Document LJooLROGyXe9gNZvxMEZzkYO3

-J 00 oo TABLE OF CONTENTS OF V (D) indicates that item appears in "d (P) indicates that item appears in "p a (DP) indicates that item appears A PAGE Absorbatone (Acoustical Material) ... 77 Acoustex (Acoustical Material) ....... 77 Acoustical Materials, Painting .......... 75 Acousti-Celotex (Acoustical Material) ........................................... 78 Acoustone (Acoustical Material) .... 80 Act, Social Security......................... 65 Adaptability, Dutch Boy's, Notable Example of ......................................... 55 Advertisement, American Red Cross 106 Advertisement, Dutch Boy Colors in Oil ................................................... 48 Advertisement, Dutch Boy Line ................................................... 26, 50, 119 Advertisement, Dutch Boy Linseed Oil ......................................................... 98 Advertisement, Dutch Boy White Lead ......................... 2DP, 24!)!', 71,96 Advertisement, Dutch Boy White Lead (National Magazine) .............................................. 12DP, 47, 74 Advertisement, Dutch Boy White Lead, Oils and Colors....................84, 85 Advertisement, Dutch Boy White Lead Paint ......................................... 72 Advertisement for D. B. P. Magazine Binder................... 23DP, 89 Advertisement, National Magazine, , Dutch Boy White Lead 12DP, 47, 74 Advertisement, Newspaper (Em mons Oil & Paint Co., 1). B. Dealer) ................................... 103 Advertisement of Dutch Boy Trade-Mark ...................................... I 20 Advertising for Painters....................... 1 4P Advertising, Multiply Yourself with 1 4P Am A Ans Arm A Aw Bar Bar C Ba Be O Be Be O Be Be Bin Ble Bli Blo Boo Bo A Bo R Br i Bu Bus 0000-NLI-000019789 0000-NLI-000019790 G PAGE PAGE Calistone (Acoustical Material) ....... 78 Campers Come and Campers Go, Decoration for Walls....................3DP, 111 Decoration, Interior.................... 3 DP, 11 Development, Building, Painting But Dutch Boy, Etc........................ 28 of .........................................................18 DP Camp House (Brimson, Minn.)....... 28 Directions for Mixing White Lead Canvas Awnings, Painting ............... 21DP Canvas-Covered Pipes, Painting....... 94 Canvassing Plastered Walls .............. 21 DP Cards, Wage Record, New Use for. 6; Paint ................................................... 38 Directions for Paint Styling............... 36 Displays in Dealers' Stores .............................. 14D, 17D, 53, 83, 86 Cartoon (Camouflaging).................... 35 Dittmann, Fred (New Orleans) .... 83 Casein Paint Spots, Removing from Concrete Floor ................................. Cause of Paint Blistering.................... Ceiling, Metal, Painting.................... 7 n6 93 Downing, Willard (D. B. Represen tative) ................................................. Drying of Paint .................................... Dutch Boy Colors in Oil Advertise 58 31 Ceiling Paint for Efficient Lighting 45 Celotex Corporation (Mfrs. Acoustical Materials) ....................76, 78 ment ...................................................... 48 Dutch Boy Defends "World's Smallest Home"..............................1 iDP Cement Pool, Painting ....................... 117 Dutch Boy Is Better Than Ever....... 39 Changing Floor Finish from Oil to Dutch Boy Jobs Varnish ................................................. 68 .................... 18DP, 28, 55, 58, 82, 107 Coating for Movie Screen ................. 93 Dutch Boy Line Advertisement Colonial Homes in Westfield............. 18DP ................................................... 26, 50, 119 Color Finishes, Straight, for Outside Dutch Boy Linseed Oil Wood ........................ 62 Advertisement.................................... 98 Color Formulas ...................................... 65 Dutch Boy Stays on the Job............... 28 Colors in Oil, Dutch Boy, Dutch Boy Trade-Mark Advertisement ................................. 48 Advertisement.................................... I 20 Composition Shingles, Painting..... 45 Dutch Boy White Lead Advertise Concrete Floor, Removing Spots ment (National Magazine) from ....................................................... 7 .............................................. 12DP, 47, 74 Copper, Greenish Tint for................22DP Dutch Boy White Lead Advertise Corkoustic (Acoustical Material)...............77 ment (Special for D. B. P.) Cost-per-Gallon Advertisement................. 72 ......................... 2DP, 24, 71, 84, 85, 96 Covering Joints in Plywood............... 92 Dzimian Credits Dutch Boy ............ 86 Craven, J. A. (Botanist, Glendale, Dzimian, Inc., S. A. (D. B. Dealer, Calif) ...............................................11 DP Buffalo, N. Y.) ................................. 86 Crocker, A. L. (D. B. Dealer, Reno, Nevada) ................................. 108 Crumpled Roll Finish ........... 3DP E Efficient Lighting, Paint for Ceilings 4 5 D Emmons, A. C. (D. B. Dealer, Davison, George (Painting Con Medford, Wis.) .............................. 103 tractor, Rockville Center, L. I.)... 55 Even the Label Is Improved............... 38 Dawson, Ray (Painting Contractor, Exterior Painting (Major Articles) Duluth, Minn.) .............................. 28 ...................................... 27. 32. 34. 5U 62 IV F pag e Fall Business, Boost, with FHA......... 87 Fanwood Realty & Development Co., Inc. (Westfield, N. J.)......... 1 8DP FHA Boosts Fall Business ................. 87 FHA Technical Circular No. 6............ 5 I Fiberglas Tile (Acoustical Material) 77 Filling Joints of Plaster Wallboard... 118 Finish, Crumpled Roll.............................. 3DP Finish, Semi-Gloss, on Varnished Woodwork ......................................... 70 Haglu Pa Hann Pa Here Hersh Pa Home How Finish, Sponge Mottled........................... 3DP Finish, Tiffany ...................................... 3 DP Finishes, Straight Color, for Outside Wood ...................................... ............. 62 Finishing North Carolina Pine......... 69 Fire, Preparation for Painting after... 1 1 7 Flagpole Painting ...............................60, 90 Impro Impro Interi Inven Lin Float, L. U. 29, Parade...................... 43 Floor, Concrete, Removing Spots from ...................................................... 70 Job, I Floor Finish, Changing from Oil to Jobs, Varnish ................................................. 68 Bo For 2-Coat Work on New Outside Wood, Use Dutch Boy.................... 5 1 Johns Ma Forms to Help You Make More Money ................................................. 95 Joints Joints Formulas for Exterior Colors............ 65 Formulas for Iwo-Coat Work............ 52 Formulation by Volume...................... 38 Frosting Glass with Paint....................... 92 Furniture, Lawn, Painting................. 45 Keep Keg L Kelley Kenco G Kenne Aco Galesburg (111.) Union Painters....... 43 Get Off on the Right Foot (Adver tisement) ........................................... 119 Gettemuller Emphasizes Dutch Boy (Window Display) ......................... 53 Glass, Painting to Imitate Frosting... 92 Glazing Liquid, Using ....................... 46 Good Paint Ad-Vice ............................ 103 Green Paint to Stand Sunlight......... 44 Greenish Tint for Copper.................. 22DP Guarantees, Painting............................ 30 Label Labor Labor Illin Lanca De Lath-S Lawn Lead 0000-NLI-000019791 PAGE Let It Dry.......................... ...................... 3 2 Line, Dutch Boy, Advertisement ................................................... 26, 50, 1 19 Linseed Oil Advertisement ............... 98 Linseed Oil Plant, New....................... 99 Local Union No. 29 ............................ 43 Longhurst, T. B. (D. B. Represen tative) ................................................. 59 Lusc-Stevenson Co., (Mfrs. Acoustical Materials) ....................... 77 M PAGE Notice of 1941 Convention, P. 1). C. of A...................................... 110 o Oil Stain for Outside Wood rIrim.... Organ Pipes, Refinishing.................... Outside Wood, Straight Color Fin ishes for .............................................. Outside Wood Trim, Oil Stain for.... Owens-Coming Fiberglas Corp. (Mfrs. Acoustical Materials) ....... 69 46 62 69 77 Macoustic (Acoustical Material) .... 76 Magazine Advertisement, Dutch Boy White Lead...............12DP, 47, 74 Magidson, Adolph (Sec'y Colonial Homes in Westfield)....................... 18DP Mailer, Neighborhood......................... 16P Making Linseed Oil ............................ 99 Materials, Acoustical, Painting......... 75 Metal Ceiling, Painting....................... 93 Mixing Directions................................. 38 Mixing Formulas for Color Finishes 65 Movie Screen, Coating for................. 93 Muffletone (Acoustical Material).... 78 Multiply Yourself with Advertising 14P Myers, William (Painting Con tractor, East Petersburg, Pa.) .... 59 N National Gypsum Co., (Mfrs. Acoustical Materials)............................. 77 Neighborhood Mailer ......................... 16P New Dutch Boy Linseed Oil Plant Now in Production ......................... 99 New Saviors' Store in Reno............... 107 News of Paint Styling......................... 34 Newspaper Advertisement (Em mons Oil & Paint Co., D. B. Dealer) ................................................. 103 New Use for Wage Record Cards... 65 Non-Fading Green Paint.................... 44 Notable Example of Dutch Boy's Adaptability ...................................... 5 5 P Paint Blistering, Cause of............... I 16 Paint, Ceiling, for Efficient Lighting 45 Paint, Drying of .................................... 32 Paint, Green, to Stand Sunlight....... 44 Paint, Plastic, Smoothing.................... 44 Paint Questions Answered ................... ...........20DP, 44, 68, 92, 116 Paint, Removing Slow-Drying.......... 22DP Paint Spots, Casein, Removing front Concrete Floor ................................. 7 Paint Stippling ...................................... 11 1 Paint Styling News .............................. 34 Painters'Advertising............................ 14P Painters' Blotter .................................... 17P Painters' Business Forms .................... 95 Painting Acoustical Materials...................... 75 Painting after a Fire ............................ 117 Painting a Metal Ceiling.................... 93 Painting and Decorating Contractors of America, Inc.................................. 110 Painting Canvas Awnings..................21DP Painting Canvas-Covered Pipes....... 94 Painting Cement Pool ......................... 117 Painting Chemical Laboratory Workbench .......................................20DP Painting Composition Shingles......... 45 Painting, Exterior......27, 32, 34, 5 I, 62 Painting Flagpoles..............................60, 90 Painting "Frosting" on Glass...................... 92 Painting Guarantees ............................ 30 VI PAGE Painting, Interior......3DP, 75, 107, III Painting Lawn Furniture ................. 45 Painting Side Wall Shingles............... 27 Painting Window Screens ................. 46 Parade Float, L. U. 29......................... 43 Paving the Way for Paint Jobs......... 13DP Perfatone (Acoustical Material)....... 80 Permacoustic (Acoustical Material) 79 Personality Sketch (John B. Barnes, Buffalo) .............................................. 56 Personality Sketch (Conrad Haglund, St. Paul) ......................... 8DP Pine, Finishing North Carolina....... 69 Pipe Organ Pipes, Refinishing.......... 46 Pipes, Canvas-Covered, Painting.... 94 Plant, New, Linseed Oil .................... 99 Plaster Patches Show.............................20DP Plaster Walls Show Lath-Shadow....... 1 I 8 Plastered Walls, Canvassing............ 21 DP Plywood Joints, Covering................. 92 Pobanz, George (Geneseo, 111., Painter) ................ 102 Pool, Cement, Painting....................... 11 7 Portrait of a Promise (Advertise ment) ................................................... 1 20 Precisely the Right Note (Adver tisement) ....................................... 84, 85 Preparation for Painting after a Fire I 1 7 Prescription for Long, Useful Life.... 5 8 Prize-Winning Float ............................ 43 Q Questions, Paint, Answered ............................zoDP, 44, 68, 92, 116 Quietone (Acoustical Material)....... 80 R Reading (Pa.) Spruces Up .............. 82 Red Arrow Painters & Decorators, Duluth, Minn.................................... 28 Red Cross Advertisement.................... 106 Refinishing Old Walnut Door to Re store Natural Color ............................ 69 Rcfinishing Pipe Organ Pipes ............ 46 Remo Co Remo Repa Sid Resea Resto Do Reve Rock, tive Roger B. Rohre ert Ross, Roug Sabin Sanac Savier Re Savier Schm De Schof tati Screen Screen Sccrcs Secres seo, Semi-G nish Shado Shingl Shingl Shingl Show Stat Side W Sign M Stor Sign, tr~ PAGE V PAGE Sized Plaster Patches Show............... 20DP Sketch, Personality (John B. Barnes, Buffalo, N.Y.)................................... 56 Sketch, Personality (Conrad Hag- Varnished Woodwork, Semi-Gloss Finish on.............................................. Volume Formulation ............................ 70 38 lund, St. Paul, Minn.).....................8DP Slow-Drying Paint, Removing.......... 22DP Smoothing Rough Plastic Finish................. 44 w Social Security Act................................. 65 Sponge Mottled Finish.......................... 3DP Wage Record Cards, New Use for............65 Stain, Oil, for Outside Wood Trim...............69 Wallboard Joints, Filling.................... 118 Wall Decoration ............................3 DP, I i I Stained Shingles, Repainting ............ I 16 Stanley, Ed., Jr., (Steeplejack, Walls, Brick, Waterproofing.............. 68 Walls, Canvassing Plastered...............21 DP Bronx, N. V.)................................... 60 Walnut Door, Restoring Finish of...............69 Stanley, Ed., Sr., (Steeplejack, Walnut Woodwork, Bleaching .... 117 Bronx, N. Y.)............ 90 Stippling Paint .......:.............................. 111 Waterproofing Brick Walls................. 68 Straight Color Finishes for Outside Weiss, John C. (D. B. Representa tive) ...................................... :.............. 82 Wood ................................................... 62 Streamline Your Inventory (D. B. Westfield, Colonial Homes in..........18DP Line Ad) ............................................ 50 Wet Paint Sign........................................ 15P White Lead Advertisement, (Na Styling with Paint ................................. 34 tional Magazine) ............ 1 2DP, 47, 74 White Lead Advertisement, (Special ' T for D. B. P.)... 2DP, 24DP, 71, 72, Ttylor County, (Wis.) Star-News.... 103 Technical Circular (FHA) No. 6... 51 Tcmcoustic (Acoustical Material).... 77 "There's Not Much Room at the Top in My Business"....................... 60 Three Wall Treatments......................... 3 I) 1 ' Tiffany Finish ......................................... 3 DP Tint, Greenish, for Copper...............22DP Trade-Mark, Dutch Boy, Advertise ment ...................................................... I 20 Transitc (Acoustical Material) ......... 79 Trucks, National Lead Company's. .. 31 Tvo-Coat Exterior Painting............... 51 84, 85, 96, I 19 White Lead Improvements................. 39 Whiter Than Ever (Dutch Boy White Lead Advertisement)........... 2DP Window Display in Dealers' Stores ............................. 14D, 17D, 53, 83, 86 Window Screens, Painting................. 46 Workbench, Chemical Laboratory, Painting..............................................20DP Woodwork, Exterior, Painting .............................v....... 27. 32> 34. 5U 62 Woodwork, Varnished, Semi-Gloss Finish on ........................................... 70 Woodwork, Walnut, Bleaching.......... 117 u "World's Smallest Home" Defended by Dutch Boy................................... 11 DP o o o United States Gypsum Co. (Mfrs. Acoustical Materials) ....................76, 80 Use Dutch Boy for 2-Coat Work on z New Outside Wood......................... 5 I Use for Wage Record Cards.............. 65 Zurphy, Walter (Painting Contrac Use of Glazing Liquid......................... 46 tor, East Petersburg, 1'a.)............... 59 VIII K^TOv|fWfW|i hrli/riKIiIh Wmi fl`uiittllllt<litH-t-J"`'"`Iit`Ub'<rt! gbfiliHUltltltA DUTCH BOY PAIN Volume 33 1940 Published bi-monthly by National Lead Company, N. Y., in the interest of better painting. Mailed witho Whiter than ever Always meeting the exacting demands of painters for unsullied whiteness, today's Dutch Boy white-lead is whiter than ever, thanks to recent refinements in manufac ture. Now you get even whiter white work and even brighter, truer tints .. . just one reason why now, more than ever, Dutch Boy's the Big Buy in the Paint Line WHILE some of the younger men is ap now engaged in the painting ousl business have had a pretty soutondsa grounding in most of the phases of wall craftsmanship, there are many who feel coats forced to pass up interior jobs that call Oil for certain decorative wall treatments. to p The experienced painter may say, prev "Shucks, I can do a Tiffany finish with on w my left hand and a crumpled roll finish good with my right, blindfolded." That may wash be true, but this same man first had to pain learn how to do these finishes, either the n as an apprentice, or at a trade-school, to th or as his father's helper. coats The three types of wall decoration radic on which many young painters seek in grou formation are the Tiffany finish, the cedin Crumpled Roll finish and the Sponge walls Mottled finish. And, even though all of D three were devised many years ago, Boy each has its periods of revival and all Dutc have a proper place in the decorative grou kit of any up-to-date craftsman. tive Each of these decorative treatments W OOOO-NLI dried, the necessary ground coat, or coats, may be applied. Tiffany Glazing and Blending This form of decoration may be used on nearly all types of wall surfaces-- in homes, public buildings, churches and theaters. It lends itself to any color scheme, is simple in method, easy of execution, and versatile in treat ment. It can be applied to all prop erly painted surfaces -- plaster walls, fabric covered walls, or wallboard. Glazing is simply the application and manipulation of semi-transparent colors which will change the tone of the painted surface without entirely hiding it. It follows, then, that the final ground coat should be tinted to with other water-type paints must be conform to the general color scheme. cleaned of these coatings down to the A deep cream color will be found cor bare plaster before oil paint is put on. rect for all finishes in tans, browns, Once the old coating is removed and greens, buff and yellows. White or the wall dry, Dutch Hoy wall primer, oyster white backgrounds serve for or a primer made by mixing ioo light grays and blups, and a light pink pounds Dutch Boy white-lead and 4 or background for old rose, lavender, and 5 gallons Lead Mixing Oil, should be other shades where red is prominent. applied. This is true, too, of new The glazing colors recommended are plaster walls, wallboard or wall fabric. Dutch Boy colors ground in oil, be In the case of new plaster which cause of their greater purity of tone, usually contains free alkali, a prelim strength of color and convenience. inary wash with zinc sulphate solution The glazing liquid is a thin, trans is required. This neutralizer, consist parent vehicle that is applied to the ing of two pounds of zinc sulphate dis painted surface and permits the glazing solved in a gallon of water, is brushed colors to be evenly and nicely blended. onto the plaster and allowed to dry. Dutch Boy flatting oil makes an ex Crystals which form on the surface cellent glazing liquid, or Dutch Boy should be brushed off before the primer Lead Mixing Oil may be used. is applied. When the priming coat has The tinting colors may be thinned 24 vo -J vo very slightly with flatting oil for easy manipulation. A separate brush should be used for each color. With a clean four-inch wall brush, spread a coat of the clear glazing liquid on the dry ground coat, covering only as much surface as can be conveniently worked at one time and from the base board to the moulding. On this wet glazing liquid daub the three or four selected tinting colors here and there, carelessly and irregularly, as shown in Figure 1. The next step is to blend these spots of color into the others nearby while the colors and the glazing liquid are still wet. Do this by rubbing them with a wad of cheesecloth as large as can be conveniently handled, employing a cir cular or figure-eight motion, and then tamping the surface until the spots are blended into a cloudy effect, like sun light shining through an art glass win dow onto a plain wall. Figure 2 shows how proper blending of the colors will result. This completes the process, which is repeated, stretch after stretch until the room is finished. On rough, sandfinished walls the blending can be done better with a wall stippler than with a wad of cheesecloth. Some good color combinations are: Ground: Cream. Glazing colors: Burnt umber, burnt sienna, raw sienna. Ground: Ivory. Glazing colors: Cobalt blue, lampblack, rose lake. Ground: Gray. Glazing colors: Cobalt blue, raw sienna, drop black. G Bur Th ratio effec oidy work finish used roll form and wall over to th color m 1 . 