linseed oil 1 pt outside spar varnish >4 pt. liquid drier Bright Green Yield: 1% gallons 2 qts. C.P. chrome green--It. 2*4 qts. linseed oil 1 qt outside spar varnish Yt pt. liquid drier Seal Brown Yield: 1 gallon 3 pts. bulletin red % pt. lampblack 3 pts. linseed oil 1 pt. outside spar varnish Y, pt, liquid drier CHAPTER IV Preparing the Surface and Applying REPARING the surface is a very impor P painting job. No matter what material is it should be clean and smooth before a is applied. Dirt, dust, rust, loose paint, other foreign matter should be removed fro Rough and uneven places should be sandpa Detailed instructions for the various surfaces under the specific surface headings. Paint Removal When it is necessary to remove old pain face before repainting, there are various way job. The choice of method depends on the ty as well as the paint previously used. The practices are described in the following sec Blow Torch The blow torch can be used fo paint from metal or smooth w It should be carefully handled to avoid sta charring the wood. Keep the flame away from * knot holes, cracks and underneath clapboar a torch where the flame might touch glass. Hold the flame at an angle about an in painted surface and about two inches ahead o As the paint bubbles up and softens, it can b Paint Remover Removcr'i8 a mixture of acts as a paint softener. M on the market will work on any type of o nish or lacquer. The paste form is designed to remain mo siderable time so that it can be used for large house exteriors as an alternative to the blow Use of the liquid type is generally confine PREPARING THE SURFACE areas or interior surfaces. In all cases the recommenda tions of the manufacturer should be followed as to the use of the remover. Caution should be exercised to avoid fire unless a non-inflammable paint remover is used. Always wash the surface carefully with benzine or tur pentine after using remover to be certain that all residue is removed. Scraper and IFire Bra.h ""P". ri">" P"" hand, is frequently used to re move the previous finish on surfaces such as floors. Scrap ing is also a method of removing rust and scale from metal surfaces, usually in conjunction with a chipping hammer. Brick, stucco, stone or concrete surfaces are usually wire- brushed to remove old coatings. The use of the wire brush, either hand or power driven, is also one of the most thorough ways to remove scale, old paint and accumu lated rust from metal surfaces. * Figure 13 Correct method of holding blow torch. 26 AND APPLYIN Sand Bl ti This *9 an ec'en* m 8 preparation for metal su every bit of foreign matter, even mill sc surface in ideal condition for painting. quires special equipment and is sometim on certain types of structures. Washing Surfaces that have been calc ways be thoroughly washed coating before repainting with an oil ing solution should be hot for best resul Casein paints can be softened up with a der solution for removal with a scraper though it is a difficult job to get all the over casein paint may result in peeling tr Washing with a soap powder solutio pared paint cleaner is also a common ing a surface for repainting*. This is t well as interior surfaces. In these da and heavy automobile traffic the exter well built up sections usually accumula of greasy soot. Likewise, interior walls, in kitchens, accumulate dirt and grease. Paint Application There are certain general facts abou of paint that should be remembered no m painted. For example, no surface should it is wet or damp. On exterior porous viously painted, several days of clear, d precede application of the first coat t moisture is removed. Painting should not be done under frosty or damp conditions. If outside sary in winter, choose periods when the PREPARING THE SURFACE and the surface is dry. There is no danger in painting during extremely hot weather unless the air is too humid. Time between coats should be sufficient to assure com plete drying and a firm film. On certain woods, such as cypress, more time between coals is required. A good test for adequate drying is to rub the surface with 1/0 sandpaper. If the sandpaper does not clog up with paint, the surface is ready for the next coat. Bruahin the Paint ^rus^wor^ *8 an extremely im portant factor in every paint job. It influences not only the final appearance of the job but the durability and life of the paint coating as well. All paint or other coating materials should be applied so as to insure uniform spread and the proper film thick ness. What this proper thickness should be is determined both by the purpose of the paint and its brushing charac teristics. Of course, the brushing technique to be used is influenced by all of these factors. White lead paint for exterior use should be applied freely with a full brush. If a three coat job is being done the paint should be brushed out well to form moderately thin coats, cross-brushed and then finished up with light strokes. On two coat work, the priming coat should be applied more freely with moderate brushing and allowed to level out. A white lead flat paint should be applied with a mini mum of bnishwork. The usual method is to lay on the paint quickly with a fairly full brush over a square yard or less of surface. Then with light strokes, cross brush just enough to spread it uniformly. The paint should be practi cally flowed on the surface, to reduce brushmarks. Enamel should be applied in a thin film over a well-hidden flat paint surface. Both enamel and varnish set quickly and therefore permit very little brushwork. Just enough brush ing to spread the coating evenly and avoid excessive thick- AND APPLYING T ness of the film will produce a good job. varnish has a natural tendency to smooth out. Shellac and brushing lacquers set up even than flat paints and enamels. Consequently applied rapidly with a full brush. IMPORTANT NOTE All white lead and linseed oil formulas in this Ha on the use of soft paste lead and raw oil. If hea add 1 quart of turpentine to all formulas. When is used, omit drier. NLI EXTERIOR WOOD EXTERIOR WOOD SURFACE PREPARATION: New wood should he sandpapered to remove all excessive roughness, loose edges, slivers or splinters, and then brushed to remove dust. Old painted surfaces should also be brushed to remove dirt and dust. Knots and sappy streaks should be given a thin coat of shellac after the first coat of paint is dry. He sure the shellac extends over the edges of knots or sappy areas. All loose paint should be removed. If paint is scaling all paint should be removed down to the wood. All cracks, nail holes and minor surface defects should be filled with white lead putty after the first coat of paint is dry. PAINT APPLICATION: Paste White Lead Repainting Wood: Use Formula 6d as first coat. Follow with Formula 3d as second coat.* ' Three Coat Work--Unpainted Wood: Prime with Formula Id. Follow with Formula 2d as second coat. Use Formula 3d as third coat.* Two Coat Work--Unpainted Wood: Prime with Formula 8d. Use Formula 3d** for a second coat.* Back Priming--Unpainted Woodrf If wood is to be back primed, use one coat of Formula 3d. * In some instances when a harder film is desired for the finish coat, particularly where excessive dirt discoloration or mildew is present, a reduction of the linseed oil is recommended. At least 2*4 gallons of linseed oil should be used. One quart of turpentine should be added if the oil is reduced below 3 gallons. ** If structure is collateral for an F.H.A. loan, this formula should be modified by reducing the linseed oil to 2% gallons and adding 3 pints of turpentine. tOn new construction, it is excellent practice to prime the back of the siding before it is put in place. 30 NLI 102008 EXTE Ready Mixed White Lead Paint Repainting Wood: As first coat, use White Leud Exterior Primer as it com slightly reduced with turpentine not e per gallon of paint) or use Outsid with one pint of turpentine per gallo low with Dutch Boy Pure White Lea White as second coat.f Two Coat Work--Unpainted Wo Dutch Boy Pure White Lead Exteri Dutch Boy Pure White Lead Paint--O a second coat.t Three Coat Work--Unpainted Wo Dutch Boy Pure White Lead Paint-- reduced with one pint of linseed oil turpentine per gallon of paint. Follo coat of Dutch Boy Pure White Lea White, reduced with one pint of turp of paint. As third coat, use Dutch . Lead Paint--Outside White as it com Back Priming--Unpainted Wood: be back primed, use one coat of Dutch Lead Paint (either Exterior Primer or t In cool weather, if paint is too thick to brush amount of turpentine, not exceeding one-half pint * On new construction, it is excellent practice of the siding before it is put in place. MATERIALS e Dutch Boy White Lead....... ..Lb*. Dutch Boy Linseed Oil...... ..Gals. Pure Turpentine............... Dutch Boy Liquid Drier...... Dutch Boy Raw Umber__ . Pta. Varnish............................ . .Gals. Gallons of Paint Produced.. Sq. Ft. Covered Per Gal., 1 Coat...... *600 aq. ft. when uaed for bark priming. Id 100 4 2 1 9H 600 FOR 2d 100 l`A I'A 1 6?6 700 WOOD SHINGLES WOOD SHINGLES SURFACE PREPARATION: New shingles should be brushed with a stiff brush to re move surface dirt or dust. Shingles previously painted should be brushed to remove dirt. All loose paint should be removed by scraping. If paint is cracking and scaling badly all of the old paint should be removed. If previously stained shingles are to be painted and the stain is not known to be an oil stain, a few brushfuls of white lead paint should be applied on a portion of the more protected surface as a test. If no color "bleeds" through this paint in two weeks the entire surface can be safely painted. If there is "bleeding", the shingles should be either restained or painted a color dark enough so that later dis coloration will not show. PAINT APPLICATION: Paste White Lead Repainting Wood Shingles: Use Formula 7d as first coat. Follow with Formula Sd (Flat Finish) or For mula 3d (Gloss Finish) as second coat. Three Coat Work--Unpointed Wood Shingles: Prime with Formula Id. Follow with Formula 4d as second coat. Use Formula 5d (Flat Finish) or Formula 3d (Gloss Finish) as third coat. Two Coat Work--Unpainted Wood Shingles: Prime with Formula 21d. Use Formula 5d (Flat Fin ish) or Formula 3d (Gloss Finish) for a second coat. Ready Mixed White Lead Paint Repainting Wood Shingles: As first coat, use Dutch Boy Pure White Lead Exterior Primer as it comes in the can (or slightly reduced with turpentine but not to NLI 102009 WOO exceed one pint per gallon of paint) White reduced with one pint of turpe of paint. Follow with Dutch Boy P Paint--Outside White as second coat Two Coat Work--Unpainted W Prime with Dutch Boy Pure White Primer. Use Dutch Boy Pure White L side White as second coat.*f Three Coat Work--Unpointed W Prime with Dutch Boy Pure White L side White, reduced with one pint of two pints of turpentine per gallon o with a second coat of Dutch Boy P Paint--Outside White, reduced with pentine per gallon of paint. As third Boy Pure White Lead Paint--Outside W in the can.*f * In cool weather, if paint ia too thick to brush amount of turpentine, not exceeding one-half pint t f'This gives a gloss finish. If Hat finish is desi for this coat. MATERIALS Dutch Boy White Lead.............. .uw. Dutch Boy Linseed Oil.............. .Oats. Pure Turpentine...................... . Oats. Dutch Boy Liquid Drier............. . Pt*. Dutch Boy Lead Mixing Oil........ Qil. FO Id 3d 100 100 1 4 3H 2 11 Gallons of Paint Produced......... Sq. Ft. Covered Per Gal., 1 Coat. 9H 6H 6 200 600 4 ASBESTOS CEMENT SHINGLES ASBESTOS CEMENT SHINGLES SURFACE PREPARATION: Surface should be brushed with a stiff brush to remove all loose dust and dirt. Surface should be completely dry. Painting should be done on previously unpainted shingles only after and dur ing a spell of clear, dry weather. All loose paint should be removed. If the paint is crack ing and scaling all of the paint should be removed. PAINT APPLICATION: Repainting Asbetiot Cement Shinglet: Use For mula 13d as first coat. Follow with Formula 14d (Flat Finish) or Formula 3d (Gloss Finish) as second coat.* Unpainted Atbetlot Cement Shinglet: Prime with Formula 13d. Follow with Formula 14d as second coat. Use Formula 14d (Flat Finish) or Formula 3d - (Gloss Finish)* as third coat. * If desired, Dutch Boy Pure White Lead Paint--Outside White may be used instead of Formula 3d. V MATERIALS FORMULAS 3d 13d 14d Dutch Boy White Lead............. u m. 100 100 100 Dutch Boy Linseed Oil............. Oats. 3M m Dutch Boy Liquid Drier............ pt. 1 Dutch Boy Lead Mixing Oil.......oats. 2'A 4 to 5 Gallons of Paint Produced................... Sq. Ft. Covered Per Gal., 1 Coat........... 6Vs 600 *300 fl. when u**d to prune uopainted ihioglei. fSOO <). ft. when u*ed aecood coat on unptioled ihinglM. 34 %A 1'AloZ'A 400* 600f BRICK, STUCCO, CONCRE BRICK,STUCCO, CONCRETE A SURFACE PREPARATION: Surfaces not previously painted should move all dirt and loose mortar. If surface has not been exposed to air at it should be washed with a solution made of 2 pounds of zinc sulphate to a gallon o allowed to dry thoroughly before painting Surfaces previously painted with an oil brushed to remove all loose paint. All should be repaired with Portland cem material. CAUTION: Stucco of magnesite compositio painted with oil paint. A chemical reaction will oil and certain salts in the magnesite resulting in PAINT APPLICATION: Repainting Brick, Stucco, Concre When an oil paint has been previous paired surfaces should first be spot p mula 13d and allowed to dry. Then as first coat for entire surface. Follo lid (Flat Finish) or Formula 3d (G second coat. ALTERNATE: (If Dutch Boy Lea - not available) Spot prime all repair Formula 4d and allow to dry. Then as first coat for entire surface. Follo 23d (Flat Finish) or Formula 3d (G second coat. * If the previous paint was a water paint, cl coating and treat as an unpainted surface. t If desired, Dutch Boy Pure White Lead Pa may be used instead of Formula 3d. SEE FORMULA TABLES ON PA BRICK, STUCCO, CONCRETE & STONE " *" ....... T1'""----- ' . .............-- i ------ - Unpointed Common Brick: Prime with Formula | 9d. Follow with Formula lOd as second coat. Use Formula lid (Flat Finish) or Formula 3d (Gloss Fin ish) * as third coat. ALTERNATE FLAT FINISH COAT: (If Dutch Boy Lead Mixing Oil is not available) Use Formula 23d. Unpainted Face or Desired Brick: Prime with Formula 12d. Follow with Formula 7d as second coat. Use Formula lid (Flat Finish) or Formula 3d (Gloss Finish)* as third coat. ALTERNATE FLAT FINISH COAT: (If Dutch Boy Lead Mixing Oil is not available) Use Formula 23d. Unpainted Stucco, Concrete and Stone: Prime with Formula 13d. Follow with Formula 5d as second coat. Use Formula lid (Flat Finish) or Formula 3d (Gloss Finish)* as third coat. ALTERNATE: (If Dutch Boy Lead Mixing Oil is not available) Prime with Formula 24d. Follow with Formula 4d as second coat. Use Formula 23d (Flat (Finish) or Formula 3d (Gloss Finish) as third coat.* * If desired, Dutch Boy Pure White Lead Paint--Outside White may be used instead of Formula 3d. BRICK, STUCCO, CONCRET MATERIALS Dutch Boy White Lead.............. Um. Dutch Boy Linseed Oil............. Pure Turpentine..................... Oils. Dutch Boy Liquid Drier........... .PU. Dutch Boy Lead Miring Oil...... Otis. Gallons of Paint Produced......... Sq. Ft. Covered Per Gal., 1 Coat. FO 3d 4d 5 100 100 10 2 1 11 3to m Ws 6H to ik 500 400 40 MATERIALS FORMU lid 12d 1 Dutch Boy White Lead....... Lbs. Dutch Boy Linseed Oil....... Oils. Pure Turpentine............... Oats. Dutch Boy Liquid Drier...... PU. Dutch Boy Lead Miring Oil. Oats. Varnish........................... .Oats. 100 100 1 42 H 1 42 Gallons of Paint Produced............... Ws ZH m Sq. Ft. Covered Per Gal., 1 Coat...... 500 300 40 *200 eq. ft. who used to prim* unpointed stucco, concrete or stone. NLI INTERIOR WOODWORK INTERIOR WOODWORK SURFACE PREPARATION: New woodwork should he sandpapered smooth and dusted before painting. Painted or varnished woodwork, if the old finish is in good condition, should be cleaned. All grease or dirt should be washed off with soap powder or paint cleaner, and any wax removed with benzine. The woodwork should then be rubbed down with 2/0 or 3/0 sandpaper. If the surface is cracked, checked or scaled remove the old coating down to the wood with paint remover. If woodwork was previously stained mahogany or walnut color it will be necessary to apply two thin coats of pure rosin-free shellac before painting to avoid the possibility of the dye in the stain from bleeding through the paint. PAINT APPLICATION: Repainting: Use Formula 5d as the first coat. Follow with Formula 5d (Flat Finish) or Formula 17d (Semi Gloss Finish) or prepared enamel as second coat. ALTERNATE: (If Dutch Boy Lead Mixing Oil is not available) Use Formula 23d as the first coat. Fol low with Formula 25d (Flat Finish) or Formula 26d (Semi-Gloss Finish) or prepared enamel as second coat. Three-Coal Work--New Wood: Prime with For mula 18d or lid. Follow with Formula 5d as second coat. Use Formula 5d (Flat Finish) or Formula 17d (Semi-Gloss Finish) or prepared enamel as third coat. ALTERNATE: (If Dutch Boy Lead Mixing Oil is not available) Prime with Formula 18d or 24d. Fol low with Formula 23d as second coat. Use Formula 25d (Flat Finish) or Formula 26d (Semi-Gloss Finish) or prepared enamel as third coat. 38 NLI 102012 INTERIOR Two-Coat Work--New Wood: Pri 5d. Use Formula 5d (Flat Finish) (Semi-Gloss Finish) for a second co three coat specification should always prepared enamel is to be used. MATERIALS FORM 5d lid 17d 18d Dutch Boy Whits Lead... U. 100 100 50 100 Dutch Boy Linseed Oil.... Gala. 3 Pure Turpentine............ Gala. 2 Dutch Boy Liquid Drier... p.. 1 Dutch Boy Lead Mixing Oil Gala. 3to4 4 1X Dutch Boy Wall Primer... Galt. 3 Varnish........................ Gala. [*K Gallons of Paint Produced to 7X 6'A m M Sq. Ft. Covered Per Gal., 1 Coat 800* 600 800 600 8 *600 M). fl. when wed to prime new wood in two-coat painting; 7 econd coat in three-coat painting. |700 aq. ft. when ueed at aecond coat in three-coat painting. Special Finishes for Interior . . First paint the woodwork accord " ous flat finish specifications. The be tinted to the ground color desired. Usu ferred although other colors such as gre antiqued. After the final coat of paint is brush on a glaze made by tinting a qua flatting oil with one tube (two liquid ounce burnt umber. Keep the glaze well stirred in the color will settle out. Before the glaze s the raised parts of the trim with cheeseclo INTERI K Silver Gr This *s on^y suitable for open grained woods 3 such as oak and chestnut that have not previ ously been painted. Use a filler made as follows: Mix three parts by weight of Dutch Boy white lead and two parts by weight of fine silica. Iteduce to a thin paint with equal parts turpentine and coach japan. Apply this paint and before it sets, rub the woodwork across the grain with atifT felt to force the filler into the grain of the wood. Remove all excess filler. When the filler has hardened, finish with oil, wax, shellac or varnish as desired. ,, . . Open grained woods, such as oak and chestnut, Uniting 8|lou|(j jje jj||e(j with a good wood filler before staining. Then proceed as on other woods by first applying a coat of Dutch Boy flatting oil or a liquid made of equal parts of raw linseed oil and turpentine. Then while the surface is still wet apply the stain, which may be either straight Dutch Boy flatting oil or a mixture of linseed oil, turpentine and drier (See page 12) tinted to one of the colors below. Allow it to remain five or ten minutes and wipe off the surplus with a dry cloth. After the stain is thoroughly dry, apply shellac and finish by waxing or varnishing. COLOR FORMULAS FOR INTERIOR WOODWORK STAIN (quantities of Dutch Roy colors in oil per gallon of liquid) Mahogany 1 pt. Vandyke brown Vi pt rose lake Light Omk 1 pt raw sienna */i pt raw umber Dark Oak 1 pt raw sienna > pt burnt umber ' touch of burnt sienna Cherry pts. burnt sienna Old Maple V* pt. raw sienna (4 Pt burnt sienna Ifx Pt raw umber IFalnut l'/i pts. Vandyke brown or 1 pt burnt sienna V4 pt dropblack 40 NLI 102013 INTERIOR W ~ . . This is a method of imitating va simulating their grain and col the woodwork in the usual manner. The tinted to a ground color suitable for the typ imitated. When the paint is dry apply the color*, thinned with Dutch Boy flatting oil two parts Dutch Boy raw linseed oil, thre tine and one part Dutch Boy liquid drier. the graining color should be figured with g imitate the grain of the wood being reprodu may be finished by waxing or varnishing. GROUND COLORS FOR GRAIN (quantities of Dutch Boy colors in oil per white lead) Cherry y 2 pal. Venetian red Vi gal. french ochre Mahogany ' 1 gal. Venetian red Vi gal. french ochre Lig 1 qt. french Vi pt. CP. c medium Old li Pt- C.P. c orange Dark Oak Vi gal. french ochre See color formulas on opposite page. Volume Mixing Directions DUTCH BOY SOFT TfASTE WHITE LEA ' l- : *' 1 ----------------- REPAINT WORK---------------- OUTSIDE WOOD. (INCLUDING WOOD SHINGLIS) MUST COAT TINISH COAT TIWtHTI* *4 u ms iio 1/ LINSEED OIL* BRICK, STUCCO/ CONCRETE AND STONE FIRST COAT VlNISH COAT ,uouio DRITRi Add V pM to Mch gaRan of point, if raw hmf ail I* mod. MM Ibaaad oil raquira* no ddor. *Ht hi MnMi on iMnglat woo Land Mixing Oil inslaad af Ibaaad ad in dito cant. Na drior raqabod. Upa NO DRIER REQUIRED Far glow hiik m linraad ail bntood af load Mixing OR In Itilo cool. Uta driar a* par nato eppaoito. ---------------------NEW WORK------------------ USE PROPER PRIMING COAT BELOW FOLLOWED |Y TWO COATS MIXED AS PER DIAGRAMS A OUTSIDE WOOD laicmaaia wooa wwmw 3 Dam WHITT HAD 4 Parts UNSUD OIL * 3 Dam TURFSNTINS INTERIOR WOOD 3 Fort* WHITT UAD 3 Dam UNSTID OIL * a Fort* TURFfNTINT BRlCK 3Fars WHITT UAD 3 Fort* UNSTID OA * 1 Fart TURFINTINI STUCCO* CONCRETE AND STONE 4 Fam WHITT UAD 3 Fm UNSTID on 3 Dam UAO MIXING OIL m AM % fkrt Mf It g o c v i goloii of (Mint If raw Df ibg g eI eA la iih A ItlM oH requires no Altr, INTER AND DUTCH . 3 to 4 Fam 42 INTERIOR PLASTER INTERIOR PLASTER (ALSO WALLBOARD AND FABRIC) SURFACE PREPARATION: lie sure surface is clean and smooth, that there is no re- inaining grit, loose plaster, grease or surface irregularities. Care should be taken never to break or scratch the plaster. Fill ail cracks and holes with patching plaster. Large cracks should be opened up to the lath (see Figure 14), soaked with water and properly filled. If surface has been previously calcimined, it should be washed with warm water until all the calcimine is removed. * Walls previously papered should have all paper taken off and then be thoroughly washed to remove all traces of paste. NOTE: Painting over wallpaper is not good practice. Should the painted paper later require removal it would he a difficult job to do so without damage to the plaster. If necessary to paint over wallpaper, be sure there is only one layer on the wall and that this layer is in good condi tion. Paint will not hide texture or surface irregularities. Follow unpainted plaster painting directions. PAINT APPLICATION: Repainting: Use Formula 5d for the first coat. Follow with a second coat according to the finish desired. Fl a t Formula 5d St ip p l e Formula 15d Sh a r p St ip p l e Formula 16d Se mi-Gl o s s Pl a s t ic En a me l Formula 17d Formula 22d Prepared Enamel ALTERNATE: (If Dutch Boy Lead Mixing Oil is not available) Use Formula 23d as the first coat. Fol low with Formula 25d (Flat Finish) or Formula 26d (Semi-Gloss Finish) or prepared enamel as second coat. INTERIO AB Figure 14 A--Correct method of cutting out pla with the widest part of "V" next to the incorrect method. Three Coat Work--Unpainted Plast or Fabric: Prime with Dutch Boy W Formula 14d. Follow with Formula 5d Use a third coat according to the finish Fl a t Formula 5d Se mi-Cl o s s Formula 17d St ip p l e Formula 15d Pl a s t ic Formula 22d Sh F Pre ALTERNATE: (If Dutch Boy Lead not available) Prime with Formula 18d with Formula 23d as second coat. Us (Flat Finish) or Formula 26d (Semi-G prepared enamel as third coat. Tuso Coat Work--Unpainted Plaste or Fabric: Prime with Dutch Boy W Formula No. 5d. Use a second coat a finish desired. Both cqgts should be tin mately the same color. Fl a t Formula 5d St ip p l e Formula 15d Sh F Se mi-Gl o s s Formula 17d Pl a s t ic Formula 22d Pre SEE FORMULA TABLES ON NEXT H >'** ;* . fVfj 1, . I. INTERIOR PLASTER MATERIALS Ft7RMULA S 5d 14d 15d 16d Dutch Boy White Lead......... u. Dutch Boy Lead Mixing Oil .out. Dutch Boy Flatting Oil......... out. Dutch Boy Wall Primer........ cut*. 100 100 100 3 to 4 4 to 5 2 xGallons of Paint Produced............... /6Jlo 7 M to \ 7X Sq. FL Covered Per Gallon, 1 Coat... 800* 600 5X 600 100 ix 4X 600 *609 It. when uied to prime unpointed aurfacea. 