0000-NLI-00001 Dulcli Boi| Painter. A As in other forms of decoration, the walls are first painted in the color de sired for the ground color, the final coat to be a flat or an egg shell gloss. When this coat is bone dry, a harmon izing color of heavy brushing consis tency is prepared. Next cut an ordinary sponge cleanly in half. Then pour a little of the paint on a board or other flat surface. Press the flat side of the sponge in the wet paint and repeatedly tamp the wall with the flat side of the sponge. This will leave a design where the structure of the sponge touches (see Figure 3). For a finer pattern use the uncut surface of the sponge. The idea is to use the sponge as you would a rubber stamp, transferring the paint from the board to the wall, leaving the impression of the sponge wherever it touches. To avoid a repetition of pattern the sponge should be turned in the hand frequently. There is hardly a limit to the choice of colors that may be used with this treatment, as it is equally effective with soft, harmonious tints or sharply con trasting shades. In fact, the greater the contrast the more distinct will be the pattern. For living rooms or halls the colors may be a buff ground with cream finish, medium gray with old rose finish, warm gray with cream finish, golden yellow with golden brown, light tan with leather brown and many other combinations. For bedrooms two shades of blue, two shades of pink, pink and soft gray, or any other combination of soft, pleas ing tints may be used. The Crumpled Roll Finish This popular form of interior deco ration is possible only on smooth fin ished walls. It is easy to produce and adaptable to practically all interiors. It is very pleasing with its soft, feathery design which gives an even all-over treatment without any distincj pattern. The walls are first painted the color desired, the ground coat being flat or an egg shell gloss. Allow this to dry hard and then apply another coat of paint of a color which will harmonize with the ground coat. Coat in a strip of wall three or four feet wide from moulding to base board. While this paint is still wet take a double sheet of newspaper and crumple it into a wadded roll about a foot long. Begin ning at the top of the freshly painted surface press the crumpled roll against the wet paint (Figure 4) and carefully roll the paper down the wall, rotating it with the fingers and being careful not to let it skid on the wet paint. As the projecting parts of the roll touch the wall they will lift off some of the wet paint, showing the ground color underneath. Go clear to the bot tom of the wall and then open up the paper, turn the wet side in and again crumple it so that new, dry surfaces will be available to roll down the wall for the next stretch. Have plenty of old newspapers handy so as to be able to use clean rolls frequently. Different kinds of paper produce different effects. A newspaper makes a bold, prominent figure when it is crumpled loosely. Crumpled more tightly it makes a finer, closer pattern. Wrapping paper makes a large, pro nounced figure. Tissue paper gives a soft, fine, closely knit design. Excellent panel effects may be ob tained with the crumpled roll treat ment. The whole surface may be painted in one color, after which the panels are carefully laid off. The final coat in the panels should be a trifle darker or lighter than the space outside of the panels and a softer paper used on the panel work so as to show a fine be pa the enam Fo able as a l a slig coat, large contr In are u pink, gray, a so green In cream brow a buf 0000-NLI-000019796 li DISTILL almost any successful paint contracting business and, after all else has evaporated, chances are you'll find at the bottom of the beaker a man who is by nature a good craftsman and by choice a good busi ness man. And the spark that motivates him is ambition to succeed. If one of St. Paul's going painting concerns were analyzed, or distilled, to discover just what makes it go, the energetic personality of Conrad Hag- lund would quickly be revealed. That is the conclusion inevitably drawn from a short biographical sketch of Mr. Hag- lund, recently sent us by Clint Rock, one of the Dutch Hoy field men who frequently double as reporters for this magazine. Mr. Haglund came to this country from Sweden in 191O--a big, husky lad, full of ambition and with a head full of ideas he felt he could put into practice here. He learned his trade in Conrad Haglund, St. Paul fainting con tractor, as sketched by the Dutch Boy artist his native land, the birthplace of many there was no outlet as a journeyman. of our real craftsmen. Shortly after Since turning contractor in 1914 he arriving in St. Paul, young Haglund has handled many important jobs in convinced F. R. Mann & Son, at that time one of the city's largest and oldest decorating firms, that he was a really the Twin Cities, one of the largest of which was the 32-story First National Bank Building in St. Paul. Haglund good craftsman and promptly went on the concern's payroll. Four years later, Haglund decided to start out on his own and put into operation the ideas he long had harbored but for which employs between 20 and 30 men regu larly, in operating under the slogan "No job too big or too small" and covers every field of painting endeavor. In the words of Clint Rock, "Mr. 8 Haglund's chief concern is giving his customers full value for the dollars they spend on their painting needs. That this policy pays dividends in real money, as well as in building a reputa tion, is demonstrated by the fact that after the above-mentioned bank job was done (in record time incidentally) Mr. Haglund bought a new car, took aboard his wife and two children and drove metrop took p a nine St. Pa harnes dends, and no fuss se to his The ner of in the can se clean-, below tising in whi for the homes No contra tion of tell you Haglu tainabl SI RAD h a VvP'Jf^roiG rom 11:1 i .,\m at k TOO LARGE OR TO WE HAVE THE , mimoffm fouipipm feint* Decorate tone: OFFICE STORE, c h u r c h ** FACTORy " S DUTCH BOY DEFENDS Z.6Z.6I0000-nM-0000 AT the Riverside (California) - Harvest Festival last fall, one of Am hav the displays that received a great deal F of attention and caused much favorable gard comment was a miniature "House and fact Garden Exhibit" sponsored by the in w Schmidt Paint and Paper Company of O 3823 Market Street, Riverside. This wer charming layout, photograph of which tha is shown opposite, was conceived by trea James Bowen, a Pacific Coast Dutch dwa Boy representative. Actual construc the tion was done by a cabinet-maker, a Cra carpenter, a craft-and-hobby teacher, a our graduate electrical engineer and Mr. able Bowen. icals The Dutch Colonial house is built Cra on the scale of one inch to the foot and met this scale holds true also of all details peri such as furniture, draperies, curtains, "Ind rugs, pictures, table linen and even star door knobs and water taps. The con plan struction job required 262 hours of cou labor; the painting and finishing re goo quired 57 hours; making the Dutch A Boy figures, landscaping the garden the plot, erecting picket fences, etc., took key 42 hours. All in all, the materials cost year about $90. gran T he four tiny Dutch Boy figures in frui evidence were used to carry out the gras theme of "Paint Protection for the per l * I ..J 0000-NLI-000019798 PAVING THE Wm FOR fyje uKrtJz&d /uvu6 76 6iu/ <wis Jtcone / -- so we're giving it the proven protection of Dutch Boy" Doe* year home represent years of planDing . saving end sacrifice? Tbtm Duttb Bey it tbt paint for yem! A paint you can buy with complete con fidence that you're going to get a longlasting, money-laving job. Dutch Boy White-Lead will not crack and scale-- will not let you down. Of courie. no paint wears forever--not even Dutch Boy. Bui when you finally do repaint over a Dutch Boy job, you avoid costly "extras.'' (See photographs at right.) Your painting contractor specialises in making old houses look new. Call him to day-- and have the pleasure of seeing your home sparkle with bright new color. You'll tee Dutch Boy paint mixed-to-order for your house and timed to the exact color you ask for. V Want to make yourself a tmart faint buyer? Then send for and nod our booklit, "So You're Going to Paint*'--with 52 illustrations in color- free, of course. w ' the coupon today. LOW-GRADE PAINT *>/.&atlkh`niptru,kd"cf[ iatrar,-r w*> (air*. /& */*( ** i.W .ft,*<>!( ' "u&l. Ok err ii -*!< ""AAl*l i*tn1*i *Sr*jr hr DUTCH BOY Fmr y*ir, ,U smJ ,xi<ll,m, i.nJ,W.*w ,iMWM.*.r.As gradt fjl*I l*i Nl fw trathit aoJujIiH Ad _____ ______ .1___; THIS year, as last, home owners all over the country are being in HIM formed of the virtues of pure white- lead paint' through advertisements in the big national magazines--Saturday Evening Post, Collier's, American Home, etc. Two campaigns--one by the makers of Dutch Boy white-lead, the other by the Lead Industries Asso ciation -- are running simultaneously. One of the early advertisements in the 1940 Dutch Boy series is repro duced on the page at the left. As it appears in the magazines, this is a full- page, full color advertisement. One of the early advertisements in the 1940 campaign sponsored by Lead Industries Association is reproduced, in reduced size, at the right. This double-barreled effort is doing a job for the sponsors, of course, and it is doing a job for white-lead painters and white-lead dealers, too. Because the white-lead required on the jobs devel oped by these campaigns must be han dled by the dealer and mixed and ap plied by the painting contractor. Every one, from maker to consumer, benefits. The degree to which the distributor ^^ U jftrMMa blead (Ho sronde ;jong. No w )ouh an4 ing ant ch and painting contractor will benefit will depend largely on how closely they cooperate -- how often they suggest white-lead to customers, how much ef fort they use in persuading home own Tfou don't it that len Juat ask reputation HH Sell y Bo it's a g jpeim to kn ers to paint and to paint with whitelead. From the opening volley of these I4 ' campaigns to the closing shot, don't miss a chance to boost white-lead--it will boost your own business, too. 12 snow is flying and the temperature is down to zero? What matter if house Santa Meets Dutch Boy at Morgans painting is on few people's minds? Here is a trade character that not only typifies good paint but one that stands RARELY does a Christmas season fade into'the New Year but that for good will as well. So, into the win dow goes the Dutch Boy and the major it provides additional evidence that thepart of the Christmas display problem Dutch Boy Painter, as a trade char is solved. acter, knows no off-season. Though The picture above shows specifically there is a lull in the painting business, how the display man in the Morgan Dutch Boy stays on the job, helping Paint Company store, 3556 Olive store owners to spread the Christmas Street, St. Louis, Mo., used the Dutch message of good will. Boy in his Holiday display. Brightly Window display men "go all out" trimmed and lighted Christmas trees in planning and installing Holiday flank a nicely painted doorway in windows. It's the high-spot of their which the Dutch Boy figure stands. year. And, in casting about for ideas We have no means of knowing how OOOO-NLI-i and material with which to put in a many people accepted the invitation standout window nothing in the store above the door -- "Ask Us About is overlooked. If there is a Dutch Boy Paint"--but we are confident that few figure or cut-out handy, like as not that people who passed the store failed to will give the display man the idea he grasp the significance of this win o has been hunting. What matter if dow's good will - good paint message. o o o 14 VC 'J VC Paint Up A G fore, that of its front Th ling p owne ening doesn implie recen glaze pane THERE is something a bit uncon vincing about a bald-headed bar have front ber's offer to give you "a good shampooof mo with Sprouto Scalp Tonic -- it will And grow hair on a door knob." We always look suspect there is something amiss when ated the announcer on the Kold Prevention glaze Kapsule program shows up with a cious bull-frog voice in lieu of his customary A tenor. And many folks, no doubt, ele vertis vate their eyebrows when they pass a lishm paint store that shows no external evi sisten dence of the wares stocked within. for d Truly "consistency", as some one once wind said "thou art a jewel." Humankind, by and large, has a fine sense of the fitness of things. The pros pective customer for a suit of clothes finds his urge-to-buy going into reverse when he is approached by a salesman whose appearance suggests he just dried out after a heavy rain, or fell asleep before he could get his clothes off. Similarly, paint-minded folks with no special allegiance to any particular store can be excused for hesitating be- At____________________________________ _____ by. The display man, at home in his store, may become accustomed to a front that is down-at-the-heel. He gets into the window with his goods and his props, makes tentative arrangements and darts outside to see how things look. In the process, he is apt to con centrate on his handiwork rather than on its fixed environment. But the pas serby gets a quick reaction to the entire fron sens K pain caus the in o dem a pr of a DUTCH BOVS an TAKING his cue from the mes sages carried by recent Dutch Boy can ers window displays, Bill Burkstaller oifn t the Pecos Valley Lumber Company, stat Roswell, New Mexico, recently put in slow a Dutch Boy window that moved pas- the sersby to stop, look and linger. The ceiv picture here shows Dutch Boy prod mec ucts, of course, as well as Dutch Boy kno window cutouts, altered to suit the quit purpose of the display. What the photo of R 0000-NLI-000019800 ' I ' HIS aerial photo shows a part of the 350-acre development near Westfield, N. J., built by "Colonial Homes in Westfield" and operated by the Fanwood Realty & Develop ment Company, Inc. The houses, which range in price from $3,990 to $6,500, are painted inside and out with Dutch Boy white-lead. A close- up of a typical home is shown below at right. In a recent letter, Mr. Adolph Magidson, Secretary of "Colonial Homes in Westfield," said, "The exterior appearance of our homes is a prime factor in the suc cess we have enjoyed in the past year in the sale and construction of sixty houses. The exclusive use of Dutch Boy white-lead will continue to be a part of our construction policy so that we can match the outstanding paint product with what is generally conceded to be the outstanding build ing project in this part of the state." " iv.; hr' j. fViM 0000-NLI-000019801 >,'VN5!vi, s'Tr^- r 0000-NLI-000019802 National Lead Company's staff of practical paint men will help you solve your painting problems without charge. Address your letter to National Lead Co., Room 2020, HI Broadway, New York, N. Y. Please state your problem fully and be sure to place your name and address on your letter. Our reply will reach you promptly by mail. The problems discussed below have been selected because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled. Painting Chemical "Lab" Work Bench Question: Can you advise me how to treat a chemical laboratory work bench so as to render the wood acid, alkali and water prooff Answer: Assuming that the bench top is constructed of good, well-sea soned hardwood, you can make it rea sonably acid, alkali and water proof by following these directions: First prepare these solutions or have a druggist or chemist mix them-- No. I-- 125 grains copper sulphate 125 grams potassium chloride 1000 grams water No. II-- 150 grams fresh anilin oil 180 grams concentrated hydro chloric acid 1000 grams water The wood to be treated must be free from paint, varnish, wax, grease or chemicals. First apply a coat of solu tion number I, boiling hot, using an ordinary paint brush. Let the bench dry thoroughly. Then apply a second coat of the same solution. When the second coat has dried in 20 thoroughly, apply a coat of solution number II. Allow this to dry and then recoat with the same liquid. After this last coat has dried, wash away with hot soap suds any excess chemical that has remained on the surface of the work. Let the bench again dry out thoroughly and apply raw linseed oil, rubbing the oil well into the wood with a felt pad or a wad of cheese cloth. This will impart a medium polish to the surface. Sized Plaster Patches "Show" Question: In a remodelled house in which we were working a short time ago we painted several walls in which old door openings had been closed in with studding, lath and plaster. These big patched areas were given a coat of shellac as a size, then the walls were painted with three coats of flat paint. Now the patches show right through the paint. What causes this f Answer: The patched areas should have been primed, not sized, with a pigmented primer such as Dutch Boy wall primer. When you simply seal the plaster surface, and thereby produce a gloss finish, as you usually do with shel lac, there is a readily noticeable differ ence between the new work and the surrounding areas because of a differ ence in texture. Dutch Boy wall primer is a paint, not a thin size, and it not only seals the plaster surface but it also forms a good anchorage for the paint coats that follow. Had the patched areas been thus primed (after properly neutralizing the free alkali in the fresh plaster) and the primer feathered off a short way on the old plaster, three good flat paint coats certainly would have completely hidden the places that for merly had been doorways. Canvassing Plastered Walls Question: I have a customer who wants canvas on his walls; the canvas is then to be painted. The plaster is cracked rather badly and it is pretty glossy. How can I get the canvas to look smooth and stay putt Answer: We assume that the plaster has been, or will be, patched and sand papered smooth. This is absolutely necessary on a canvas job. The fabric cannot be expected to hide definite ir regularities in a surface. When the fresh plaster is thoroughly dry, the patches should be neutralized, if neces sary, with a zinc sulphate solution-- two pounds of zinc sulphate dissolved in a gallon of water. After the neutral ized patches have dried out, prime these spots with Dutch Boy wall primer. The canvas may be hung after the primer is dry and hard. Use any good prepared adhesive in accordance with the manufacturer's label directions. Th not coate enou canv be c past seco over inch alon thick with port port of th the the T the butt firm can a ba Q befo this year A mus sum per the size size in c Be alu llIf 1 Dale11 Boi| Pointer__________ --------------------- -------------Jfak water. Apply the warm size to the can vas with a large brush and allow the coating to dry thoroughly before any paint is put on. The painting is done with two coats, each based on this formula: ioo lbs. Dutch Boy heavy paste whitelead. 2 gals. Dutch Boy boiled linseed oil. i gal. pure turpentine. This paint may, of course, be tinted with Dutch Iloy colors in oil. Care must be exercised in the amount of oil color used because too great a quantity will retard the drying of the job. Another, and more expensive treat ment consists of the following: Dis solve white beeswax in just enough turpentine to make a soft paste. To 12 ounces of this paste add two pounds of Dutch Hoy heavy paste white-lead and two tablespoonfuls of soft soap. Mix these ingredients thoroughly and apply the resulting paste to the canvas with a large spatula, spreading it out as smoothly and evenly as possible. Sur plus paste should be scraped off. The purpose of this beeswax, white-lead and soap mixture is to close the pores of the fabric without appreciably stiffening it. Use this same paste, but thinned to paint consistency with a liquid com posed of equal parts of Dutch Boy boiled linseed oil and turpentine, for the second coat. This should be applied with a paint brush, care being used to brush the paint out well. After this coat is dry and hard a second coat can be applied. Both coats may, of course, be tinted with Dutch Boy colors in oil. Greenish Tint for Copper Question: A house 1 am painting white has a copper roof. The owner would like to have the copper look old, with a grayish green effect. How can this be produced, with paint or some other material? Answer: The familiar gray-green tone of old copper (some call it a "patina" or "verdigris"), put there by the actions of Mother Nature and Father Time, is difficult to imitate. Many painters do a passable job with vinegar, several treatments being re quired as a rule. In going about the job, first make sure the copper is thor oughly clean, then brush on a coat of ordinary household vinegar. Repeat every other day for a week, and you will likely have as good an imitation of aged copper as may be obtained quickly. Removing Slow-Drying Paint Question: Having contracted to repaint the trim on a house last painted five years ago, / am up against a problem. This paint, after five years, is still sticky on some por tions of the building. How should it be treated? The owner does not want it re moved with a blow torch and scraper. Answer: It would be impracticable to sandpaper or brush off the tacky paint, of course. Possibly the only thing to do is to use one of the paint removers that are now being widely used on exterior paint. These removers are spread on with a brush, allowed to remain for several hours to thoroughly soften the old tacky paint, then a scraper is used to take off the paint down to the bare wood. The directions on the remover package explain the precise procedure. 22 PAINTERS and dealers all over Binder the answer to the ques tion contained in every copy zine best be saved for future use? Designed especially for bindin the new Binder is practical, sturd economical. It costs you a mere Binder can easily repay its cost b needed item of paint information because that particular issue was Start now to build a "library binding your "Dutch Boy Painte remittance of 75 cents--check, m NATIONAL LEAD CO., Room 202 0000-NLI-000019803 i 't': Lr? WHY IS MY KEG OF ISA? MKI YOUR SACK QF FLOUR T lihy't V. u.r>; ,,, VN \xxx): : rff.m IUTCH BOY PAINTER AC Si num jppi), 0000-NLI-000019804 ELL, in the first place, both white-lead and flour are Wstandard, basic items--yours in food stores, mine in paint stores. Both are staples with country-wide distribution. In the second place, both are commodities that most people understand. There is nothing mysterious about them . . . they're just good, pure, dependable materials. In the third place, both are adaptable. I take white-lead, and with various oils and thinners, make many types of paint. You take flour as a base, and using other things with it, make bread, cake, cookies, biscuits and so on. With your sack of flour, plus a few other ingredients, you have the makings for about everything a baker has to bake. And you don't need to tie up much money in stock. With my keg or two of lead, plus a few oils and thinners and colors, 1 have the makings for about every type of paint my jobs demand. I don't have a big inventory of materials either, nor any waste to speak of, to drj tip puft of 4y profit. FLAT PAINT iHIJRiOe BukSItB cP . 'V> ..... COAT 1 i . ,humo <> * - Vi 'v&t DUTCH BOY PAIN Volume 33 1940 Published bi-monthly by National Lead Company, N.Y.. in the interest of better painting. Mailed witho Always meeting the exacting demands of painters for unsullied whiteness, today's Dutch Boy white-lead is whiter than ever, thanks to recent refinements in manufac- WHILE some of the younger men now engaged in the painting business have had a pretty sound grounding in most of the phases of craftsmanship, there are many who feel forced to pass up interior jobs that call for certain decorative wall treatments. The experienced painter may say, "Shucks, I can do a Tiffany finish with my left hand and a crumpled roll finish with my right, blindfolded." That may be true, but this same man first had to learn how to do these finishes, either as an apprentice, or at a trade-school, or as his father's helper. The three types of wall decoration on which many young painters seek information are the Tiffany finish, the Crumpled Roll finish and the Sponge Mottled finish. And, even though all three were devised many years ago, each has its periods of revival and all have a proper place in the decorative kit of any up-to-date craftsman. Each of these decorative treatments is ap ously to sa wall coats Oil to pr prev on w good wash paint the n to th coats radi grou cedin walls of D Boy Dutc grou tive W 0000-NLI-000019805 0000-NLI-000019806 dried, the necessary ground coat, or coats, may be applied. with other water-type paints must be cleaned of these coatings down to the bare plaster before oil paint is put on. Once the old coating is removed and the wall dry, Dutch Boy wall primer, or a primer made by mixing ioo pounds Dutch Boy white-lead and 4 or 5 gallons Lead Mixing Oil, should be applied. This is true, too, of new plaster walls, wallboard or wall fabric. In the case of new plaster which usually contains free alkali, a prelim inary wash with zinc sulphate solution is required. This neutralizer, consist ing of two pounds of zinc sulphate dis solved in a gallon of water, is brushed onto the plaster and allowed to dry. Crystals which form on the surface should be brushed off before the primer is applied. When the priming coat has 4 Tiffany Glazing and Blending This form of decoration may be used on nearly all types of wall surfaces-- in homes, public buildings, churches and theaters. It lends itself to any color scheme, is simple in method, easy of execution, and versatile in treat ment. It can be applied to all prop erly painted surfaces -- plaster walls, fabric covered walls, or wallboard. Glazing is simply the application and manipulation of semi-transparent colors which will change the tone of the painted surface without entirely hiding it. It follows, then, that the final ground coat should be tinted to conform to the general color scheme. A deep cream color will be found cor rect for all finishes in tans, browns, greens, buff and yellows. White or oyster white backgrounds serve for light grays and blues, and a light pink background for old rose, lavender, and other shades where red is prominent. The glazing colors recommended are Dutch Boy colors ground in oil, be cause of their greater purity of tone, strength of color and convenience. The glazing liquid is a thin, trans parent vehicle that is applied to the painted surface and permits the glazing colors to be eveidy and nicely blended. Dutch Boy flatting oil makes an ex cellent glazing liquid, or Dutch Boy Lead Mixing Oil may be used. The tinting colors may be thinned very slightly with Hatting oil for easy manipulation. A separate brush should be used for each color. With a clean four-inch wall brush, spread a coat of the clear glazing liquid on the dry ground coat, covering only as much surface as can be conveniently worked at one time and from the base board to the moulding. On this wet glazing liquid daub the three or four selected tinting colors here and there, carelessly and irregularly, as shown in Figure 1. The next step is to blend these spots of color into the others nearby while the colors and the glazing liquid are still wet. Do this by rubbing them with a wad of cheesecloth as large as can be conveniently handled, employing a cir cular or figure-eight motion, and then tamping the surface until the spots are blended into a cloudy effect, like sun light shining through an art glass win dow onto a plain wall. Figure 2 shows how proper blending of the colors will result. This completes the process, which is repeated, stretch after stretch until the room is finished. On rough, sandfinished walls the blending can be done better with a wall stippler than with a wad of cheesecloth. Some good color combinations are : Ground: Cream. Glazing colors: Burnt umber, burnt sienna, raw sienna. Ground: Ivory. Glazing colors: Cobalt blue, lampblack, rose lake. Ground: Gray. Glazing colors: Cobalt blue, raw sienna, drop black. G Bur T rati effe onl wor finis use roll form and wa ove to t colo 0000-NLI-000019807 T Dutell Boil l\iinU>r_ JUk As in other forms of decoration, the walls are first painted in the color de sired for the ground color, the final coat to be a flat or an egg shell gloss. When this coat is bone dry, a harmon izing color of heavy brushing consis tency is prepared. Next cut an ordinary sponge cleanly in half. Then pour a little of the paint on a board or other flat surface. Press the flat side of the sponge in the wet paint and repeatedly tamp the wall with the flat side of the sponge. This will leave a design where the structure of the sponge touches (see Figure 3). For a finer pattern use the uncut surface of the sponge. The idea is to use the sponge as you would a rubber stamp, transferring the paint from the board to the wall, leaving the impression of the sponge wherever it touches. To avoid a repetition of pattern the sponge should be turned in the hand frequently. There is hardly a limit to the choice of colors that may be used with this treatment, as it is equally effective with soft, harmonious tints or sharply con trasting shades. In fact, the greater the contrast the more distinct will be the pattern. . For living rooms or halls the colors may be a buff ground with cream finish, medium gray with old rose finish, warm gray with cream finish, golden yellow with golden brown, light tan with leather brown and many other combinations. For bedrooms two shades of blue, two shades of pink, pink and soft gray, or any other combination of soft, pleas ing tints may be used. of wall three or four feet wide from moulding to base board. Wluje this paint is still wet take a double sheet of newspaper and crumple it into a wadded roll about a foot long. Begin ning at the top of the freshly painted surface press the crumpled roll against the wet paint (Figure 4) and carefully roll the paper down the wall, rotating it with the fingers and being careful not to let it skid on the wet paint. As the projecting parts of the roll touch the wall they will lift off some of the wet paint, showing the ground color underneath. Go clear to the bot tom of the wall and then open up the paper, turn the wet side in and again crumple it so that new, dry surfaces will be available to roll down the wall for the next stretch. Have plenty of old newspapers handy so as to be able to use clean rolls frequently. Different kinds of paper produce different effects. A newspaper makes a bold, prominent figure when it is crumpled loosely. Crumpled more tightly it makes a finer, closer pattern. Wrapping paper makes a large, pro nounced figure. Tissue paper gives a soft, fine, closely knit design. Excellent panel effects may be ob tained with the crumpled roll treat ment. The whole surface may be painted in one color, after which the panels are carefully laid off. T he final coat in the panels should be a trifle darker or lighter than the space outside of the panels and a softer paper used on the panel work so as to show a fine be pa the e ename Fo able t as a li a slig coat, large, contra In are u pink, gray, a sof green In cream brow a buf 0000-NLI-000019808 ^-----[ V.I DISTILL almost any successful paint contracting business and, after all else has evaporated, chances are you'll find at the bottom of the beaker a man who is by nature a good craftsman and by choice a good busi ness man. And the spark that motivates him is ambition to succeed. If one of St. Paul's going painting concerns were analyzed, or distilled, to discover just what makes it go, the energetic personality of Conrad Hag- lund would quickly be revealed. That is the conclusion inevitably drawn from a short biographical sketch of Mr. Hag- lund, recently sent us by Clint Rock, one of the Dutch Boy field men who frequently double as reporters for this magazine. Mr. Haglund came to this country from Sweden in 1910--a big, husky lad, full of ambition and with a head full of ideas he felt he could put into practice here. He learned his trade in Conrad Haglund, St. Paul painting con tractor, as sketched by the Dutch Boy artist his native land, the birthplace of many of our real craftsmen. Shortly after arriving in St. Paul, young Haglund convinced F. R. Mann & Son, at that time one of the city's largest and oldest decorating firms, that he was a really there was no outlet as a journeyman. Since turning contractor in 1914 he has handled many important jobs in the Twin Cities, one of the largest of which was the 32-story First National Bank Building in St. Paid. Haglund good craftsman and promptly went on employs between 20 and 30 men regu the concern's payroll. Four years later, larly, in operating under the slogan Haglund decided to start out on his "No job too big or too small'' and own and put into operation the ideas covers every field of painting endeavor. he long had harbored but for which In the words of Clint Rock, "Mr. 8 Haglund's chief concern is giving his customers full value for the dollars they spend on their painting needs. That this policy pays dividends in real money, as well as in building a reputa tion, is demonstrated by the fact that after the above-mentioned bank job was done (in record time incidentally) Mr. Haglund bought a new car, took aboard his wife and two children and drov metr took a nin St. P harne dend and fuss to hi Th ner in th can clean belo tisin in w for t hom N cont tion tell Hag tain rnlRAD HAmm UD OTHER CO | HIGH WORK i-:i i:.VM 1'1'J1 M TOO LARGE OR fS EASY FALli WE HAVE THE MOST mODEfin m mo n t h l y IS THE\ pay men t s bes t t im\ EQutpmm toint* Decorate CAN Be TO MttAHOlD PAINTl H0Mf- OFFICE. STORE. CHURCH OR FACTORY r DUTCH BOY DEFENDS WORL^^ 6086l0000-mi-0000 AT the Riverside (California) A - Harvest Festival last fall, one of h the displays that received a great deal of attention and caused much favorable g comment was a miniature "House and fa Garden Exhibit" sponsored by the in Schmidt Paint and Paper Company of 3823 Market Street, Riverside. This w charming layout, photograph of which th is shown opposite, was conceived by tr James Bowen, a Pacific Coast Dutch d Boy representative. Actual construc th tion was done by a cabinet-maker, a C carpenter, a craft-and-hobby teacher, a o graduate electrical engineer and Mr. ab Bowen. ic The Dutch Colonial house is built C on the scale of one inch to the foot and m this scale holds true also of all details p such as furniture, draperies, curtains, " rugs, pictures, table linen and even st door knobs and water taps. The con p struction job required 262 hours of c labor; the painting and finishing re g quired 57 hours; making the Dutch Boy figures, landscaping the garden th plot, erecting picket fences, etc., took ke 42 hours. All in all, the materials cost ye about $90. g The four tiny Dutch Boy figures in fr evidence were used to carry out the g theme of "Paint Protection for the p PAVING THE WAY FOR ^XJe wvzA&d /uvw6 ~To Aia/ ana Acone / -- 50 u e're giving it the proven protection of Dutch Boy" Doet your home represent yean of pho ning laving and sacrifice ? Thom Dutch Boy > the paint for you! A paint you can buy with complete con fidence chat you're going to get a longlaatiog, money-loving job. Dutch Boy 'White-Lead will not crack and acale --will not let you down. Of course, no paint wears forever --not even Dutch Boy. But wheo you finally do repaint over a Dutch Boy job. you avoid cosily "extras ' (See photographs at right.) Your painting contractor specialiiet in making old houses look new. Call him to day-- sod have the pleasure of seeing your borne sparkle with bright new color. You'll see Dutch Boy paint mixed-to-order for your house and tinted to the exact color you ask for. Want to make yourself a man paint buyer? Then lend for and road out booklit. "So You're Going to Paint' --with 52 illustrations in color. Free, of course, the coupon today. LOW-GRADE PAINT "XX'Xt s X- bo y #60 Ou.rr /r o .ru <-M( Alt till II tlftOH iw W. ooJuji f. Aid t 'ffJlOl HMr. htrt u ill r txfttiiit Si '--t ' fit,,!' f h is year, as last, home owners Tall over the country are being in formed of the virtues of pure white- lead paint through advertisements in the big national magazines--Saturday Evening Post, Collier's, American Home, etc. Two campaigns--one by the makers of Dutch Boy white-lead, the other by the Lead Industries Asso ciation -- are running simultaneously. One of the early advertisements in the 1940 Dutch Boy series is repro duced on the page at the left. As it appears in the magazines, this is a full- page, full color advertisement. One of the early advertisements in the 1940 campaign sponsored by Lead Industries Association is reproduced, in reduced size, at the right. This double-barreled effort is doing a job for the sponsors, of course, and it is doing a job for white-lead painters and white-lead dealers, too. Because the white-lead required on the jobs devel oped by these campaigns must be han dled by the dealer and mixed and ap plied by the painting contractor. Every one, from maker to consumer, benefits. The degree to which the distributor jnw jwh 'No loo tou Ing and painting contractor will benefit will depend largely on how closely they cooperate -- how often they suggest white-lead to customers, how much ef fort they use in persuading home own You k th Jus rep He' Co pain ers to paint and to paint with white- lead. From the opening volley of these campaigns to the closing shot, don't miss a chance to boost white-lead--it will boost your own business, too. 0000-NLI-000019810 MULT/PIV YOURSELF UNTIL someone discovers a way for a man to be personally present ment is the man to do the work. The actual closing of a job is, of course, up in many places at the same time, adt o the painter for the