17d 50 Ui 3 61s 600 MATERIALS Dutch Boy White Lead...... Um. Dutch Boy Linseed Oil...... data. Pure Turpentine.............. Oak. Dutch Boy Liquid Drier. .. . . Pit. Dutch Boy Flatting Oil...... . CM*. Varnish........................... . Gate. Dry Whiting..................... . Un. Gallons of Paint Produced Sq. FL Covered Per Gallon, 1 Coat FORMULAS 22d 23d 24d 25d 26d 100 100 100 100 100 3 IX ix 1X IX xX i XX ix X 2 X IX 22 5X 5X 9`A 5X 6X 160 800 600 800 800 DUTCH BOY PORCH AND FLOOR ENAMEL . . . is designed for maximum durability and gloss retention, with a tough surface that stands hard wear and abrasion. It is available in eight colors - quart and gallon cans. For those who prefer a floor paint ready mixed in colors, this Uutch Boy enamel is unequaled. NLI 102016 WOOD WOOD FLOORS (EXTERIOR AND INTERI SURFACE PREPARATION: New floors should be sandpapered and duste all dirt and grit. Floors previously painted should he sandp dusted, if paint is in good condition. Otherwise the old paint before painting. PAINT APPLICATION: Repainting IFood Floor: Touch up bar Formula 19d. Follow with Formula 19d a Use Formula 20d as second coat. Unpainted Wood Floors: Prime with F Follow with Formula 19d as second coat. U 20d as third coat. Underside Porch Floors: Prime tongue edges of hoards and underside of new porch Formula 3d or Dutch Boy Pure White (either Exterior Primer or Outside White MATERIALS 3d Dutch Boy White Lead___ Um. Dutch Boy Linseed Oil___ Gala. Pure Turpentine.............. .Gala. Dutch Boy Liquid Drier.... Pit. Varnish.......................... Gala. '100 3X 1 Gallons of Paint Produced. 6X Sq. Ft. Covered Per Gallon, 1 Coat. . 600 FORMULAS 18d 1 100 1 3X 22 1X m 600 7 CONCRETE FLOORS CONCRETE FLOORS (EXTERIOR AND INTERIOR) SURFACE PREPARATION: Unpainted concrete that has not aged for at least si* months should be treated with a solution made in the pro portion of two pounds of zinc sulphate to a gallon of water and then allowed to dry thoroughly before painting. All cracks and surface defects should be filled with white lead putty. Surfaces previously painted with an oil paint should be wire-brushed to remove all loose paint. If old paint is in good condition, the surface should be thoroughly cleaned. All grease or dirt should be washed ofT with soap powder or paint cleaner and any wax removed with benzine. PAINT APPLICATION: Repainting Concrete Floort: Touch up worn spots with Formula 19d. Follow with Formula 19d as first coat. Use a high grade floor enamel as second coat. Unpanted Concrete Floort: Prime with Formula 13d. Follow with Formula 19d as second coat. Use a high grade floor enamel as third coat. MATERIALS Dutch Boy White Lead....................... ....... Lbs. Dutch Boy Linseed Oil....................... ....... Oats. Pure Turpentine............................... ....... Oats. Dutch Boy Liquid Drier...................... .....Pta. Dutch Boy Lead Mixing Oil................ ....... Oats. Gallons of Paint Producad.................. Sq. Ft. Covered Par Gallon, 1 Coat...... 48 ' 1.. IjV'Pljl FORMULAS 13d 19d 100 100 2'A A ... 2% A ... m6 20Q 400 NLI 102017 ______________________EXTERI EXTERIOR METAL SURFACE PREPARATION: All metal should be thoroughly cleaned befo to remove rust, grease or dirt. Surfaces where solder flux has been used cleaned with benzine. (galvanized surfaces, never before painted, weather exposed for at least six months before p On repaint work all rusted spots or areas wh loose should be thoroughly wirebrushed. PAINT APPLICATION: Patte Red Lead Repainting Metal: Spot prime all bare Formula A-l. Follow with Formula 28d as Use Formula A-5 (Black) or a white lead p desired color as second coat. Unpainted Metal: Prime with Formula low with Formula 28d as second coat. Us A-5 (Black) or a white lead paint of the de as third coat. Ready-Mixed Red Leqd Paint Repainting Metal: Spot prime all bare Dutch Boy 050-Metal Primer or Liquid Re Quick-Drying Red Lead or Dutch Boy Se Drying Red Lead. FolloW with Liquid Red Quick-Drying Red Lead* or Semi Quick-D Lead* as first coat. Use a Dutch Boy ready-m or a white lead paint of the desired color as s * Enough Dutch Boy lampblack may be added to tint light brown. The difference in color aids in avoiding places. SEE FORMULA TABLE ON NEXT PAC 4ii?: . ,' EXTERIOR METAL Unpainted Metal: Prime with Dutch Boy 050-Metal Primer or Liquid Red Lead or Quick-Drying Red Lead or Semi Quick-Drying Red Lead. Follow with Dutch Boy 050-Metal Primer or Liquid Red Lead* or Quick-Drying Red Lead* or Semi-Quick-Drying Red Lead* as second coat and a Dutch Boy ready-mixed paint or a white lead . . paint of the desired color as third coat. WHITE OH VERY LIGHT FINISH Repainting Metal: Spot prime all hare metal with Formula A-l or Dutch Boy 050-Metal Primer or Liquid Red Lead or Quick-Drying Red Lead or Semi Quick Drying Red Lead. Follow with Formula 2d as first coat. Use Formula 3d or Dutch Boy Pure White Lead Paint -- Outside White as second coat. - Unpointed Metal: Prime with Formula A-l or Dutch Boy 050-Metal Primer or Liquid Red Lead or Quick Drying Red Lead or Semi Quick-Drying Red Lead. Fol low with Formula 2d as second coat and Formula 3d or Dutch Boy Pure White Lead Paint -- Outside While as third coat. * Enough Dutch Boy lampblack may be added to tint the paint a . light brown. The color difference aids in avoiding skipped places. MATERIALS 2d Dutch Boy White Lead........... Lb*. Dutch Boy Red Lead..............u*. Dutch Boy Linseed Oil........ g *u . Pure Turpentine...................Pt*. Dutch Boy Liquid Drier.......... Pt* Dutch Boy Lampblack............Qai*. Dutch Boy C.P. Prussian Blue pu . 100 iii 12 1 Gallons of Paint Produced............... 6? Sq. FL Covered Per Gal., 1 Coat...... 700 Ft3RMULAS 3d A-l 28d A-5 too ioo ioo 25 3'A m \'A 3'A m VA 3 i' m I'A 3 IM*APt. 5 6% VA 7 700 600 708* 700 *600 IQ. ft. when uied lha aeeond co*t over unpalnted metal 50 102018 METAL-UNDERWATER E METAL-UNDERWATEK EXPOS SURFACE PREPARATION: All metal should be allowed to dry thorou be cleaned to remove rust, grease, dirt or lo new work the surface should he sandblasted, if PAINT APPLICATION: Repainting Metal for Underwater Exp prime all hare metal with Dutch Boy Quic Lead. Follow with three coats* of Dutch Drying Red Lead,f Unpainted Metal for Underwater Ex four coats of Dutch Boy Quick-Drying R * If a special color is desired for the finish coat, r red lead coat with a tinted paint, properly mixed for t Enough Dutch Hoy lampblack may be added to to tint the paint a light brown. The difference in colo ing any skipped places. METAL PAINTS Dutch Boy Metal Protective Paints are formulated fo painting problems. For detailed information on corrosion the use of these products, see the Dutch Buy Metal Pain Paste Red Lead. Red bead ground in pure linsee 25, 50 and 100 lb. containers. 050--Metal Primer. Easily applied. Dries to handle Packed in 1 and 5 gallon cans, and 20 gallon drums. t 051--Semi Quick-Drying Red Lead. Particular faster drying schedules are necessary. Available in q gallon and 20 gallon containers. 052--Quick-Drying Red Lead. This rust inhibitiv recoated in 4 hours. Available in 1 and 5 gallon cans drums. 055--Liquid Red Lead. Possesses wetting properties adhesion to partially corroded surfaces. Dries to a sem readily recoated. Packed in 1 and 5 gallon cans and 20 - jUuttodsUULctgijlKedlil INTERIOR METAL INTERIOR METAL SURFACE PREPARATION: Ail metal should he thoroughly cleaned before painting to remove rust, grease, dirt or loose paint. PAINT APPLICATION: Repainting Interior Metal: Spot prime all bare metal with Formula A-l or Dutch Boy 050-Metal Primer or Liquid Red Lead or Quick-Drying Red Lead or Semi Quick-Drying Red Lead or Formula 4d. Follow with Formula 2()d as first. Use a second coat according to the finish desired. Fl a t Formula 5d St ip p l e Formula I5d Sh a r p St ip p l e: Formula 16d Se mi-Gl o s s Formula 17d Pl a s t ic Formula 22d En a me l Prepared Enamel ALTERNATE FINISH COATS: (If Dutch Boy Lead Mixing Oil is not available) Use Formula 25d (Flat Finish) or Formula 26d (Semi-Gloss Finish) or pre pared enamel as finish coat. Unpainted Interior Metal: Prime with Formula A-l or Dutch Boy 050-Metal Primer or Liquid Red Lead or Quick-Drying Red Lead or Semi Quick-Drying Red Lead or Formula 4d. Follow with Formula 20d as second coat. Use a third coat according to the finish desired. Fl a t Formula 5d St ip p l e Formula 15d Sh a r p St ip pl e Formula I6d Se mi-Gl o s s Formula 17d Pl a s t ic Formula 22d En a me l Prepared Enamel ALTERNATE FINISH COATS: See above. 