very simple rea vertising will be sure of having a job son that an estimate must be made and to do. Nowadays, especially, with a price agreed on. Printed advertising competition growing always keener, the alone can and does sell loaves of bread, ambitious painting contractor faces a bottles of milk and many other items of real problem in making himself known, standard size, weight and price. But in selling himself, to a sufficiently large painting jobs are as varied as anything number of prospective customers to en can be and must be talked over before able him to carry on a successful busi the dotted line stage is reached. There ness. This is particularly true of the fore, you can well expect your adver small contractor who must not only tising to get leads and interviews for tend to his shop duties but must also you but, in all fairness, don't expect it swing a brush, as well. This man has to go out and bring in customers with little time and perhaps even less in contracts all signed. clination to call cold on prospects. We mentioned competition growing It is to help painting contractors in keener. We don't mean competition crease their working radius, to enable between you and your brother contrac them to be several places at one time, tors. We do mean the kind of competi to help them to begin sales, that the tion that exists between the painting Dutch Boy people for many years have industry, of which you are a part, and offered advertising assistance without other industries. Many a possible buyer cost to the painter. The sole job of of your services finds in his mailbox an these features, so far as the user is con advertisement for an oil-burner, a radio, cerned and no matter what the form or a living-room suite or an insulation job. shape of the piece, is to suggest to the The folks who sell these things are house owner that his house needs paint your competitors when the money that ing and to impress on the house owner's might have gone for a paint job goes mind that the sender of the advertise instead for them. The way to get on o o o 14 OOOO-NLI- \o 00 even terms is to take a leaf out of their book--do some advertising, too. By and large, you've got a real bulge on these competitors right at the start be cause you don't even have to get into a house to find out who needs a paint job. You have a further edge, too-- even though a home-owner receives leaflets from four or five oil-burner makers, for example, your advertising piece probably will be the only one from have Un the j why make featu offere Dutc your office NATIONAL LEAD 111 Broadway, NEW YORK; 116 Oak St., BUFFA 659 Freeman Avenue, CINCINNATI; 1213 West Third ST. LOUIS; 2240 24th St., SAN FRANCISCO; Natio BOSTON; National Lead & Oil Co. of Pennsylvania John T. Lewis & Bros. Co., Widener Bu One ve effective way to advertise your Dutcji Boy jobs to passersby is to "sign the n with wet paint cards. This card, size 7 x 10 and printed in color, advertises you and your paint and, of course, vi irns folks to "keep clear-- this pa wet p those up, w branc addres DUET PRMT 0000-NLI-000019812 h e ig h b o r h o o r mmiER A1 )VERT1SINGLY speaking, the painting contractor is very much mori fortunately situated than many of his c impeti tors - for - the - homeowner'sdolhi When he has done a house pam ng job--a Dutch Boy job, if you pleas he can bring it to the attention of pa sersby, with his name linked to it, of co irse, by means of job signs and wet pain signs. Both the job and the adverti ing are right out in the open. T ' further advertise his job to those who nay see it regularly, as well as to folk; who do not habitually pass the site, he painter can send the "Neighborh od Mailer" shown below. H re's how it works: Have a supply f these mailers on hand. When you iegin a job in a residential neighborh iod, look over the houses in the sam< block and in adjacent blocks, Not the houses that need painting, Put he addresses in your memo book. You can learn the owners imes from deliverymen or storekeeper; etc. When your list is complete, neat y fin in the job's address in the "tag" pace on the message side of the mailer , ad dress the cards and stamp and mail them. Chances are you'll be ask d to figure on several jobs in the nei g iborhood, but even though you land ju one trim job, you will have gotten a good return for your small postage and trouble investment. Doesn't this sound like a s nple, workable, effective, job-getting dea? Well, that's just what it is. If j ni re a "Dutch Boy Painter" (if you'ri not, you ought to be!) write the m arest Dutch Boy office for a supply of ffiese Neighborhood Mailers. They' be furnished you without chargi all neatly imprinted with your ame, phone and address IF you'll sign your request legibly and fully. WtlLSON fr WILLIAM* Mw mi Mai* 0M2 16 SjJlU * " LIT US TILL YOU MOW YOUR HOUSS CAM >1 Sm WILLSON 6> WILLIAMS T HE way to determine a blotter's ffectiveness as an advertisingmess; ge carrier is to recall how you you r; :lf treat blotters when they are sent ou by business firms. If you're anyt ing like Mr. Average Man about w hoi we hear so much, it's a pretty safe et that you hang onto all blotters you i ceive. That's because blotters are usefi articles. Folks just don't throw awaj anything useful, leastwise people who an afford to don't. So blotters as an advertising mediunf and carefully distributed of , are "a natural." Especially for paint ng contractors. Home owners, as you J io w , don't buy a paint job as they buy loaf of bread--every other day or sc You might send a blotter to a seed> paint-needy home and, just at that articular time, the owner may be maki ig his last payment on a doctor's bill. |He is going to paint next month, pro doi ow the one N blot them ers. mak offic wri bun them you in a mos I ask fice prin pho pla HRUERTISIHG 0000-NLI-000019813 ' ' HIS aerial photo shows a part -* of the 350-acre development near Westfield, N. J., built by "Colonial H oraes in Westfield" and operated by the Fanwood Realty & Develop ment Company, Inc. The houses, which range in price from $3,990 to $6,500, are painted inside and out with Dutch Boy white-lead. A closeup of a typical home is shown below at right. In a recent letter, Mr. Adolph Magidson, Secretary of "Colonial Homes in Westfield," said, "The exterior appearance of our homes is a prime factor in the suc cess we have enjoyed in the past year in the sale and construction of sixty houses. The exclusive use of Dutch Boy white-lead will continue to be a part of our construction policy so that we can match the outstanding paint product with what is generally conceded to be the outstanding build ing project in this part of the state." fir T... 0000-NLI-000019814 National Lead Company's staff of practical paint men will help you solve your painting problems without charge. Address your letter to National Lead Co., Room 2020. HI Broadway, New York, N. Y. Please state your problem fully and be sure to plate your name and address on your letter. Our reply will reach you promptly by mail The problems discussed below have been selected because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled. Painting Chemical "Lab'' Work Bench Question: Can you advise me how to treat a chemical laboratory work bench so as to render the wood acid, alkali and water prooff Answer: Assuming that the bench top is constructed of good, well-sea soned hardwood, you can make it rea sonably acid, alkali and water proof by following these directions: First prepare these solutions or have a druggist or chemist mix them-- No. I-- 125 grams copper sulphate 125 grams potassium chloride 1000 grams water No. II-- 150 grams fresh anilin oil 180 grams concentrated hydro chloric acid 1000 grams water The wood to be treated must be free from paint, varnish, wax, grease or chemicals. First apply a coat of solu tion number I, boiling hot, using an ordinary paint brush. Let the bench dry thoroughly. Then apply a second coat of the same solution. When the second coat has dried in 20 thoroughly, apply a coat of solution number II. Allow this to dry and then recoat with the same liquid. After this last coat has dried, wash away with hot soap suds any excess chemical that has remained on the surface of the work. Let the bench again dry out thoroughly and apply raw linseed oil, rubbing the oil well into the wood with a felt pad or a wad of cheese cloth. This will impart a medium polish to the surface. Sized Plaster Patches "Sh ow" Question: In a remodelled house in which we were working a short time ago we painted several walls in which old door openings had been dosed in with studding, lath and plaster. These big patched areas were given a coat of shellac as a size, then the walls were painted with three coats of flat paint. Now the patches show right through the paint. 11'hat causes this f Answer: The patched areas should have been primed, not sized, with a pigmented primer such as Dutch Hoy wall primer. When you simply seal the plaster surface, and thereby produce a A gloss finish, as you usually do with shel lac, there is a readily noticeable differ ence between the new work and the surrounding areas because of a differ ence in texture. Dutch Hoy wall primer is a paint, not a thin size, and it not only seals the plaster surface but it also forms a good anchorage for the paint coats that follow. Flad the patched areas been thus primed (after properly neutralizing the free alkali in the fresh plaster) and the primer feathered off a short way on the old plaster, three good flat paint coats certainly would have completely hidden the places that for merly had been doorways. Canvassing Plastered Walls Question: I have a customer who wants canvas on his walls; the canvas is then to be painted. The plaster is cracked rather badly and it is pretty glossy. IIow can l get the canvas to look smooth and stay put? Answer; We assume that the plaster has been, or will be, patched and sand papered smooth. This is absolutely necessary on a canvas job. The fabric cannot be expected to hide definite ir regularities in a surface. When the fresh plaster is thoroughly dry, the patches should be neutralized, if neces sary, with a zinc sulphate solution-- two pounds of zinc sulphate dissolved in a gallon of water. After the neutral ized patches have dried out, prime these spots with Dutch Hoy wall primer. The canvas may be hung after the primer is dry and hard. Use any good prepared adhesive in accordance with the manufacturer's label directions. Th not d coate enou canva be cu paste secon overl inch. along thickn with porti porti of th the r the u Th the butte firml can a bar Qu befor this years A mus sum perio the size size in co Refo alum OOOO-NLI-i Dutcli Koi| Riinler. A water. Apply the warm size to the can vas with a large brush and allow the coating to dry thoroughly before any paint is put on. The painting is done with two coats, each based on this formula: ioo lbs. Dutch Boy heavy paste whitelead. 2 gals. Dutch Boy boiled linseed oil. i gal. pure turpentine. This paint may, of course, be tinted with Dutch Boy colors in oil. Care must be exercised in the amount of oil color used because too great a quantity will retard the drying of the job. Another, and more expensive treat ment consists of the following: Dis solve white beeswax in just enough Greenish Tint for Copper Question: A house / am painting white has a copper roof. The owner would like to have the copper look old, with a grayish green effect, flow can this be produced, with paint or some other materiulf Answer: The familiar gray-green tone of old copper (some call it a "patina" or "verdigris"), put there by the actions of Mother Nature and Father Time, is difficult to imitate. Many painters do a passable job with vinegar, several treatments being re quired as a rule. In going about the job, first make sure the copper is thor oughly clean, then brush on a coat of ordinary household vinegar. Repeat every other day for a week, and you turpentine to make a soft paste. To 12 ounces of this paste add two pounds of Dutch Boy heavy paste white-lead and will likely have as good an imitation of aged copper as may be obtained quickly. two tablespoonfuls of soft soap. Mix Removing Slow-Drying Paint these ingredients thoroughly and apply Question: Having contracted to repaint the resulting paste to the canvas with the trim on a house last painted five years a large spatula, spreading it out as smoothly and evenly as possible. Sur plus paste should be scraped off. The purpose of this beeswax, white-lead and ago, 1 am up against a problem. This paint, after five years, is still sticky on some por tions of the building. How should it be treatedf The owner does not want it re moved with a blow torch and scraper. soap mixture is to close the pores of the Answer: It would be impracticable to fabric without appreciably stiffening it. sandpaper or brush off the tacky paint, Use this same paste, but thinned to of course. Possibly the only thing to do paint consistency with a liquid com is to use one of the paint removers that posed of equal parts of Dutch Boy are now being widely used on exterior boiled linseed oil and turpentine, for paint. These removers are spread on the second coat. This should be applied with a brush, allowed to remain for with a paint brush, care being used to several hours to thoroughly soften the brush the paint out well. After this old tacky paint, then a scraper is used coat is dry and hard a second coat can to take off the paint down to the bare be applied. Both coats may, of course, wood. The directions on the remover oo be tinted with Dutch Boy colors in oil. package explain the precise procedure. oo 22 vo 00 hflfaTfifuie PAINTERS and dealers all over Binder the answer to the ques tion contained in every copy zine best be saved for future use? Designed especially for bindi the new Binder is practical, sturd economical. It costs you a mer Binder can easily repay its cost b needed item of paint information because that particular issue was Start now to build a "library binding your "Dutch Boy Painte remittance of 75 cents--check, m NATIONAL LEAD CO., Room 202 ELL, in the first place, both white-lead and flour are Wstandard, basic items--yours in food stores, mine in paint stores. Both are staples with country-wide distribution. In the second place, both are commodities that most people understand. There is nothing mysterious about them . . . they're just good, pure, dependable materials. 0000-NLI-000019816 In the third place, both are adaptable. I take white-lead, and with various oils and thinners, make many types of paint. You take flour as a base, and using other things with it, make bread, cake, cookies, biscuits and so on. With your sack of flour, plus a few other ingredients, you have the makings for about everything a baker has to bake. And you don't need to tie up much money in stock. With my keg or two of lead, plus a few oils and thinners and colors, I have the makings for about every type of paint my jobs demand. I don't have a big inventory of materials either, nor any waste to speak of, to up part of my profit. LEAP 0000-NLI-000019817 USE THE DUTCH BUT LIHE . . . it's the safe, sure, direct route to Profitstown and Reputationville. If you've found the going rough and uncertain, if you'd like to make some real headway, switch over to the Dutch Boy Line. There's quality "by the carload" in every Dutch Boy product-- white-lead, linseed oil, liquid drier, Lead Mixing Oil, wall primer, colors-in-oil and quick-drying redlead. Now's the time to make your "reservations" ... see your dealer. ALL ABOARD/ DUTCH BOY PAINT Volume 33 1940 Published bi-monthly by National Lead Company, N. Y., in the interest of better painting. Mailed witho pmnTinc s id e u lVyTANY of the small homes built during the past few years, and many being put up today, have wood shingle sid'e walls or use shingles in the gables or on other parts of the struc ture beside the roof. While ordinary siding is usually painted to produce a gloss finish, many owners of shingled houses prefBHat effect since that is the traditioi^pfinish on houses of this type. The Hat finish that is produced by a Dutch Boy white-lead and Lead Mixing Oil paint is ideal for the final coat on side wall shingles. In the matter of color, the majority of owners of shingled dwellings prefer white or light tints because these colors generally provide a note of cheerfulness and charm and, in the case of small houses, add to their apparent size. While shingled side walls may be just a little harder to paint, due to the roughness of the surface, than straight siding, there is no real difficulty in volved in turning out a first class job. The first coat on bare wood shingles should be pretty thin to satisfy absorp tion and to get down into the numer ous joints and irregularities. To rub the primer in "closely" many painters favor the use of rather stiff, well-worn brus prim io T gallo the feet T the shou io T pain surfa per T mixi Dut Lead ures abou In Dutch Boi| Painter. ___________________________ fa previously painted with oil paint, the first coat should consist of: too lbs. Dutch Boy soft paste whitelead 2Yi gals. Dutch Boy raw linseed oil I % gals, pure turpentine I pt. Dutch Boy liquid drier This mix makes 7j/s gallons of paint that will spread at the rate of 500 square feet per gallon. The last coat on a repaint job will be the same as on new three-coat work. If boiled linseed oil instead of raw is used in any of the above formulas, the drier may be omitted. In painting wood shingles used as siding, the usual precautions as to dry ness, surface preparation and so on should be observed. Old paint coatings should be wire-brushed to remove dirt, dust and loose paint. If the shingles have been stained with a material that contained creosote or other 11011-drying oils it is risky to at tempt a white or light tinted paint job because of the danger of bleeding. If there is any reason to expect future dis coloration, it is wise to suggest a dark colored paint or to recommend another job of staining. Where painting seems out of the question, an excellent staining job can be done with a liquid composed of three parts Lead Mixing Oil and one part Dutch Boy boiled linseed oil. This liquid can, of course, be tinted with Dutch Boy colors in oil. To produce a gray stain, mix \2l/i lbs. of Dutch Boy soft paste white-lead and a bit of lampblack into each gallon of the stain ing liquid. If the job calls for a green finish, add Y\ pt. Dutch Boy chromium oxide to each gallon of liquid. A seal brown tint will be produced if 1 pt. Dutch Boy raw turkey umber is mixed with each gallon of the staining liquid. photograph appears below, wrote us: "The Camp's owners are greatly pleased with the job. Because the paint went on so well and worked so nicely we were able to do the job in one-third less time with the same number of men cnmPERS tomE unu tnmPERS co FOLKS who spend their vacations at Camp House, Brimson, Minne the year-round climatic conditions that make paint not only desirable but nec sota, can "rough it" and get as far backessary. Although the twenty-six camp to nature as they wish. But there is buildings have log side walls, a sizable one sure sign of civilization that they area of each structure is cut lumber cannot escape, and that is paint. Lo which needs paint protection. cated in one of the many good fishing The buildings of Camp House and playground areas for which Min (some of them are pictured opposite) nesota is noted, Camp House nat were recently painted by the Duluth urally presents a "woodsy", rustic at firm of Red Arrow Painters & Deco mosphere that perfectly suits its en rators. When the job was finished, the vironment. It is this environment and firm's proprietor, Ray Dawson, whose 28 BUT DUTCH BOV STR used in previous years. The hiding power of the paint was a revelation. Every time this