52 NLI 102019 INTERIOR ma t e r ia l s FORMULAS 4d 5d 15d Dutch Boy White Lead___ Um. Dutch Boy Linseed Oil___ Gill. Pure Turpentine.............. .Gaia. Dutch Boy Liquid Drier... Pta. Dutch Boy Lead Mixing Oil. .Gala. Dutch Boy Flatting Oil__ Dutch Boy Wall Primer...... Gali. too 100 2 t 1 3 to 4 100 2 Gallons of Paint Produced.............. m Mb 5M \M Sq. Ft. Covered Per Gallon, 1 Coat .. 600 800 600 MATERIALS FORMULAS 20d 22d 25d Dutch Boy White Lead.. . Lin. Dutch Boy Red Lead.... .. -Lba. Dutch Boy Linseed Oil... Pure Turpentine.............. ...Gala. Dutch Boy Liquid Drier.. . Pta. Dutch Boy Flatting Oil___ ...Gala. Varnish............................ ...Gala. Dry Whiting..................... ...UM. 100 100 100 X X IX XXX ix mH 0 22 Gallons of Paint Produced................. 6 5X 5X Sq. Ft. Covered Per Gallon, 1 Coat.. 800 160 800 --*41 ixidjSso^tuaaltiatteit CHAPTER V Interior Decorative Effects HERE are many decorative treatments possible with T paint, other than plain walls, and in this chapter sonic of the more popular ones are described and illustrated. All are produced over a ground of white lead flat paint with equipment that is both inexpensive and easy to obtain. . A stippling brush is useful for Equipment Required ^ & ^ painted wa|| or for a blended paint effect. This is a rectangular brush with long bristles which when tamped against the wall pick up the wet paint in tiny points giving the surface a uniform texture without brush marks or other irregularities. Masking tape is very useful for establishing a clean-cut line where more than one color is employed. The surface should be completely dry and hard before the tape is ap plied or the paint may be picked up when the tape is re moved. Masking tape can be obtained in various widths. Stencils are another handy device for the decorator. They can be cut from stencil paper or purchased ready to use from the paint store or stencil manufacturer. For their use a stencil brush is required. This is a round brush with INTERIOR DECORATIVE . Hold stencil brush upright as shown. Work pouring a little on a flat surface. Note use of m to hold one corner of stencil. short thick bristles and is used in the manner sh inch brush is about right for the average size s Other effects involve only the use of such materials as newspaper, cheesecloth or a sponge Stencil Effects The simplest stencil effect is one where a diffe paint is brushed through the stencil openings o paint beneath. Removing the stencil leaves the d contrasting color as shown in Figure 17. Of c only one of an unlimited number of designs. Using masking tape to produce banding line. To insure accuracy mark points on the surface about eighteen inches apart and affix tape from one point to the other. Figure 17 INTERIOR DECORATIVE E V [& Figure 20 Another way to use a stencil is shown in Figure the stencil is just a circular opening and instead o over the entire opening the paint is applied on the edge and then blended off toward the center b it with the stencil brush. Two further adaptations are shown in which the cut on the edge of the stencil. A simple border in Figure 19 and a more elaborate scene in Figure paint of contrasting color is applied and the removed the design is outlined as shown. Crumpled Roll Effect This finish is done over a dry ground but whi coat of paint is still wet. A wad of crumpled n about a foot long is rolled down over the wet this is done the paper picks up some of the wet exposes irregular areas of the dry paint beneath two-tone effect in an interesting design. Only abo INTERIOR DECORATIVE EFFECTS INTERIOR DECORATIVE Figure 21 of the undercoat shows through, so the dominant color is always determined by the top coat. The colors used should be different enough to show some contrast. The technique is easy. Press the paper firmly against the wall as you roll it over and over. Use a fresh piece for each time down the wall and overlap slightly so the strips do not show. Also run the strips at a slight angle down the wall to avoid regularity. Any skipped places can be patted with the crumpled paper before the paint has set. I ' Sponge Motile Finish This effect is put on with wet paint over a wall that has been painted and allowed to dry. An ordinary coarse wash ing sponge is the tool used. Cut the sponge in half so a flat surface is exposed and use this side for applying the paint. A little of the colored paint to be applied with the sponge should be spread out on a board or other flat surface 58 Figure 22 and the sponge tamped into it. Dampen the water first, so that it will not become clogged Pat the wall lightly with the paint covered s sponge changing the position of the hand from to avoid repeating the same design in just the Co over the entire surface this way. Glazed and Blended Finish Dutch Boy flatting oil, tinted with color in good glazing liquid for either walls or woodw Ant' creat*n8 an ant*que effect, the col mixed with flatting oil before appl just enough color to get the depth desired. Ap the surface and then wipe lightly with a ball o Some of the glaze will remain in depressed spo antique appearance. This practice may be fol on a wall surface or on woodwork. INTERIOR DECORATIVE EFFECTS Figure 23 To produce a tiffany blend the painted wall, after a 7 it is dry, is brushed with a coat of clear Dutch Boy flatting oil in strips of about twenty-five square feet. While this oil is still wet the colors to be blended are spotted on as shown in Figure 23. The colors in oil should be mixed with enough flatting oil to make a thin paste. Use a wad of cheesecloth in a circular or figure 8 motion to blend the colors on the wet wall. Then wipe out high lights here and there and finish by patting the entire surface lightly with cheesecloth to get a smoothly blended effect. The siennas and umbers, either burnt or raw, are the most frequently used glazing colors. Touches of other colors are also used sometimes to vary the effect. The ground coat of paint should be a light ivory or cream color for best results. ... j A blended effect similar in general appearmn* ance to the tiffany can be done without the use of glaze. Instead, regular white lead flat paint, tinted to the various colors desired, is spotted on the wall while the 60 102023 INTERIOR DECORATIVE finish cout of paint is still wet. Then the co blended together with a stippling brush. In blending can be done without waiting for the g Plastic Finishes A plastic paint is a heavy-bodied paint that a coat with a thickness and a consistency that ca in various designs. White lead plastic paint h tion of whiting added to produce the required s Formula 22d, page 46.) After this paint is on the wall it can be tex great variety of tools. For example, a sponge, a a flat board and a stiff brush are only a few o that can be used. Figure 24 shows a typical d A textured wall can frequently be improved in by glazing, which adds color and accentuates Figure 24 A texture produced by lifting the wet plastic p flat side of a paint brush. INTERIOR DECORATIVE EFFECTS Starching This is nol a decorative effect, strictly speaking, hut it is a method used by some decorators to secure a completely Hat, uniform surface free from "shiners" or glossy spots. . The starch mixture is made as follows: Dissolve one pound of gloss laundry starch (not corn starch) in a little lukewarm water, add one ounce of powdered alum and then pour boiling water into the solution until it thickens to jelly and becomes clear. Reduce to brushing consistency with cold water. Apply with a clean four inch wall brush and immediately stipple. If the wall has been glazed, add about two ounces of white soap flakes to the above starch mixture. Cleaning Painted Walls One of the important advantages of pure white lead flat paint is its durability. Surfaces painted with it can be freshened up, without apparent injury to the finish, by washing with a good prepared paint cleaner or a soap solution. This is true not only of plain color walls, but also those treated with any one of the decorative effects. Washing a dirty surface should always proceed from the bottom up. If the operation is started at the top, the clean ing solution runs down the wall and leaves streaks on the uncleaned portion that are difficult to remove. Brush or sponge off a workable section with the cleaning solution, then rinse with clear water. Do the same with the adjoining area and so on across the bottom of the section. Then re peat the process on the upper sections. 62 ________________________ f CHAPTER VI Avoiding Painting Troubles OOD paint doesn't fail prematurely unless G erly mixed, carelessly applied or asked t possible. To avoid all painting troubles due to improp tures, follow the directions and formulas in th or use the Dutch Boy ready to use paints accor tions on the containers. This handbook also gives certain instructio application that should be followed. Howe words cannot replace the skill that comes wit and, as in all trades, the man who knows his jo better than the beginner. But even the beginn that white lead paint is so nearly foolproof troubles can be avoided by using it accordin mendations. Lr,xcessive Muois.ture On.e o. f the im. possib,le paint is sometimes aske stay on. a surface where excessive moisture is pr the paint film. This condition will loosen the hesion to the surface and is responsible for pr the cases of paint peeling. Construction Defect. bviJUsly; surfac painted while it is w frequently moisture trouble occurs after the pain on a dry, or at least an apparently dry, surface. T in these cases can usually be traced to definit construction. To cite a few typical examples: 1--Lack of flashing or the incorrect use of it 2--Poor fitting of siding against door and w ings or corner boards. 3--Improper installation of moisture barrier insulation. AVOIDING PAINTING TROUBLES 4--Siding or porch skirting touching the soil. 5--Unventilated air space between soil and floor. 6---Hollow porch columns without ventilating holes at top and bottom. Of course, if any of these or other similar faults in con struction are present, they must be corrected to prevent paint * failure. . Another way of expecting the impossible is to paint a surface that has previously cracked and scaled, without first removing all of the old paint. The odds are high that any of the old paint still remaining will continue to crack and scale and take the new paint off with it. AVOIDING PAINTING T CHECKING Breaks in the top coat only which form a sm pattern. Slight checking does not detract from th and protective value of the paint. CAUSE Usually too soft an undercoat. HOW TO AVOibt Allow plenty of drying time be make sure the paint being app mulated to produce a film that than that of the undercoat. AVOIDING PAINTING TROUBLES AVOIDING PAINTING Figure 26 ALLIGATORING Wide and deep breaks in the painted surface. ' CAUSEi The application of a hard type of paint film over a film that is much softer. The soft undercoat may be the result of improper formulation, the use of a soft drying pig ment like yellow ochre, or the use of large amounts of straight color pigments. HOW TO AFOIDs Do not apply a paint that will form a hard film over a paint film that is much softer. Allow ample time between coats for drying and hardening. Before repainting a surface ' that has alligatored extensively, remove all of the old paint, down to the wood. CRACKING AND SCALING Two defects closely related since scaling is cracking. Cracking is a fissure in the paint clear down to the wood. The paint curls up the cracks, pulls away from the surface and CAUSE: Paint that has become hard to its age or composition so longer follow the movemen surface underneath. HOW TO AVOID: Use properly formulated wh It remains elastic and retains AVOIDING PAINTING TROUBLES AVOIDING PAINTING T BLISTERING Blisters in the dry paint film that may eventually break. CAUSEi Usually excessive moisture, either present in the wood at the time of painting, or gaining access to it at some later time. Heat of the sun, or heat from inside the house, moves the moisture through the wood to the under side of the paint film and loosens the paint's adhesion. If vapor pressure is then built up, blisters are formed. HOW TO AVOlDt Make sure that there are no construction faults (see page 63) and that the material to be painted is dry. Before repainting a blistered surface, remove all the old paint. Figure 29 PEELING Paint coming off the surface in strips or larg CAUSE, k may be the use of the w paint or poor application on a prepared surface. Frequently, moisture in the material that i ' moves through to the undersid film so that the paint's adhes and the paint peels off. HOW TO AVOID: Make sure that the material t is clean and in proper conditi paint; that it is thoroughly dry the surface but throughout. in construction faults (see page 6 er repairs should be made. AVOIDING PAINTING TROUBLES -A--V---O---I-D--I-N---G----P---A--I-N---T- :-I-N---G----T-- WASHING Excessive removal of the paint or paint pigment by rain and moisture, usually evidenced by streaks near the lower edge of clapboards or at the foot of columns. CAUSE: The use of improper ingredients in the paint, such as water soluble materials or materials that become water soluble through chemical reaction. HOW TO AVOID: Use properly formulated white lead paint which does not contain or form water solu ble materials. Figure 31 SPOTTING Loss of gloss, fading or early chalking in sma the painted surface. It usually shows Up more with dark tints and colors. CAUSE: Uneven absorption of oil from t coat by the surface underneath. t ' HOW TO AVOID: This defect will not occur whe coat is applied over a properly face. 70 * . ,v:-* , ' ' A* AVOIDING PAINTING TROUBLES AVOIDING PAINTING Figure 32 DIRT DISCOLORATION Every painted surface collects dirt as it ages. However, there is such a thing as excessive discoloration while the paint job is still fairly new. Do not confuse with mildew (see page 78). CAUSE: The use of a finishing coat that contains too much linseed oil or oil of poor quality. HOW TO AVOIDt Be sure the final coat is properly formu lated. In localities where the atmosphere is particularly dirty use less linseed oil in the final coat*. V * Formula 3d should be changed to contain 2 Vi gals, of linseed oil and 1 quart of turpentine. 72 >'nw'in<iry M- IW^W . DISCOLORATION FROM METAL Discolored streaks running down over the face from unpainted metal parts of the house. CAUSE i Formation of metal salts wash the surface of the paint film b the paint contains certain wh the salts actually stain the film impossible to remove the disc HOW TO AVOID: Pure white lead paint is not stained by these salts and any coloration that is deposited o of a white lead film from thi be washed away. r .4' AVOIDING PAINTING TROUBLES AVOIDING PAINTING I i Figure 34 WRINKLING Irregular ridges in the top film of paint. Sometimes so small they give the effect of flatting. CAUS&: A paint film that dries so slowly under neath that it causes the already dry surface to wrinkle. Usually an excessively thick coat of paint will do this, particularly if there is too much drier. HOW TO AVOID: Wrinkling usually can be avoided if the paint is correctly formulated and properly brushed. When bad wrinkling has occurred, the easiest way to get a first-class repaint job may be to remove the old paint. If there is only slight wrinkling, rub down the ridges with sandpaper and repaint. Figure 35 BLEEDING OVER KNOTS AND SAPPY S Discoloration on the surface of the paint a knots or sappy streaks. CAVSE: Resin in the wood that exude paint film. HOW,TO AVOID: Coat areas with thin coat of after the first coat of paint plied. Be sure to overlap the streaks with the shellac. * AVOIDING PAINTING TROUBLES AVOIDING PAINTIN Figure 36 DISCOLORATION OVER CEDAR OR REDWOOD Dark spots appearing through the paint film. CAUSE, Soluble colored substances in the wood that come to the surface of the paint.' HOW TO AVOID: This trouble, usually confined to exteriors, can be avoided by making sure that the lumber is of good grade and well seasoned and also that there is no moisture trouble due to construction defects (see page 63). 76 k *1 >.JhKta> RUNNING AND SAGGING CAUSE: The application of too m paint is high in oil conten to apply it too freely, and paint will run or sag. HOW TO AVOID: A paint of correct formul a suitable surface in a wor never will show either of AVOIDING PAINTING TROUBLES Figure 38 MILDEW A dark discoloration usually found on the shaded areas. CAUSE: A dark-colored fungus that grows on soft .' paint films under the combined condition of moisture, warmth and shade. HOW TO AVOID: , Where mildewing has previously occurred, ' remove all fungus possible by washing surface thoroughly. Use a solution of paint cleaning compound or a mixture of one-quarter pound of washing soda to a gallon of water. Ilinse well and paint ac cording to repainting directions* on pages * The linseed oil in Formula 3d should be reduced to 2^ gallons and one quart of turpentine added to the formula. 