job has been done, the log side walls have been coated with dark green oil stain, some of which manages to get over on to the trim which is painted last. Usually we had difficulty in hiding the stain spatters on the trim with one coat of white paint. But this year, using Dutch Boy whitelead on the trim, we had no trouble whatever. I'm sold on Dutch Boy." 0000-NLI-000019818 0000-NLI-000019819 Pa in t in g Gu a r a n t e e s Been said that the only kind of (siting guarantee worth having i/pne, ftiffn a contractor whose record indicates that he never needs to give one. In other words, one who deals with a painting contractor whose jobs stand up and are "worth the money" is really much better off than one who deals with a painter whose work needs the backing of a written promise to make good if the work doesn't. Every so often painting contractors, seeking jobs to keep their crews going, run into situations where performance guarantees are demanded. Here is a statement contained in a contract that a painting contractor recently was ex pected to sign: "All work under this contract shall be guaranteed not to chalk, discolor, fade, crack or peel off, and any work which becomes defective within three years from acceptance of the building is to be made good at the exclusive ex pense of the contractor." It is conceivable that a painter who is really up against it for work will put his name to such a statement. It is also conceivable that, in the majority of cases, the painter will not be re quired to come back to do the work over. Hut the risk that is involved in putting one's signature to such a com prehensive guarantee must make any estimated profitappear doubtfil The person with a job toB^ffiajj demand the signing of an a^fetetfient that clearly specifies: (a) the extent of the job; (b) the materials to be used ; (c) the manner of mixing them; (d) the application of the materials; (e) the amount and extent of surface preparation; (f) the colors, finishes and the number of coats; and (g) the terms and dates of payment. A contract of this type, when signed by the painter, constitutes a guarantee on his part that all details of his work will conform to the contract specifica tions. There can be no skimping of surface preparation, no omission of coats, no adulteration of materials, without running the risk of being called to account. No painting contractor, properly equipped and qualified to do the work covered in the specifications, should hesitate to sign such a statement as this before beginning the work. The per son who lets the contract cannot in fairness, however, expect a painter to sign a further clause guaranteeing a certain life for the job or a freedom from certain troubles that are beyond the painter's control. Seldom, if ever, are all the elements that affect the performance of a paint coating completely within the control 30 A of the painter. And unless he has com plete control of any and all circum stances that bear on the life of the job, how can he be expected to guarantee it? He cannot control the weather. He cannot be expected to know about leaks due to faulty construction--leaks that allow moisture to get in behind the paint film. He cannot be respon sible for stains that come from some types of screens that are installed after he has left the premises and about which he knew nothing. The signing of a guarantee which covers a certain life span of a paint job, or definite freedom from troubles clear ly beyond the painter's control, is just another form of gambling--a form in whic P use wor are ing care cust T give gua whic trol deta and prop trac you HERE'S COOP THE makers of Dutch Hoy prod rop ucts naturally are cooperating sign closely with the Lead Industries Assotr ad ciation in the white-lead publicity cam Whe paign now beginning its second year. Y The picture below shows one way cam Dutch Boy ties up. This husky truck, whit one of a fleet operated by the Atlantic and Branch of National Lead Company in of t the thickly populated New York Met Indu TT IS sometimes difficult to deter speeding up the drying. If the weather mine when a bare surface--be it is good, the film will dry in the expected wood, plaster, brick or concrete--is dry time and the job can proceed according enough to paint. It is often difficult to to schedule. If the weather turns bad determine whether a painted surface is the painter is helpless. Yet too often dry enough to recoat. In the first in he is persuaded by the house owner to stance it is water in some form that go ahead and put the next coat on so creates the hazard. In the second, it is the household can get back to normalcy. partly dried oil. The field reports of investigators em To prevent trouble in the first in ployed by paint companies show that stance, it is necessary oidy to allow one of the major causes of paint troubles the suspected moisture to evaporate (or, is insufficient drying time between coats. of course, if it is due to leaks, to repair An experienced trouble-shooter usually the leaks). In the second instance, need only glance at a case of alligator- trouble can be headed off if the paint ing or some types of wrinkling to know coat is allowed time to dry. what caused the difficulty--a coat that Proper drying time--that's the big dried over one that didn't. point. Paint, the material that fur It is perfectly obvious that, if a nishes weather protection to building painter knew that damp weather, materials, is itself subject to the whims higher humidity, was approaching he i of the weather before it settles down to could alter his paint formulation to its protective job. Who is to say just meet the expected condition. He would how long it will take a paint film to use a little less oil and a little more dry hard enough for recoating? If turps or would add a little more drier. everything entering into the job is, let If he suspected that this altered under us say, typical--the surface is normally coat would affect the looks or wearing absorbent, the paint is properly formu quality of the finished job, he would lated, and then is adequately brushed naturally make the needed adjustments out--we might expect the film to dry in his finish coat. Not being a weather to a predictable hardness in a specified forecaster, however, the painter must span of hours. I f, however, the weather mix and apply his paint expecting that o o changes and the humidity rises from everything will be all right. o 01 SO per cent to 90 per cent, drying cal That brings us to the intriguing culations go out the window. question : Just when is paint dry? Some Once a coat of outside paint has been pamt technologists will tell you that spread, there is no practical means of good paint is never truly dry, that an 32 H'rinkling ij caused, among other things, by surface drying of a thick paint film when changes in temperature and humidity occur before the coal has had time to dry uniformly elastic paint film stays that way because if it dried out completely it would be brittle. We won't argue that point. Hut we do insist that it often requires more than a quick flick of the finger to tell whether a film is dry and hard enough to recoat. Surface drying and deep-drying are two different things. There isn't room here to go into a technical discussion of how and why an oil paint dries. It is generally under stood, however, that linseed oil dries by taking up oxygen from the air and that this oxygen appetite is whetted by add ing drying agents to the oil. That is to say, straight raw linseed oil spread on glass will dry to a certain degree of hardness in 48 hours but if drier is added to the oil it will reach that same degree of hardness in 24 hours. A single coat of paint isn't very thick, possibly one five-hundredths of an inch. Hut it does take some time for the lin seed oil within the film to get the oxy gen that is passed to it from the outside. Mea the f gen a coat dig w the c A mo um sand the f pape a su enou No tarily pain for i quen owne draw dry" if sc paint A lliga suffic coats. "crac NLI-000019820 t W. $? 0000-NLI-000019821 NUT STYLING DEWS THE Council for Paint Styling, the In addition to these field reports, division of the National Paint, studies were to be made in other direc Varnish & Lacquer Association thatitons--advertisements of products in gathers, interprets and distributes in which home backgrounds were used, formation on styling with paint, has housing exhibits, model homes, decora released another "Style Trend Report". tor's shows and the like were to be Before reporting on this Report, it may inspected and reports made on cur be well first to review the styling rent usage of painting and decorating movement. materials. For a good many years, there was in The next problem tackled at the the minds of a number of people en meeting concerned the concentration of gaged in the paint business, an idea, all this information that was to be albeit a hazy one, that painting jobs gathered, and finally its interpretation. could be sold on the basis of an appeal All field reports were to be turned in to the style-consciousness of home at Paint Styling headquarters where owners. That is to say, there was a they would be studied and classified. feeling that if the new element of style From these reports it was expected that could be added to the old arguments it would be possible to detect trends in of protection and beauty, the market the use of paint, trends that would show for painting could be considerably which colors were popular and on what widened. There was plenty of evidence parts of the house they were used. available that style appeal really did The painting style study got under sell goods in other lines--automobile, way shortly after that first group meet housefurnishing, clothing, store fix ing. Reports from investigators started tures, and so on. to come in and in a very short time the The style idea, germinating in the organization was working smoothly. minds of several paint trade people, When sufficient data on which to base finally took shape as a paint selling tool conclusions had been collected and clas at a conference of paint industry mem sified, the Council for Paint Styling bers a little over two years ago. These made its first formal report to the mem people felt that they had a lusty infant bers of the industry. That report was on their hands and also a problem on reviewed in the Dutch Boy Painter how to go about its bringing-up. Com magazine some time ago. mittees were formed and country The first report was, of course, a covering investigators appointed. The pioneering effort. It gave the industry investigators were given the job of re a starting point from which trends porting on the manner in which houses could be followed. It set down certain of all types and styles were currently facts with which later findings could being painted outside. They were also be compared. The report just received asked to report on interior painting. brings the styling proposition right 34 down to date by show ing where and how the trends noted in the first report have speeded up or slowed down or have undergone no particu lar change. Here, in substance, is what this latest report says about style trends in exterior painting: The most favored types of homes now be ing built are the Colo nial, the small cottage and the large cottage. Of all the homes cov ered by the survey, 78 % fall into these three classifications. Modern architecture is on the upgrade, while English, French and Spanish types are somewhat less popular than formerly. There is an increase in the use of a combina tion of building mate rials for body construction of Colonial, English and French type homes. The favored combinations are: clapboards and brick, stone and clapboards, clap boards and wood shingles, stucco and clapboards, and brick and stone. The use of shutters on homes is on the upgrade, although it is still the practice to build English, Spanish and Modern type houses without shutters. Following the above preliminary co gi tr se tif C S E ho pa co Directions for Paint-Styling Six Common Type COLONIAL TYPE Basic Rules: ROOF -- Medium to dark in color. BODY--Light in color. TRIM--Lighter than body (white body calls for white trim). SASH--Same as trim color. SHUTTERS--Different from and darker than other colors used. DOOR--Same color as used on trim. Colors Now in Vogue: ROOF--Dark gray, medium yellow-green, greenish gray. BODY--White, light ivory, light gray, medium ivory. TRIM--White, light ivory, medium ivory, light cream, light gray. SASH--Light ivory, medium ivory, light cream, light gray. SHUTTERS--Dark blue-green, dark olive green, medium blue-green, dark green-blue. DOOR--White, light ivory, light cream, medium ivory. ENGLISH TYPE Basic Rules: ROOF -- Medium to dark in color. BODY--Light in color. TRIM--Darker than body color. SASH--Different from other colors used or same color as trim. DOOR-- Differentfrom other colors on the house. Colors Now in Vogue .-ROOF -- Medium yellow-green, greenish gray, medium blue-green, dark gray, dark brown. BODY--White or off white, medium ivory, light ivory, light cream. TRIM--Dark brown, medium brown, Vandyke brown, light blue-green. SASH--Dark brown, white, medium brown, black, medium ivory. DOOR--Dark blue-green, red, white. SMALL COTTAGE TYPE Basic Rules: ROOF--Bright in color. BODY--Light in color. TRIM-- Lighter than body color (white body calls for white trim). SASH--Same as trim color. SHUTTERS--Different from and darker than other colors used. DOOR--Different from other colors used or same as trim. Colors Now in Vogue: ROOF--Variegated, dark gray, greenish gray, medium bright blue. BODY--White, medium ivory, light ivory, light cream, buff. TRIM-- White, medium ivory, light cream, lemon yellow. SASH--White, medium ivory, light ivory, light cream. SHUTTERS--Medium blue-green, dark blue, dark bluegreen, medium dark blue. DOOR--White, medium ivory, light ivory, dark blue, medium dark blue, lemon yellow, black. 36 o o o LARGE COTTAGE TYPE Basic Rules: ROOF -- Medium to dark in color. BODY--Light in color. TRIM--Lighter than body color (white body calls for white trim). SASH-- Same as trim color or different from other colors used. SHUTTERS--Dif ferent from other colors used. DOOR-- Different from other colors used. Colors Now in Vogue: ROOF--Dark an blue-green. BODY--White, medium ivory medium brown, lemon yellow. TRIM--W cream, buff. SASH--White, light cream, me ivory. SHUTTERS--Medium blue-green, terra cotta, light blue-green. DOOR--Wh olive green, dark brown, medium brown. B B TR SA D D Colors Now in Vogue: ROOF--Terra gray. BODY--White, buff, light ivory, med light blue, dark brown, medium yellow-gree light ivory, light blue, terra cotta. SHUTTERS dark brown. DOOR--Dark brown, terra co MODERN TYPE Basic Rules: ROOF--Dark in color. BODY--Light in color. TRIM-- Darker than body. SASH--Same as trim. DOOR -- Different from body. Colors Now in Vogue: ROOF -- Dark gray, black. BODY--White, light ivory, medium ivory, light gray, light cream. TRIM--White, ivory, medium brow brown. SASH--White, medium blue, mediu Vandyke brown. DOOR--Medium brown, OOOO-NLI-i OOOO-NLI-OOOOl 9823 EUEII THE LABEL IS imPROUED COME years ago a popular slogan in enough to think up the new "volume the toilet goods trade was "We formulation" idea on which the direc couldn't improve the powder, .jo^we^ tions, are phased. As a matter of fact, improve^ j the box.'* Io the light of mixing formulas printed on wax paper later scientific advances in practically were inserted in white-lead' packages all manufacturing processes, 'the mak for many years because then it was ers of tni particular item have un- thought impossible tp condense the in doubtedltljlfa improved their product, structions sufficiently to print them on aship^nwk||^ "lT|5PJ!jtstj4i^TJli8'TsTfSSyJbiiger true, white-leap, found ways sSflts^to tKt^levelopmenf bf the "vol Changing a product ume methoq" of white- is one chandisir ing thei er- MIXING DIRECTIONS *leaJLnmljt mixing. ng- fJEftMNTINQ INTERIOR WOOO . TSafpfinter to e is ~ HRST COAT FINISH OOAT ' whfpi (white-lead is a quite ano r. lftis is especially true with a commodiR :e white- lead wh as you know, ut up in heavy st| packages, Anyone e change j tainer bf user is change ii| 'VMSUP OH. WHIT* UtAO 12 WHIT* SS UUM>, UWAKTIO W609:msrnMM>MM w wsu*tunwui,, 4nanunms uHtRmti wm. ti**. MCli uimum tsnaw w h n i a m s a u m m mm HUMusumKaamaRH fiOWWl WOMb m iu h r u s a mystery, (ys, we hear of one occasionally!) now carrrat the infor mation ne'Wants right f bn the package. The painter wdio strayed Hway^from the fold bl|fiwnfl|j(has "come bag^t^lcad for good" may not nave kept up . to date figA lead paint In lif Dutch _ He, ||ilob||jl1^i'lickage for help. provemeqt in its products""!! >"*fcJi*re are old timers who have container*- you may have noticed, or been known to run into house owners will shortly notice, the new "Mixing who insist that "there shouldn't be any Directions" label lithographed on the turpentine in that toat" or "you've got side of the steel packages. The picture ' that too thick--put in some more oil". shows the panel. Said old timers can save many an argu The reasons for including mixing ment about what to use and how instructions on the package are pretty much, by picking up the lead bucket obvious. These directions would have or the empty keg and pointing out to appeared on the containers long ago if the customer the mixing directions put some one previously had been bright there by the maker of the white-lead. 38 DUTCH BOY IS BET --thanks In conlinu IN every progressive industrial estab pr lishment today, apart from the men wo needed to make the goods, apart from m the money required to run the business te and apart from the staff needed to mar co ket and sell the goods, there is a group an of earnest workers whose job it is to be co eternally dissatisfied. Not dissatisfied en with their jobs or with any element in the business itself, but dissatisfied with the goods. These men are continually trying to improve the quality and the qualities of the thing the plant puts on the market. And the management places at their disposal every possible device and facil ity to aid them in their work. In the manufacture of Dutch white-lead these men, the research sta and the operators of so-called "pilot" plants, have contributed greatly to the improvements made in Dutch Boy white-lead. It so happens that white-lead, along with certain staples in other lines-- flour and sugar and salt in the food line; and linen, wool and cotton in the fabric line--goes a long way back into the past. Improvements in these staples have been many, of course, but in the long backward view, they appear spo // thr tin to radic and far apart. It is true that, in their essential properties, white-lead, flour, sugar, wool, cotton and so on, are much like their counterparts of a couple of centuries ago. But the spirit of am of wh siz sid 0000-NLI-000019824 Dutch B times. The past quar ter century has seen the change from a stiff paste that required laborious "breaking up", to a soft paste that made mixing easy. This span of years has also seen the introduction of an all-purpose grind of soft paste white-lead, suit able for both inside flat paint and for outside work. Adding some turpentine to the earlier soft paste lead gave this new grind its "all-pur pose" feature, plus a new polish and smooth The weight of the ink printed on this sheet can be deter mined on this laboratory scale. Here, however, the balances ness imparted by the extra grinding. are used to weigh samples of white-lead that are used in Improvements have making tinting strength tests. After the samples are mixed with Itnseed oil and lampblack, the resulting pastes are care fully spread on glass strips which are then compared with predetermined tinting strength standards not stopped at the form in which the product is marketed. Our research men constantly try to date plant equipment, would quickly improve the pigment itself. In the be apparent. present grind of Dutch Boy white-lead The Dutch Boy white-lead that is you find the results of this continuous available everywhere today is a prime example of the steady improvement of product that occurs when research men "keep everlastingly at it". Any painter whose span of activity at the trade covers no more than the last twenty-five years realizes that white-lead has not stood still to rest on or admire the laurels it has earned since colonial search for something better. Taking the improvements one at a time, let's look first at whiteness. We say the new Dutch Boy is whiter. Now, as you know, white is white and it is impossible to make comparisons unless you have the old white-lead to stack up with the new. Mere recollection of a previous degree of whiteness would be 40 0 a poor standard by which to judge the new product. A technical paint man equipped with scientific apparatus can quickly and accurately make compari sons, however. He uses a photometer. In the "comparative whiteness test", a small mound of dry white-lead is placed alongside a block of pure magnesium oxide, the whitest substance known and the one with the highest light-reflective value. It will reflect about 97% of white light, in the technician's lan guage. The whiteness of the whitelead is calculated by a comparison of its light-reflective property with that of the block of magnesium oxide. Ten years ago, commercial whitelead examined in a photometer usually reflected about 8i% of white light. Today's Dutch Boy lead will reflect ap proximately 90%. That's an impor tant increase in whiteness--one direc tion in which Dutch Boy has been stepped up. Another recent improvement has been an increase in the hiding power of Dutch Boy white-lead. As in the case of whiteness, variations in the hiding power of opaque pigments are usually more readily identified by the technical man than by the painter. You, of course, know as well as the technician that better hiding power means that the paint will cover better and go farther, making a more economical paint. A common laboratory method of de termining the hiding power of whitelead is to thin the pigment to brushing consistency with linseed oil and spread the on area inde T whi bas lead finis 170 plet lead sam 210 ``Bla corn our the ma sam pow h 0000-NLI-000019825 DuIcK Boi| Painter. a 23% increase and that's why we say Dutch Boy's hiding power has been increased. 1 he third improvement takes the shape of better body. While extra whiteness and increased hiding power are qualities that are most apparent on the painted surface, better body shows up most in the mixing quality of the paste white-lead. A lead with better body will be able to take up more oil and still produce a properly brushable paint. This quality is evident in easier brushing and smoother spread, with less tendency to run or sag. It also helps to provide the solid-looking type of finish coat that property owners demand these days. In view of this better paint making quality, we say that Dutch Boy's body has been improved. It should be emphasized that the three improvements explained here in detail have been made in Dutch Boy white-lead without changing any of the other features that have made Dutch Boy the universal favorite of painters-- Dutch Boy white-lead still is tops in quality, convenience and adaptability. TTqrrr IVhat may look like a shelf in a pharmaceutical supply house is merely a double-deck table in our Research Laboratories. Shown here are the chemicals {in liquid form) used in making tests to determine various essential qualities of white-lead. Beginning at your left the labels on these bottles read: nitric acid-conc., nitric acid-dil., sulphuric acid, hydrochloric acidlIII. hydrochloric acid-dil., acetic atid 11(.,11acetic acid-go%, glacial acetic acid00*5%, potassium iodide solution-to^o, potassium bichromate-KtCrtOj, bromine waterBr-II,0, ammonium acetate, ammonium hydroxide-conc., phosphoric acid, barium chiorideBaCl,/o%--an imposing array of items used to determine the slate of "health" of any given sample of white-lead 42 I. U. 29 s PRIZE-U THE Labor Day Parade has long been a feature of that holiday's in festivities in Galesburg, Illinois. Lasbt Labor Day thirty different unions par B ticipated in the parade, many with an Hoats symbolic of their particular craft re or occupation. When the float pic th tured here came down the street no one had to look twice to learn what- it be represented or by whom it was spon fu sored. The signs on its apron told part m of the story, the boy and the keg on the er deck told the rest. Some of the spec tio tators saw in the float as it moved th slowly past, the general form and out m line of a giant Dutch Boy wooden shoe. flo 0000-NLI-000019826 National Lead Company's staff of practical paint men -will help you solve your painting problems without charge. Address your letter to National Lead Co., Room 2020, in Broadway, New York, N. y. Please state your problem fully and be sure to place your name and address on your letter. Our reply will reach you promptly by mail. The problems discussed below have been selected because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled. Green Paint to Stand Sunlight Question: l have a job of painting the trim and sash on an old-fashioned brick store front. The owner wants a green paint, one that will stand up and not fade badly or change color after a few months' ex posure. The last job was done a year ago with a "permanent blind green" but it now looks blue rather than green. If'hat kind of green paint can l use that holds its colorf Ansiver: First sand down the sash and trim and remove all loose and flaky paint. Then put on a first coat based on this formula (to cover about 600 square feet of surface) : 12 l/s lbs. Dutch Boy soft paste white-lead 1 qt. Dutch Boy raw linseed oil I qt. pure turpentine Y2 pt. Dutch Boy chromium oxide green Y pt. Dutch Boy liquid drier When this coat is dry and hard, ap ply the finishing coat of straight chro mium oxide green. To make a gallon of this paint, mix f/s gallon Dutch Boy chromium oxide green with 2j/> pints Dutch Boy raw linseed oil, 1 pint out side spar varnish and an eighth of a 44 pint of Dutch Boy liquid drier. Should the owner want this paint a bit darker, after he sees you spread a brushful or two, merely mix a bit of lampblack with the paint in the pot. As it comes in the can, C. P. chromi um oxide green is not as deep-toned as some other greens such as C. P. chrome green-dark or medium chrome green, blue or yellow shade, but it undergoes much less change on exposure than the darker greens and is as permanent a green, under all usual exposure condi tions, as you can obtain. Smoothing Rough Plastic Finish Question: l have a job of painting some rooms that are now finished in rough plastic paint of the water-thinned type. The owner wants the walls smoothed off first. IPhat is the best way to go about itf Answer: Usually water-thinned plas tics of the type you describe can be removed by thoroughly soaking the sur face with hot water. In some instances, where paint or varnish has been put on over the water-thinned plastic, it is &------------------------------------------ ___ necessary to use a good paint and var nish remover first and then follow this with a warm solution of sal soda to soften the texturing material. After this treatment, the bare plaster walls should be rinsed well and then neutral ized with vinegar before any oil paint can be applied. Some painting contractors have found it advisable to use small portable sandpapering machines for smoothing off the rough plastic surface so that it can be primed and painted. Before you attempt to get the plastic paint off with a liquid or paste remover and sal soda, we would suggest that you ask your paint dealer whether he has a suitable sanding machine available for such jobs, one that he rents out at nominal cost. Ceiling Paint for Efficient Lighting Question: In an office building job I have coming up, a question was raised regarding the ceiling paint--whether a flat lead paint, light ivory tint, would quickly discolor above the light fixtures, each of which carry three 500 watt lamps and hang about three feet from the ceiling. Can you offer any sug gestions t Answer: The paint you have in mind, if it is to be Dutch Boy whitelead and Lead Mixing Oil, tinted ivory with Dutch Boy raw sienna, will keep its color about as long as any other type of paint that could be used on the ceil ing. The discoloration that occurs eventually will be due more to the usual dust and dirt collection than to the heat from the lights. On a job recently brought to our attention, and closely re sembling yours, the small decrease in illu mo alm the pa the to ca fu to sa th sp m va w m so O tw dr en to gle m de w sc dr ce of tio Dutch Boi| Pointer________________ _________________________Jsk hardware or lumber dealer for a kind of paint made especially for the sort of job you have in mind. We understand that this paint comes in black, dark green, dark red and dark brown, so you may not be able to get the dark blue your customer wants. Refinishing Pipe Organ Pipes Question: What material would you sug gest for refinishing the pipes of the organ in a church? The organist insists <we use no coating that would alter the tones of the pipes. Answer: Usually a single brush coat of gold bronze enamel does a good job of refinishing organ pipes. As to the precise color of the bronze powder, you can select any shade ranging from pale gold to deep copper. Whatever bronze you buy should be mixed with Dutch Hoy Lead Mixing Oil. This will in sure your having a coating with good brushing qualities and one that carries sufficient binder to adhere properly. Organ pipes depend almost entirely on their respective lengths and diam eters for their tones, so coatings of bronze or of Hat or gloss paint would not appreciably alter the tones of the pipes. Use of Glazing Liquid Question: In doing a glazing job 1 usually have trouble with the glazing liquid running. The colors applied over the wet glaze coat run down the wall and are dif ficult to control. How can I prevent this trouble f Answer: Even a well-formulated glazing liquid such as Dutch Boy flat- ting oil, if used too freely over the ground coat, will run and the glaze colors will run with it. However, if the liquid is applied sparingly so that it merely forms a damp film over the sur face, and if only a workable area is coated in at a time, no difficulty should occur. Apply the flatting oil with a wad of cheesecloth, rubbing it out over the working area, then while this glaze is still wet, dab on the tinting colors which have previously been thinned with flatting oil. Following this you can go ahead with the blending. Painting Window Screens Question: fVe have some window screens to paint alt white, both the frame and the mesh. The previous painter sprayed the screens and they look streaked. Can you offer any suggestions on painting these screens so they will turn out right? Answer: Use a very thin white-lead paint on the wire mesh. You can make this paint by mixing Dutch Hoy soft paste white-lead with 1J/2 times its vol ume of a liquid composed of equal parts of Dutch Hoy boiled linseed oil, good spar varnish and pure turpentine. This paint should be brushed on evenly, then cross-brushed several times on both sides of the screen, after which the frame should be tapped lightly (or brushed with a practically dry brush) to rid the wire of any excess paint that might clog the mesh. After the wire portion of the screen is painted and dry for handling, the frame may be painted with white-lead paint mixed as usual for exterior wood. 46 -then you believe in painting it t WHAT finer hobby chan Home! A hobby chat husband and wife enjoy together--wotkmg side by side 10 im prove and beautify the house they live in. Does that describe your feeling for your home? Then Dutch Boy is your paint. A paint as honest and conscientious as the face of the little Dutch Boy in us trade-mark A paint that resists rain, snow and summer sun with true Dutch stubbornness. A thrifty paint--the loyal ally of your pocketbook. Dutch Boy White-Lead don not tratk and watt. Therefore -- no costly "extras" at repaint time--see photographs at right Yourpainting contractor is an expert at help ing old houses regain rheir youth. Call him today--and soon you'll have ihe pleasure of seeing yourhome sparkle with bright new Dutch Boy painc. Wane co make yourself Then send for and road Paint"--our free bookle In color. The coupon b NATIONAL LIAO COMPANY Oak Si . Buftla. WO Vlil l*ab S ' ............-- m Thud Sc.. C I aoiwoUiiCo .SO Albtnr Sc . Oo mbo Nmio iu I Utd O. Co oi Pten. biuch. Joha t Liti * Wot CoW.dto. tH4g.. PhilidelpbM 0000-NLI-000019827 tv- j 5 JS O Dl Q. " Q I ^ Oi . Q *3 O # 5b x ** O ~ .ts S X 1 S- a s ? g = Qa -8 * * -g (9 9 o ssa5 2 S. ^ a ** no fc .? TJ o?> o2 c o < s r .3. N (0 c ^ x U * X O . c C O n m : (0 3 .a r; in f X UK 5! M o IS ** SH a S 8x > on c2 *1 M_ gc * Ef I 8- i o <s I S I ^ s?i^4 w*T ^ IS tN "2.r9t 5O X ** o i>o u CO tn 'Xc ^4 K M w TJ cona 0) C X 3 <>s* ~ o *. .5 X Pc4 *< w n <U I5 m h H -* X V G .2 q s X3 Su5 u 2 O * ox2 h o iJ o o3 O 3 . cQu 0000-NU-000019828 Vm\Vy s V svVvc \^\'C-,WV\Vi\vNh - v.,'\''i';'.: t If 0 0 0 0 -N L I-0 0 0 0 19829 meAMUNe YOUR W0NTORV by standardizing on Dutch Boy materials. The Dutch Boy line is broad enough to meet your job-to-job paint needs, short enough to find room in even a one-man shop, versatile enough to give you the makin's for nearly every type of paint you're called on to apply. Keep your shop inventory low and keep yur paint quality high . . . Buy the Dutch Boy line. u't'X,0u. h u t c h bo y SPT PASTE ^h it e l e a p ''CTLY PlP* DUTCH BOY PAIN Volume 33 1940 Published bi-monthly by National Lead Compan N. Y., in the interest of better painting. Mailed w For 2-Coat Work on USE IIHi THE painting industry, as an im portant division of the construc s o tion industry, is vitally interested in ansyi program that will encourage families c of average means to buy or build homes of their own. For the past several years o many architects, real estate operators, b building contractors and building sup o ply firms have directed their efforts a chiefly toward designing and erecting c dwellings that could be priced low p enough to attract the largest possible u number of prospective house buyers. c With the active support and coopera D tion of the Federal Housing Adminis e tration, it has been possible to offer d these low-cost homes on terms that are D much more attractive than was thought q feasible even a few years ago. p It is obvious that, to keep the cost of s these dwellings just as low as possible, s economies have been necessary all along m the line, from blue print to grading. In tr many cases, in order to preserve the b proper ratio between construction costs w and finishing costs, the exterior painting Dulclv Boi| Painter. 1 :A flame construction should be mixed as directed in the following formulas: PRIMING COAT IOO lbs. Dutch Boy soft paste white- lead gals. Dutch Boy raw linseed oil Yu gal. exterior spar varnish i/2 gal. pure turpentine I pt. Dutch Boy liquid drier pt. Dutch Boy raw umber in oil Yield: 6)/g gallons two finish coat formulas, A and B, is the relative amounts of volatile and non-volatile thinners used. While these formulas are intended to produce paint for pure white jobs, the paint may be tinted any shade of any color as circumstances may require. The small amount of raw umber indi cated in the priming coat mix is speci fied because an off-white first coat hides better on bare lumber, especially those grades and species that show strongly contrasting colors in the grain forma tion. Also, there is less tendency to wards skips and holidays when the fin ishing coat is applied because of the slight difference in color between the two coats. The FHA circular has this to say about film thickness and spread- ing "T pend ingre cons thickn ness sprea "I tative FINISH COAT (A) IOO lbs. Dutch Boy soft paste white- lead 22/$ gals. Dutch Boy raw linseed oil 3 pts. pure turpentine 1 pt. Dutch Boy liquid drier Yield: 6)4 gallons or FINISH COAT (B) 100 lbs. Dutch Boy soft paste white- lead 3)4 gals- Dutch Boy raw linseed oil I pt. Dutch Boy liquid drier Yield: 6)4 gallons The priming coat formula and finish coat A comply with the formulas given in Technical Circular No. 6, hebruary, 1940, on "Two-Coat Paint Sys tems for Exterior Use", issued by Tech nical Division, Federal Housing Ad ministration, Washington, D. C. T hese formulas are the ones to follow on all FHA two-coat jobs. The priming coat given and finish coat B are the formulas recommended for two-coat work in the Handbook on Painting. As will be no rFIN -0000 o ticed, the only difference between the o o 52 SO 00 W GETTEMULLER EMPHA SIZES DUTCH BOY It may take a long look to count all the Dutch Boys in this window but one glance tells the whole story, "Here are the makings for . good paint jobs." This display, re cently installed in a window of the store of H. J. Gettemuller & Co., Inc., 514-516 Ensor Street, Balti more, Md., shows .pot only the full Dutch Boy line of paint materials but also practically a full line of Dutch Boy window cut-outs. As a matter of fact, there are 17 "Boys" in evidence. The Gettemuller business began in Baltimore more than a half century ago. Originally located near the famous Belair Market, the business moved about three years ago to the brand new build ing on Ensor Street. The active members of the firm are Herman and Fred Gettemuller, sons of the founder, and Harry Gettemuller, a grandson. **** m , 1 _____ 0000-NLI-000019831 DuU li Boi| Painter. film thickness which will provide good hiding and at the same time provide a durable coating on new wood, should be approximately 0.005 inch. It is rec ognized that the amount of paint nec essary to obtain this thickness will vary according to the absorptiveness of the material to which the paint is applied, and the amount of volatile liquid in the paint. This is true with new wood of different species. Even with `controlled penetration' there is some variation in the amounts of the fixed oils and even of the pigments that are absorbed by the wood, and the amount of absorp tion will naturally affect the resultant 'film thickness. Also, over-thinning and over-brushing will affect the film thick ness and will very definitely affect the durability of the paint. It can readily be seen that a paint designed to be ap plied at a spreading rate of 450 sq. ft. per gallon for the prime coat and 550 sq. ft. per gallon for the finish coat, would not provide as durable a coating when thinned or brushed out to cover 700 sq. ft. per gallon for the primer and 800 sq. ft. per gallon for the finish coat even though it might possibly re tain adequate hiding properties. In general, however, an adequate film thickness providing hiding and durabil ity will be obtained when a properly de signed paint for exterior use is spread at approximately 450 sq. ft. per gallon for the prime coat and 550 sq. ft. per gallon for the finish coat." The Technical Division of FHA also "recognizes that some two-coat paint systems acceptable under these provisions, though equivalent to con ventional three-coat paint jobs in re spect to hiding, may not be equal to good three-coat work in durability, and as a result, may have to be repainted sooner than would be the case if three coats were applied." In this connection it might be pointed out that from the standpoint of wear ing quality, as well as from that of ap pearance, the often-demonstrated dur ability of Dutch Boy white-lead is especially desirable on two-coat jobs. Moreover, the