78 AVOIDING PAINTING 30 and 31. The addition of ride (corrosive sublimate) (both coats) aids. Use abo every gallon of white lead p added to the paint in eithe First method: Dissolve the ride in alcohol by placing a a small amount of alcohol bath (but not over an open f method: Make a very thin mercuric chloride and a sm linseed oil and turpentine. to the paint, stirring it in th CAUTIONt Mercuric chloride is a dead with great care. FLATTING (LOSS OF GLOSS) Noticeable flatting of the surface within a completing the job. Not necessarily uniform surface. May affect one side of the house or s one board in an entire area. It is purely a de ance and does not impair the life or protectiv paint, CAUSE: Usually incorrect formulatio or to the presence of moi form (frost, fog, rain, etc.) d ing of the paint. Undercoat soft from insufficient time fo also destroy the gloss of the HOW TO AVOID: Be sure of the formulation o its application under proper AVOIDING PAINTING TROUBLES CRAWLING Failure of the paint to wet the surface which causes it to gather up globules instead of covering the surface. CAUSE: The application of paint over an unsuitable surface such as one with a hard gloss. The tendency of a paint to crawl is greatly increased by low temperature. HOW TO AVOID: If necessary to apply paint over a hard, glossy surface, first sandpaper or otherwise provide the surface with "tooth". FADING Uniform lightening of color over an area of a painted surface. CAUSE: Incorrect formulation that causes the paint to chalk rapidly and give the effect of fad ing or the use of color pigments that are not stable. . HOW TO AVOID: White lead has unusually good tint reten tion, and when properly formulated and correctly applied, will not be subject to APPENDIX A--Equivalent Volumes of Dutch Bo (Approximate) w eic h t 100 pounds 50 pounds 25 pounds 12^ pounds 5 pounds 1 pound VOLU 3V4 1% 6I/2 31/4 11/4 1 B--Composition of White-Lea Per cent compositions, by weight and by volum paints used on exterior wood. FORMULA No. 6d (First Coat, Re- painting). MATERIAL . White-lead............................ Linseed Oil............................ Turpentine........................... Drier..................................... Per cent pigment innon-volatile portion................. No. 3d (Finish Coat, Re- painting and New Woodjj White-lead ........................... Linseed Oil............................ Turpentine........................... Drier..................................... Per cent pigment innon-volatile portion................. No. Id (Priming Coat, New Wood) White-lead .......................... Linseed. Oil............................ Turpentine............................ Drier..................................... Per cent pigment innon-volatile portion................. No. 2d (Second Coat, New Wood) White-lead ........................... Linseed Oil.................... Turpentine............................ Drier..................................... Per cent pigment in non-volatile portion................. \ APPENDIX C--Painting Contract Form For all ordinary jobs ol exterior and interior painting the following contract between painter and property-owner will till requirements-. (Date).................................................................... We agree to paint the property located at (Address)......................... ................................................................................................ and owned by (Name of owner)........................................................................................ doing the work listed herein in accordance with the following speci fications: 1. Paint is to be applied only when the surface is thoroughly dry. 2. All surfaces shall be clean, smooth and free from duBt, dirt, grease, mortar, loose paint, scale, etc. 3. All paint shall be evenly spread and thoroughly brushed out. 4. On new work, after priming, knots and sappy streaks shall be shellacked with one coat brushed out thin. ' 5. All exterior work shall be allowed to dry from two to four days before the next coat is applied and for interior work at least twenty-four hours for each coat. 6. All nail holes, dents, cracks, joints or other defects in the surface shall be puttied after the priming coat has been applied and is thoroughly dry. 7. Before any paint is applied, plaster surfaces, either new or old, must be made clean and smooth and all cracks and holes filled with patching plaster. 8. Walls that have been calcimined shall be washed until all calcimine is removed before applying any paint. 9. All new plaster, stucco or concrete shall he aged before paint ing by washing with a solution made by dissolving two pounds of zinc sulphate in one gallon of water. 10. All paints and paint products used shall he Dutch Boy. 11. All material and tools to be furnished by the painting con tractor. (Here list and specify in detail all work to be done.) Price for all work specified above S..................... Terms of payment: After first coat is applied $................................. On pompletion of job S............................................. (Signed) ............................................................................. (Sianstureof Contracting Painter) Accepted .................................................................. (Signature of Owner of Property) 82 flight... Glossy... Quick-Drying ( SASH TRIM CO Blended to Stay Bright Briihll "Dutch Boy" Sash & T specially "blended" to trim up only looks bright but stays brig 8*iufr-ti|ht 1 Specially blended strength and for glassy, mirror add a finishing to They work easily, dust-free in 4 hou And hard. > KlfMI "Dutch Boy Colors are ideal fo doors, fences and A real painters' make any job s stand up! V I Coat Really Covers... 'Z>u&A8w' Wonsover "Dutch Boy" WONSOVER is a real one-coat interior paint ... a real oil flat that offers you many real advantages. WONSOVER far Hiiia( Pawar ... It really covers like a blanket. Use it over any painted surface where flat paint is suitable, whether plaster, wallboard, wood, brick or con crete. Also does a professional job over water-reduced paints. WONSOVER far Siaaathaats ... It goes on with creamy smoothness ... levels out nicely, spreads far and dries to a rich-looking, uniform, flat finish. WONSOVER far Spaad ... It comes ready to apply ... brush, roller or spray. Sets dust-free in a few hours. Dries overnight and leaves no unpleasant odor. Once over and the work's over with WONSOVER. Nff"1 VW ' * ' < .1 ! 4.'. INDEX Acid stain, 13 Alligatoring, 66 Amount of paint required, 17 Antique finish, 39, 59 Applying paint, 27 on asbestos cement shingles, 34 on brick, 35 on concrete, 35 on concrete floors, 48 on exterior metal, 49 on exterior wood, 30 on fabric, 44 on interior metal, 52 ' on interior plaster, 44 ' . on interior woodwork, 38 on metal subject to underwater exposure, 51 on stone, 35 on stucco, 35 on wallboard, 44 on wood floors, 47 on wood shingles, 32 Asbestos cement shingles, 34 formulas for, 34 paint application, 34 surface preparation, 34 Cold weather Colors exterior, 22 graining, 40 interior, 23 stain, 12, 40 trim, 24 Colors in oil, 9 use of, 21 Commercial pu Common brick formulas for paint applic surface prep Concrete, 35 floors, 48 formulas for paint applica surface prep Construction d 'Loirosive subli Cracking, pain Crawling, pain Creosote stain, Crumpled roll B Back priming, 30, 31 Bleeding from aniline dye, 13 from creosote stain, 1; over knots, 75 Blended finishes, 59 Blistering, paint, 68 Blow torch, use of, 25 Boiled linseed oil, 7 Brushes, 13 cleaning, 14 "keeper" for, 12 stencil, 14,. 