manner in which a Dutch Boy job habitually wears out-- by slow, even chalking, rather than cracking and scaling--is an important point since, if economy dictated a twocoat job in the first place, the owner certainly won't wish to foot a bill for excessive preparation costs when it's time to repaint. So far as the application of the paint on a two-coat job is concerned, the painter can well exercise just a little more care than he does on standard three-coat work. This applies especially to making well-matched joints in each of the two coats and to planning the work so that the finish coat stretches are either shorter or longer than the priming coat stretches. Since the paint on a two-coat job is applied so as to get maximum hiding, consistent with a fair spreading rate, from each coat, any extra paint piled up on double-lapped joints may stand out rather promi nently after the job begins to wear. 54 n BOTBBLE EK DUTCH BOV S BD HIS recently built home, located in fit TKensington Road, Garden City, w Long Island, is an excellent example nofot only of present-day construction prac fla tices hut of modern painting practices as w well. The lower body of the house is of D brick and the upper body is shingled. no Both the brick and the shingles are ac painted pure white with Dutch Boy D white-lead. This, in itself, demonstrates the adaptability of Dutch Boy white-lead th paint--the undercoats were designed to of Co Ho at an of the good ship "Queen of the North", fig Mr. Barnes decided to go to the Co U. S. A. He arrived here in 1885, lea LET'S "shuffle off to Buffalo" for * a story about a painter who, among the paint-minded people of that city, is as well established, though for not quite so long, as Niagara Falls-- Mr. John B. Barnes. If this magazine circulated solely in western New York State there'd be no occasion to print Mr. Barnes' story. There's hardly a building of any consequence in that locality that hasn't, at one time or another, come under his ministrations with pot and brush. To start at the beginning, as all bio graphical sketches should, John Barnes was born August 22, i860 in New- travelled about a bit, and settled three years later in Buffalo at 63 Woeppel Street, the address at which, after 52 years, he still resides. Mr. Barnes lost no time setting up in the painting busi ness. He capitalized on his early ex perience aboard ship and had no diffi culty in making a good living for his wife and family which eventually in cluded nine children. As was mentioned earlier, examples of Mr. Barnes' work may be seen every where in Buffalo and vicinity. Some of his bigger jobs, all Dutch Boy, of course, are the Buffalo City Hall, St. Andrews (church) on-the-Hudson, ha plo $2 pa plo an bu gra his ne Ea the castle-on-Tyne, England. At an age that today would seem tender indeed, young Barnes went to sea on one of the old sailing vessels, the "Queen of the North". The ship's master, Henry Milvein, was also the owner of an English white-lead factory, so, during young Barnes' 7-year period of appren ticeship aboard the ship, he had occasion to strike up more than a passing ac 0 quaintanceship with white-lead paint ing. In fact, Barnes earned his keep 1 and nothing more for the seven years by keeping the vessel in good trim. H aving served his apprenticeship and after having worked up to second mate o h-1 VO 00 Ui K Diitcli Bo ij Paintcr- fa was out on one of the Barnes firm's jobs when the photographer arrived. In furnishing the material on which this "sketch" is based, Buffalo Branch Dutch Boy representative Willard Downing adds this note: "Mr. Barnes is widely known for his ability to make unfailingly accurate estimates on jobs of all types. He knows his men so well that he can tell exactly the number of square feet he can expect each man to cover in a certain specified time on every type of painting or decorating job." This being so, it is easy to under stand why Mr. John B. Barnes of Buffalo has been so successful--he knows his men, he knows his materials, he knows his job--in other words, he really knows the painting business. MOST people who desire to estab lish the fact that buildings colonial design, good construction and good painting practices. painted regularly with white-lead live Practically all of these buildings to a ripe old age, point out numerous have been taken over by Federal, state Colonial landmarks as shining exam or local bodies who aim to preserve the ples. We all know, of course, that the structures and contents for posterity. first frame dwellings erected in this Equally good examples of sound country were put up by the earliest set painting practice, though perhaps not tlers and were painted with pure white- quite so old nor so steeped in early lead paint. Since numbers of these American history, are not hard to find. hardy folk arrived in, and mostly re The photographs on the next page show mained in, what became the thirteen property in Lancaster County, Pennsyl original colonies, that territory is where vania, that has gracefully weathered the today we see standing evidence of good heat and cold of a hundred summers 58 and winters, thanks to the protection afforded by pure white-lead paint. 1 he picture at the bottom of the group at the right shows the home of Mrs. P. Bachman Rohrer in East Petersburg, Pa. The two other pictures are views of Mrs. Rohrer's farm houses and other farm buildings located a few miles from East Petersburg. These properties, now owned by Mrs. Rohrer, were formerly owned by Mr. Tobias Hershey, Mrs. Rohrer's father. It was Mr. Hershey who de cided on the original color scheme-- white with green trim--a combination that has been used ever since. 1 he farm buildings are painted every ten years and the town residence is painted every seven years. All of Mrs. Rohrer's buildings, despite their age, are today in excellent condition, due partly to ad herence to a regular painting schedule and partly to Mrs. Rohrer's insistence on materials that have stood the test of time, applied by skilled painters. The Dutch Boy materials used on these properties are mixed and applied by painting contractors Walter Zurphy and William Myers of East Petersburg and are purchased from Lancaster Paint & Glass Company of Lancaster, Pa. Philadelphia branch Dutch Boy representatives Schofield and Longhurst recently visited the farm and re port that Mrs. Rohrer continues to be pleased with the appearance, durability and economy of her Dutch Boy jobs. 0000-NLI-000019833 % TUBE'S m MIC! ROOM AT THE TOP NO steeple jack ever took much stock in the piece of advice often offered by successful business men: `You've got to start at the bot tom and work up.' At least those of us who are not at home unless we're up in the air don't take that advice literally. It's true that, to paint a stack or a flagpole you've got to start climbing from the bottom but you never really start the job till you've arrived at the top." If Mr. Stanley didn't use those exact words when he dropped in on us the other day, he said something that amounted to the same thing. Now, your editor works about 200 feet in the air himself--but it happens to be on the twentieth floor of a very substantial building. He frequently has the pleasure of visits with painters and decorators. But seldom does an honest-to-goodness steeple jack stop in. So when Edward Stanley, Jr. of the Bronx put in an appearance he was wel comed with the respect due a man who is in the habit of being looked up to and who is frequently responsible for an epidemic of stiff necks. When your editor was lots younger he was known to climb telegraph poles, clamber around on roofs, paint off extension ladders and generally feel at ease in the higher altitudes. But the years have brought caution. Just looking down a short flight of steps is apt to produce that sinking feeling. Our visitor, there fore, was regarded with due interest. ---says Ed. Stanley, Jr. It should be explained here that our first contact with Mr. Staidey was by telephone last fall. He was then work ing with his father in the rigging and steeple jack business of E. J. Stanley & Son. He is now operating his own business as the Anchor Steeple Jack Service, 1165 Pugsley Avenue, Bronx, 0000-NLI-000019834 Dutch Boij Painter. duty as the mast on the America's Cup defender yacht "Columbia" which beat Sir Thomas Lipton's challenger in the 1899 races. In the course of this flag pole job, while working his way up the shaft, Stanley noticed a couple of yel low spots on the old paint covering the metal collar that joined the lower sec tion of the pole to the top section. With his hammer he tapped the suspiciouslooking spots and much to his surprise the hammer head went right through the metal. It had rusted so badly that the pole had to be condemned and a new one put up. Asked what he thought about when he was suspended way up in thin air, Mr. Stanley replied that he just kept his mind on his work and didn't partic ularly notice his altitude. He said that any steeple jack worthy of the name never had any qualms about looking down from his lofty perch--it was all the same to him whether he looked up, down, or sideways. Occasionally the motion of the clouds across the sky was a bit bothersome and, of course, strong winds were a nuisance, but generally speaking, he gave his precarious perch no more notice than did the house painter .working on a swing stage. On most of his pole and steeple jobs, Mr. Stanley uses equipment of his own making. He says that when he selects the materials for his rigs and puts them together himself he knows they're right. Just as he knows that the Dutch Boy white-lead paint he mixes himself will give the right kind of service on his difficult and spectacular jobs. 5TRRICHT COLOR FIRISHES FOR OUIilDE WOOD A NATURAL "by-product" of the styling-with-paint movement is the interest shown by buyers, sellers and specifiers of paint in the bright, full-toned colors currently suggested for use on limited areas of houses to accent or emphasize certain features of the dwelling. On most of the common types of homes--Colonial, English, Spanish, large and small cottages, etc. --such exterior details as trim, sash, shutters, doors and window boxes are now often painted in strong, lively col ors that harmonize with or offer a con- ssoo u> 'Jt A trast to the white or light-tinted paint that covers the body of the structure. It will be readily understood, of course, that these bold, deep colors cannot properly be used on large areas, the rule being: The stronger the color, the smaller the area on which it can be used with good taste. Many painters who formerly bought Dutch Boy colors-in-oil solely for tint ing purposes are now using these colors "straight" for finish coats on trim, shut ters, sash and other parts of their house painting jobs. The same qualities for which Dutch Boy colors are preferred for tinting purposes are equally desir able for straight color finishes--high tinting strength, true color tone, fine ness and easy-working consistency. Years ago, when most "tinting col ors" were put up either as dry pigments or as stiff pastes, it was a rather difficult and tedious job to reduce them to paint obse pain gallo 600 consistency. With Dutch Boy colors- unde in-oil, however, it now is as easy to mix F a straight color paint as it is to mix or a white paint from Dutch Boy soft paste white-lead. This is so because Dutch Boy colors are sold in the form of a soft, buttery paste of about the same con sistency as soft paste white-lead. boxe coat mixi vehic Bulle The table on page 65 outlines the formulas for fourteen popular outside finish coat colors. All are based on us ing one gallon of straight Dutch Boy color as the pigment portion of the paint. When the gallon of color is mixed with the quantity of vehicle and drier indicated in each case, it will be wind Dutc a ve of ra side s add a fore As 0000-NLI-000019836 Dutch Boif Rainier. appearance and wearing qualities of straight color finishing coat paints de pend a good deal on how well the ground has been prepared. That is to say, freedom from early flatting and fading especially, are in large measure due to properly designed and applied undercoats. Because the only coat that is seen and evaluated by the home owner is the finishing coat, that is the one that gets all the blame for pre mature failure. To get reasonable durability in a job, it is necessary to provide a hard, semi-gloss coat on which to apply the finish color coat. It is also advisable, in mixing undercoats for the yellows, reds, light green and blue, to tint the paint to about a medium shade of the straight color finish coat. Where a dark green or black is to be used as the finish coat color, the undercoat should be tinted to a gray by adding a couple of ounces of lampblack in oil to each gallon of undercoat paint. This tinting of the undercoat helps to bring out the full depth and richness of the finishing coat color. A well-covered and well-sealed surface is essential as a foundation for a smooth, lustrous finish that may be ex pected to retain its gloss for a reason able time. And proper tinting of the undercoat adds depth and solidity to the colored finishing coat. Note: The colors used in the draw ings that accompany this article are, of course, printing-ink colors, and do not necessarily match any specific color pro duced by the straight color finishing coat formulas on the opposite page. 64 A MIXING FORM Straight Color Finishing Coat Pa Color Name (Dutch Boy Colors-in-Oil) 1 gal. C. P. Chrome Yellow--Lemon .. . I gal. C. P. Chrome Yellow--Medium .. 1 gal. C. P. Chrome Yellow--Orange . . 1 gal. Chromium Oxide Green............... I gal. C. P. Chrome Green--Light........ 1 gal. C. P. Chrome Green--Medium . . 1 gal. C. P. Chrome Green--Dark........ I gal. Bronze Green ................................ ] gal. English Venetian Red..................... 1 gal. Tuscan Red.................................... 1 gal. Indian Red...................................... 1 gal. Bulletin Red................................... 1 gal. Lampblack...................................... 1 gal. Dutch Boy Blue.............................. n neui u s e f o r u ih c EVERY painting contractor in the country naturally wishes to com h so ply fully with all of the provisions ofc the Social Security Act that apply to A his own particular business. Some con ti tractors of our acquaintance, however, c have not kept themselves up-to-date on e certain amendments to the original So p cial Security Act and have therefore q neglected to keep proper records. e The following excerpt from "Social I Security Act Amendments of 1939", o approved August 10, 1939, may not th 0000-NLI-000019837 or less. No deduction is made from wages earned in excess of $3,000. "SEC. 1403. RECEIPTS FOR EMPLOYEES. "(a) REQUIREMENT--Every employer shall furnish to each of his employees a written statement or state ments, in a form suitable for retention by the employee, showing the wages paid by him to the employee after De cember 31, 1939. Each statement shall cover a calendar year, or one, two, three, or four calendar quarters, whether or not within the same calen dar year, and shall show the name of the employer, the name of the em ployee, the period covered by the state ment, the total amount of wages paid within such period, and the amount of the tax imposed by Section 1400 with respect to such wages. Each statement shall be furnished to the employee not 66 later than the last day of the second calendar month following the period covered by the statement, except that, if the employee leaves the employ of the employer, the final statement shall be furnished on the day on which the last payment of wages is made to the em ployee. The employer may, at his op tion, furnish such a statement to any employee at the time of each payment of wages to the employee during any cal endar quarter, in lieu of a statement covering such quarter; and, in such case, the statement may show the date of payment of the wages, in lieu of the period covered by the statement. "(b) PENALTY FOR FAIL URE TO FURNISH--Any em ployer who wilfully fails to furnish a statement to an employee in the man ner, at the time, and showing the infor mation, required under subsection (a), A shall for each such failure be subject to a civil penalty of not more than $5." NOTE: Section 1400, referred to above, is the section of the Social Se curity Act which provides for the cur rent 1% tax on employees' wages. The Employee's Wage Record Card, made available to contractors in Janu ary, 1937 by the makers of Dutch Roy products, is being widely used for its original purpose, namely, the recording of the weekly wages of each employee and of Old Age Benefit deductions to gether with certain other items indi cated by column headings on the card. These Wage Record Cards can also be used for the "written statements" mentioned in the August, 1939 amend ments to the Social Security Act, printed above. When the card is filled out with the name of the employer, name and social security number of the employee, the year it applies to, the amount of wages and the hederal Old Age Benefit deductions for the period, it can be given to the employee, thus constituting a legal written statement. It is further suggested that not one, but two cards be filled out for each employee. One card can thus be re tained permanently by the employer to show the employee's yearly earnings. The other card in the pair can be made out as directed by the law and it be comes the property of the employee whose name it bears. This card should be handed the employee at the end of each quarter or other specified period for the employee's examination and s s in s th t p c n g c c t a k w p p b A th f ( ( w ti in th in R Y c o c p w o 0000-NLI-000019838 National Lead Company's staff of practical paint men will help you solve your painting problems without charge. Address your letter to National Lead Co., Room 2020, III Broadway, New York, N. Y. Please state your problem fully and be sure to place your name and address on your letter. Our reply will reach you promptly by mail. The problems discussed below have been selected because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled. IVaterproofing Brick IValls without Changing Their Color Question: We have a customer who owns an apartment building. After driving rains, moisture appears to seep through the brick walls on the northeast side of the building. The owner wants to stop this seepage but doesn't want to change the color of the brick. Can you suggest a good waterproofer that is colorlessf Answer: In most instances, two or three coats of clear Dutch Boy Lead Mixing Oil prove satisfactory for seal ing brick walls against moisture pene tration. This oil, however, does change the color of the brick very slightly be cause, to be water-resistant, the oil must form a film over the normally rough and absorbent surface of the brick. Most folks don't object to the small color change as it makes the brick look cleaner and fresher. Another suggestion, one that is par ticularly appropriate in localities where the humidity is relatively high most of the year, is to use a moisture proofer composed of equal parts of Dutch Boy 68 boiled linseed oil and Dutch Boy Lead Mixing Oil, for the first coat, followed by a coat or two of straight Lead Mix ing Oil. If this system is used, three days of good drying weather should be allowed following the first coat, before the Lead Mixing Oil is applied. Under the first-mentioned procedure, one day is usually enough to allow for drying between coats. Changing Floor Finish from Oil to Varnish Question: On a remodelling project here, a public building is being made over into an apartment house. The floors, formerly oiltreated, have to be refinished. What is the best way to go about this job f Answer: The non-drying oils gen