54 stippling, 14, 54 Brushing paint, 28 ' ( f C Calcimine, removing, 27 Casein paint, removing, 27 Cedar, paint discoloration over, 76 Checking, paint, 65 Cleaning painted surfaces, 27, 62 Coats, number of, 29 Decorative effe antique, 59 blended, 59 crumpled rol glazed, 59 paint blend, plastic, 61 sponge mottle stencil, 55 tiffany, 60 Decorative equi Defects, constru Dirt discoloratio Discoloration, p dirt, 72 from metal, 7 over cedar or Drier, liquid, 8 Dry red lead, 6 mixing, 19 Dry surface, how Drying time bet Dryness of pain Dutch Boy colors, 9 85 V INDEX flailing oil; 8 Lead Mixing Oil, 7 linseed oil, 6 liquid drier, 8 pure while lead paint, 4 red lead, 5 trademark, 2 \ wall primer, 9 white lead, 3 . E Effects, interior decorative, 54 antique, 59 blended, 59 crumpled roll, 57 glazed, 59 paint blend, 60 plastic, 61 sponge mottle, 58 stencil, 55 tiffany, 60 Enamel, 11 how to brush, 28 Equipment required for interior decorative effects, 54 Estimating amount of surface, 16 quantity of paint, 17 Exterior colors, 22 Exterior concrete floors, 48 fonntllas for, 48 paint application, 48. surface preparation, 48 Exterior metal, 49 formulas for, 50 ' paint application, 49 - ' surface preparation, 49 white or light finish for, 50 Exterior primer, 4 Exterior paint, how to brush, 28 Exterior wood, 30 formulas for, 31, 42 paint application, 30 surface preparation, 30 Exterior wood floors, 47 formulas for, 47 paint application, 47 surface preparation, 47 F Fabric walls, 44 formulas for, 46 ' paint application, 44 surface preparation, 44 Face brick, 36 formulas for, 37, 42 paint application, 36 surface prepurution, 35 Fading, paint, 80 ' F.H.A. formula, 30 Finish, enamel, 11 concrete floors, 48 fabric, 44 . interior metal, 52 interior plaster, 44 interior woodwork, 38 wallboard, 44 Finishes, interior decorative, 54 antique, 59 blended, 59 crumpled roll, 57 glazed, 59 paint blend, 60 plastic, 61 sponge mottle, 58 stencil, 55 ' tiffany, 60 Finishes, special, for interior woodwork, 39 Flat paint, bow to brush, 23 Flatting oil, 8 use as glaze, 39 use as slain, 11, 40 Flatting, paint, 79 Floors, painting, 47, 48 . Formulas, color exterior, 22 graining, 41 interior, 23 stain, 12, 40 trim, 24 . Formulas, paint asbestos cement shingles, 34 brick, 37, 42 concrete, 37, 42 concrete floors, 48 exterior metal, 50 exterior wood, 31, 42 ` fabric, 43 46 F.H.A.,30 interior metal, 53 interior plaster, 43, 46 interior woodwork, 39, 43 metal subject to underwater ex posure, 51 stone, 37, 42 stucco, 37, 42 volume mixing, 42, 43 wallboard, 43, 46 wood floors, 47 wood shingles, 33, 42 special finis staining, 40 ' surface pre ~ Knot, blegding G Glazed finishes, 59 Gloss colors, 22, 24 Gloss, loss of, 79 Graining, 41 colors for, 40, 41 H Heavy paste white lead, 3 Hot weather painting, 27 Lacquer, how Lead Mixing O use as stain Linseed oil, 6 boiled, 7 raw, 7 Litharge, use i Liquid drier, 8 Liquid red lea Loss of gloss, I Interior colors, 23 Interior concrete floors, 48 formulas for, 48 paint application, 48 surface-preparation, 48 Interior decorative effects, 54 antique, 59 blended, 59 crumpled roll, 57 glazed, 59 paint blend, 60 plastic, 61 sponge mottle, 58 stencil, 55 tiffany, 60 Interior metal, 52 formulas for, 53 .. paint application, 52 surface preparation, 52 Interior paint, how to brush, 28 Interior plaster, 44 formulas for, 43, 46 paint application, 44 surface preparation, 44 Interior wood floors, 47 formulas for, 47 paint application, 47 surface preparation, 47 Interior woodwork, 38 formulas for, 31, 43 graining, 41 paint application, 38 Magnesite stuc Masking tape, Materials for p brushes, 13 colors, 9 drier, 8 enamels, 11 oils, 6 putty, 15 red lead, 5 stains, 11 varnish, 10 volatile thinn wall primer, white lead, 3 white lead pa Metal, exterior, formulas for, paint applica surface prepa white or ligh Metal, interior, formulas for, paint applicat surface prepa Metal discolora Metal subject t posure, 51 paint applica surface prepa Mercuric chlorid Mildew on pain . d*. ,Ab \ K INDEX Mixing, 19s- dry red lead, 19 paste red lead, 18, 19 - paste while lead, 18, 19 plastic paint, 19 - white lead paint, 18, 19 Moisture, effect of, 63, 68, 69, 76 N Number of coats, 29 v O Oils, 6 flatting, 8 -. Lead Mixing, 7 linseed, 6 Oil stain, 11, 12, 40 Oleo-resinous varnish, 10 Outside, see Exterior Outside white, 4 . P Paint t application, 27 Dutch Boy pure white lead, 4 estimating amount of, 17 how to brush, 28 mixing, 18, 19 removal, 25 straining, 20 tinting, 21 trim color, 24 Paint application, 27 asbestos cement shingles; 34 brick, 35 concrete, 35 concrete floors, 48 exterior metal, 49 exterior wood, 30 fabric, 44 interior metal, 52 interior plaster, 44 interior woodwork, 38 metal subject to underwater ex posure, 51 stone, 35 stucco, 35 wallboard, 44 wood floors, 47 wood shingles, 32 Paint blend, 60 Paint coats, time between, 28, 78 Paint formulas asbestos cement shingles, 34 brick, 37, 42 concrete, 37, 42 concrete floors, 48 exterior metal, 50 exterior wood, 31, 42 fabric, 43, 46 F.H.A., 30 interior metal, 53 - interior plaster, 43, 46 interior woodwork, 39, 43 metal subject to underwater ex posure, 51 atone, 37, 42 stucco, 37, 42 volume mixing, 42, 43 .wallboard, 43, 46 wood floors, 47 . wood shingles, 33, 42 Paint remover, 25 Painting, see Paint application Painting in cold weather, 27 Painting in hot weather, 27 Painting over wallpaper, 44 Painting troubles, avoiding, 63 Paste red lead, 6 mixing, 18, 19 Paste white lead, 3 mixing, 18, 19 Peeling, paint, 69 Penetrating stain, 13 Plaster, interior, 44 formulas for, 43, 46 paint application, 44 surface preparation, 44 Plastic finish, 61 - Plastic paint, 19 Porch floors, painting underside of. 47 Preparing the surface, 25 asbestos cement shingles, 34 brick, 35 concrete, 35 concrete floors, 48 exterior metal, 49 exterior wood, 30 fabric, 44 interior metal, 52 interior plaster, 44 interior woodwork, 38 88 metal subject to underwater ex posure, 51 stone, 35 stucco, 35 wallboard, 44 wood floors, 47 wood shingles, 32 Primer, 4, 9 tinting, 21 Putty, 15 Q Quick-drying red lead, 6 R Raw linseed oil, 7 Ready-lo-use white lead, 4 Ready-to-use red lead, 6 Red lead, 5 mixing, 19 quick-drying, 6 ready-to-use, 6 semi quick-drying, 6 Redwood, paint discoloration over, 76 Repainting . asbestos cement shingles, 34 brick, 35 ' concrete, 35 concrete floors, 48 exterior metal, 49 exterior wood, 30 fabric, 44 interior metal, 52 interior plaster, 44 interior woodwork, 38 metal subject to underwater ex posure, 51 stone, 35 stucco, 35 wallboard, 44 wood floors, 47 / wood shingles, 32 Removal, paint, 25 calcimine, 27 casein, 27 Running, paint, 77 . S Sagging, paint, 77 Sand blasting, 27 Scaling, paint, 67 Scraper, paint, 26 . Semi quick-dr Shellac, 10 how to brus Shingle stains Shingles, asbe formulas fo paint applic surface pre Shingles, woo formulas for paint applic staining, 11 surface prep Silver gray fin Soft paste whi mixing, 18, Solution, zinc Spar varnish, Special finishe work, 39 Spirit varnish, Sponge mottle Spotting, pain Stains, 11 acid, 13 color formula creosote, 11 oil, 11 penetrating, water, 13 woodwork, 1 Staining, 11, 4 Starching, 62 Stone, 35 formulas for paint applica surface prep Stencil effects, Stencil brush, Stippling, 54 stippling bru Straining paint Stucco, 35 formulas for, magnesite, 35 paint applica surface prep Sulphate, zinc, Surface areas, h Surface prepar asbestos cem brick, 35 v . i-j A. A . 7// \ \f-y \ INDBX ooncrete, 35' concrete floors, 48 exterior metal, 49 exterior wood, 30 fabric, 44 interior metal, 52 interior plaster, 44 _ interior woodwork, 38 metal subject to underwateajtx- poeure, 51 atone, 35 stucco, 35 wallboard, 44 wood floors, 47 wood shingles, 32 T Tape, masking, 54 Thinner, volatile, 10 Tiffanv finish, 60 Time between coats, 28 Tinting paint, 21 , colors for, 9 formulas for, 22, 23, 24 , priming coat, 21 Troubles, avoiding painting, 63 Turpentine, 10 Two coats on new work, 29 exterior wood, 30, 31 fabric, 45 interior plaster, 45 interior woodwork, 39 wallboard, 45 wood shingles, 32, 33 Varnish, 10 how to brush, 28 Volatile thinner, 10 Wallboard, 44 formulas for, 43, 46 paint application, 44 surface preparation, 44 Wallpaper, painting over, 44 Washing walls, 62 Washing (paint defect), 70 Washing, removal of water paint by, 27 Water stain, 13 White lead, 3 heavy paste, 3 how to keep, 20 mixing, 18, 19 soft paste, 3 White lead paint, Dutch Boy, 4 mixin IP. 19 White tri.i1 ; . Wire brush, - < Wood stain, 11, 12, 13 Wood, exterior, 30 formulas for, 31, 42 paint application, 30 surface preparation, 30 Woodwork, interior, 38 formolas for, 39, 43 graiping, 41 paint application, 38 special finishes for, 39 staining, 40 surface preparation, 38 Wood shingles, 32 . formulas for, 12, 33, 42 paint application, 32 staining, 11 surface preparation, 32 Wood floors, 47 formulas for, 47 paint application, 47 surface preparation, 47 Wrinkling, paint, 74 Wall primer, 9 90