erally applied to floors to keep down dust and to preserve the wood usually penetrate pretty deeply so it may not be an easy job to change from the oil finish to a hard shellac and varnish finish. To begin with, scrub the floors energetically with soap and warm wa ter. When they have dried, rub in ben zine with coarse burlap or fine steel wool to remove as much of the floor oil as possible. Then get a sanding ma chine (they can usually be rented from paint supply houses) and sand the door surface. The above treatment is laborious and expensive but it is the only practical way to remove the oil which has been deposited and ground into the grain of the wood over a period of years. Following the sanding, dust the floors well and then go ahead with the usual shellac and varnish coats. Finishing North Carolina Fine Question: After finishing the interior woodwork--which is North Carolina pine-- in two houses recently, one of the owners said two coats of paint on the woodwork would have done just as well as the three coats I applied. / used Dutch Boy wall primer, an enamel undercoat and a semi gloss finish coat, all white. If this kind of wood can be painted property in two coats, / certainly have been on the wrong track for a good many years. What is your opinionf Answer: North Carolina pine, or yellow pine, is a difficult proposition for two-coat work. The summer wood and the spring wood in practically all species of pine differ greatly in their porosity. The soft portions absorb con siderable vehicle from the priming coat and the hard portions little, if any. In order to build up a well-covered, uni form ground for the finish coat, both a good priming coat and a solid body coat are essential, especially so if the finish c p o o l g f h b o t o g t a f u B y e g t o t p F f c f w 0000-NLI-000019839 Dutclv Bo(| Pointer. This trim has an oil stain on it now but the owner wants a finish that will stand up better. Varnish over the stain doesn't last Jong. Answer: Assuming that a linseed oil, and not a creosote, stain has pre viously been used, we suggest using a mixture of two parts Dutch Boy boiled linseed oil and one part Dutch Boy flat ting oil. A very small amount of Dutch Boy burnt umber, or some other suit able color-in-oil, might well be added to the oil mixture as a slight touch of color may serve to freshen up the trim. Two or three applications of this liquid should give the owner the effect desired and one that will last for some time. Removing Casein Paint Spots from Concrete Floor Question: In painting the walls of a boiler room several weeks ago, some of the casein paint was carelessly spilled on the concrete floor. The floor is rather rough and the spots won't come off with ordinary paint remover. Can you offer a suggestion for getting rid of these spots f Answer: There are several types of casein paint on the market and some of them are pretty stubborn when it is necessary to remove them from a porous material like cement or concrete. How ever, we suggest that you add about a tablespoonful of sal soda to a gallon of hot water, wet the spots with this liquid, and allow a few minutes for it to soak in. Then rub the areas briskly with a stiff fiber brush and the paint ought to come off. Semi-Gloss Paint Finish on Varnished Interior Woodwork Question: I have eighteen rooms to re decorate on a job I am about to start. AH the wood trim in the rooms is now varnished and the owner wants it done over with a semi-gloss finish, ivory color. IVhat is the proper procedure on this jobf Answer: Rub down the woodwork with sandpaper to cut the gloss of the varnish and to remove some of it; then dust the wood carefully. Mix a first coat paint by using equal parts of Dutch Boy soft paste white-lead and Lead Mixing Oil. Tint the paint lightly with a little Dutch Boy raw sienna. Apply this coat to the woodwork and allow it time to dry hard. For the semi-gloss finish coat mix your paint according to this formula: 50 lbs. Dutch Boy soft paste whitelead 1 Yi gals. Dutch Boy Lead Mixing Oil 3 gals. Dutch Boy wall primer I tube (2 oz.) Dutch Boy raw si enna in oil This coat, as well as the first coat, may be expected to cover about 800 sq. ft. per gallon. If you have no wall primer handy, you can use l\h-grade enamel instead in the finish coat. In this event, tint the enamel separately with an ounce or so of raw sienna ground in japan. Then add this tinted enamel to an equal quantity of the same white-lead and Lead Mixing Oil paint suggested for the first coat on your woodwork. 70 The belter the lead, the b better the paint, the better white-lead has always ma made good on the job. Now even better paint because ments in whiteness and bod Step in at your paint store stepped-up Dutch B LET'S SEE NOW . . . IT'S A TWO-COAT JOB . . . I'LL NEED ABOUT FOURTEEN w GALLONS OF PAINT. LEAD'S SELLING AT '''H . ELEVEN-SEVENTY-FIVE, OIL'S A DOLLAR, ISIki? TURPS SIXTY CENTS AND DRIER TWO DOLLARS. THE MATERIALS I NEED COME TO THIRTY DOLLARS AND FORTY-FIVE t CENTS .. . DIVIDE BY FOURTEEN AND- SAY! THAT'S ONLY 2.18 A GALLON/ WHO S' SAID QUALITY CAN'T TALK PRICE . . . AND IN A LANGUAGE I CAN UNDERSTAND! ,,, g-r 'W rf i) 4 f| Material prtfts in somr localities may bt lower or hit/hcr than those pivcu above 0000-NLI-000019841 *AT LAST WERE LIVING IN Mj A IIomJ%^ofOur Own .LETS KEEP IT A HOME TO BE PROUD OF/" Right t/tcr we were married, Jim and l decided (hat one of the things we wanted most in life was a kamt four ever. last Spring we found just the place for us-- little old bouse, shabby and ruo-down, but with lots of possibilities--at a price we could afford. 1m air naafr/Mf, ntw paint wrktd wmdm. We found all sorts of interesting painting ideas in a Dutch Boy book called St Ytur Gtimg It Paimt* Of course, beauty wasn't the only reason we chose Dutch Boy. Jim's father is a retired painting con tractor. And he swears by Dutch Boy --says you can't beat it for ecooomy. "Don't tci me catch you two using anything but Dutch Boy White-Lead," he told us. "It's more than just a long wearing paint--il'i tut that track mad itaii And that means a big saving at repaint time." (See photographs at right.) thud Si . CWMtaod. 71J CJwiiaiH Si. Si toau, 124# Hikh .SaaPiuoKO.NaoMUkm U>( Co ., aae Alba*? Sl Sw im. Nk k n u I LwSa Oil Co. ut rnu ,t)r< Sim At * . hno baafe.MaT UaaSSoi Co LOW-GRADE PAINT DUTCH BOY 'aiuitf already--after Fitr part *t4 a td iutt tt fa then feetedefsrtrut exirllent ciadiuat Hear Rtehl after ihnfuture w. - taken, the faitnt h' ad' tr fe taift ah ' `halted ef ate Owner wat a y-'t *Tbu Dutch Bay BaaJ, St Yttt'rt Gaiag It Paint, k years Janbeaihitg Ftfty-twt lilutraiiau m ctltrthawytm uhat n dt--ttdwbti til u 4t. Tb* mtpat willhtng yta afm ctfj. DUTCH BOY PA Volume 33 194 Published bi-monthly by National Lead Comp N. Y., in the interest of better painting. Mailed pain t in g ac o us t TIME was, and not so long ago at that, when the painter looked upon his interior wall work, so far the surfaces to be painted were con cerned, as a pretty well standardized, matter-of-fact proposition. ``Fix up the cracks, stop the suction and apply the paint"---these were the general specifications that covered a good share of all wall work because it was done on ordinary plaster. And even now many painters find their interior jobs run largely to the old familiar type. Painters today, however, principally those working in the large cities, are often confronted with interiors that present problems not encountered years ago. More and more walls and ceilings are being called on to perform added duties in this "business of living". They are treated as more than mere partitions that divide buildings into convenient units. Specifically, wall and ceiling surfaces, particularly those in many public and business buildings, are being used to give an extra measure of comfort to, and to increase the effi ciency of, those who use the interiors. In their efforts to increase the use fulness of interiors, and in the work 0000-N LI-000019842 Dutcli Bo11 Painter. A paint in a special manner. On the other hand, the painter may be told to go ahead and treat the walls and ceil ings just like ordinary plaster. Con flict of opinion regarding paintability of certain materials is especially apt to occur in buildings that have changed owners or managers after the original sound-proof material was installed. In cases of this sort, the new manager or owner may not have had passed on to him the suggestions regarding cleaning or refinishing given the man in charge when the acoustical job was done. A proper approach to the job of maintaining--cleaning, painting, deco rating, etc.--acoustical materials must include some knowledge of what these materials are and why they are used. Essentially, acoustical materials of the type considered here, act on sound waves, or noise, much like a blotter acts on moisture. The comparison isn't quite as simple as that but it will serve the purpose. Sounds arising in a room strike the walls and ceilings and, in stead of rebounding, as from ordinary plaster, wallboard and wood, are ab sorbed. To be sound-absorbent, the wall surfacing material must possess certain characteristics. In some in stances, these characteristics are altered and thus rendered less effective if a paint coating intervenes. There are eight general types of acoustical (sound-absorbing) mate rials. These are classified by the Acous tical Materials Association as follows: I. Cast units composed of small uni 76 form mineral particles held together with Portland cement. II. Cast units having a surface com posed of or resembling small uniform granules. The binder may be gypsum or any other suitable mineral binder. III. Cast units having a surface composed of or resembling irregular, rough granules. The binder may be gypsum or any other suitable mineral binder. . IV. Units having a mechanically perforated surface, which acts as a covering for the sound absorbent material. V. Units which are mechanically perforated, the perforations extending into the sound absorbent material. VI. Units having a fissured surface. VII. Compressed units composed of long wood fibers held together with a mineral binder. This type shall not have a mechanically perforated surface. VIII. Felted fiber or wood pulp units which have a surface that is not mechanically perforated. In addition to the factory-made units described above, there are several makes of acoustical plaster on the mar ket. Among these plasters, which are mixed and applied at the job, much like ordinary plaster, are Macoustic, made by National Gypsum Company; Reverbolite, made by American Gyp sum Division of the Celotex Corpora tion ; and Sabinite, made by United States Gypsum Company. Among the several other acoustical materials not illustrated here are Kencoustic, Type A VI, made by David E. Kennedy, Inc.; Absorbatone, Type VII, made by Luse-Stevenson Co.; Acoustex, Type VII, pany Owe The following illustrations and descriptio turers' approval, are intended to familiari ance and surface characteristics of sev acoustical materials, dll cuts are one-hal size" photographs of stock materials furnis facturers. The numbered divisions on CORKOUSTIC B4-- Armstrong Cork Company Type VI. Installed in various sized units from 6" x 12" to 24" x 24". Units are factory painted, in white, ivory or buff or other special colors, with an oil-base paint. Corkoustic may be re painted with a thin white-lead flat paint without loss of acoustical efficiency, if paint is applied so as not to clog the porous surface. ft TEMCOUSTIC FI-- Armstrong Cork Company Type VIII. Installed in various sized units from 6" x 12" to 12" x 12". Units are factory painted, in white or ivory, with an oil-base paint. Temcoustic may be re painted with white-lead flat paint with little loss of acoustical effi ciency, if the paint is mixed very thin and is carefully applied witli light or "feathery" brush strokes. ?;. *y ." i- .< * ; > > .V, -f ** CALISTONE-Celotex Corporation Type I. Installed in various sized units from 6" x 12 to 12" x 24", in either a Sand Finish Grey or a Sand Finish White. The sound-ahsorbing efficiency of Calistone is considerably reduced if painted by ordinary methods. Where painting is necessary it should be done with a spray-gun using very thin white-lead flat paint. Skillful handling of the spray is required in order to achieve thin, uniform coverage. r > -'r 5 .....v...... v$ihi. ACOUSTI-CELOTEX-- Celotex Corporation Type V. Perforated 441 holes per sq. ft. Installed in various sized units from 6" x 12" to 12" x 24". Units are supplied with a "Rolled Ivory" finish or with a "Varnished and Hot Rolled" fin ish, or in special colors with flat or gloss finish. Acousti-Celotex may be painted with white-lead flat paint without loss of acous tical efficiency if paint is not per mitted to clog the perforations. 1 . *.*. , * ** . - ,i /;^ , * '4` - -r *> ,*J > y? * `i h / i >r >: y*<*. r< r. -> T* . -;.ff '*:< . -V.VVl-r; l\i'A ` > ' v S'.:*./ '-/ ;./Y rY MUFFLETONE-- Celotex Corporation Type II. Installed in various sized units from 6" x 12" to 12 x 18", in a standard white finish or in several integrally colored pastel shades. The sound-absorbing effi ciency of Muffletone is consider ably reduced if painted by ordi nary methods. Where painting is necessary it should be carefully done with a spray-gun using very thin white-lead flat paint. 78 SANACOUSTIC-- Johns-Manville Type IV. Perforated 4,608 holes per sq. ft. Installed in various sized units from 12" x 12" to 12" x 24". The perforated metal has a baked enamel finish applied at the factory. Sanacoustic units may be painted with white-lead paint without loss of acoustical efficiency providing the perforations are not clogged with paint. TRANSITE--Johns-Manville Type. IV. Perforated 576 holes per sq. ft. Installed in various sized units and panels from 12" x 12" to 24" x 48". Units and panels are furnished in natural buff finish and in cream white. Transite units and panels may be painted with white-lead paint without loss of acoustical efficiency providing the perforations are not clogged with paint. PERMACOUSTIC-- Johns-Manville Type VI. Installed in various sized units from 6" x 12" to 12" x 24", in white or light cream color finish. Permacoustic units may be painted with white-lead flat paint without reducing the sound absorbing efficiency providing the paint is mixed very thin and is uniformly brushed out to prevent undue filming-over of the porous surface. 79 ;V:- ^ H y-J F/'V-t; -I- * hs 7.-t { ,* " i fyUf  f. / . * v* . ** v , v, ; . jLv- v - v' v . . .' .y X i,. . r\ ' .. j -,' *: ,v k - a *.-.* i :*} < . `Ky> : ">/** . *: >, .V.. > sv -.** \Sr: ., ' * V- `-' V ACOUSTONE D-- United States Gypsum Company Type VI. Installed in various sized units from 6" x 12" to 9" x 18", integrally tinted at the fac tory in white, ivory or cream color. Acoustone may be painted with white-lead flat paint without loss of acoustical efficiency providing the paint is mixed very thin and is uniformly brushed out to prevent undue filming-over of the porous surface. 4 > aa*I I a PERFATONE-- United States Gypsum Company Type IV. Perforated 4,608 holes per sq. ft. Installed in units measuring 12" x 24". The per forated metal has a baked enamel finish applied at the factory, either white or ivory color. Perfatone metal tile may be painted with white-lead paint without loss of acoustical efficiency providing the perforations are not clogged with paint. r'i I ' v* \ }... \:.v .M.-'A ' ? - ' T * ; ' -**V. ' v" Sit? *, -'> >r v; 1 if-'? '.;i : 2 *3 $<? 'v r.. a t g i-yx, 4:;e>: QUIETONE-- United States Gypsum Company Type VIII. Installed in units measuring 12" x 12". Supplied in two textures--natural ivory colored sanded surface; and natu ral mottled light buff colored "brushed" surface. Quietone should not be painted with oil paint. It may be spray-painted with a very thin flat paint made by thinning white-lead with turpen tine. 80 &___________________________ -------- All acoustical materials depend mainly for their efficiency on a certain porosity of surface and/or substance. They are intended to be utilitarian and are not primarily used for any special decorative value. Their main purpose is to please the ear rather than the eye. Nevertheless, there may come a time, either when the sound-proofing installation is made or later when the surfaces are soiled, when cleaning and painting must be considered. Several types of acoustical material are colored or coated as part of the manufacturing process. Some have no added coloring or coating. Still others have an oil paint, varnish or enamel coating. But while the original finish may last for a long time, it even tually collects so much dust and dirt that the surface absorbs too much light and thus gives the interior a dark and dingy aspect. Even in the case of enamelled units, ultimate painting may be required to meet the decorative needs of the interior. Of course, acous tical materials are often cleaned with wall paper cleaners, soap and water, and sometimes with vacuum cleaners. But, sooner or later, painting becomes necessary, if the material is paintable. In painting acoustical materials the idea is to cover the surface but not to seal it. So far as is practicable, the pores, fissures and perforations must not be filled with paint or "filmed over." A too-heavy paint, or one that is improperly applied, will reduce the acoustical efficiency of the material. The spari D thinn equa ing O gals, prac have Fo and and plied ish, by ad Be acou with remo the Soile painte terial and w and a prepa So paint terial Wha the w thin hide nary sprea of w may some to be RERDinC SPRUCES UP has been done with Dutch Boy white- lead. As a matter of fact, nearly a car load of lead has already been used. Among the units, owned and operated VISITORS to the city of Reading, Pennsylvania, as well as the citi by the city of Reading, that have been painted are the Engineering Bureau, the Fire Department buildings, the zens themselves, have good reason commenting on the way the city-owned foMr aidencreek Water ings and the Pagoda." Reservoir build buildings are kept spick and span. Over the past few years, the city fathers of In describing the painting of the Waterworks building, Mr. Weiss tells Reading have carried on a program of us that Mr. Hannahoe had to exercise repairs and repainting that has been an considerable ingenuity in devising a eye-opener to those who live in com scaffold for the main structure. As will munities where civic pride gets less be seen in the photos below, the very visible emphasis. wide cornice of the building presented The photographs on these pages were a real problem. It was solved by using sent in by John C. Weiss, field man 4 x 4's which were anchored inside the working out of our Philadelphia building and protruded through the branch, John T. Lewis & Bros. Co. windows. After crossbracing the tim Mr. Weiss tells us: "Under the leader bers planks were laid and the painters ship of Mr. E. L. Hannahoe, well- went about their job without difficulty. known decorator and painter, this reno vating work has been carried out in a most efficient manner. For several years considerable city property maintenance AS all window displays should, this . one, recently installed in a win In wen dow of the David Bernhardt Paint &white Glass Company store in New Orleans, J. tells its story quickly, clearly and con Boy vincingly. If the message was stated vise in words, it would run like this: tells "Pure white-lead paint has been and protecting homes for a half century" 1880 (a gross understatement of fact, we prese might interpolate) "and although the hard sturdy oaken kegs of the 'go's have hard given way to the trim steel Dutch Boy is Se kegs of today there has been no change the in white-lead's ability to protect and Stree preserve the Nation's homes. The fa since mous trade character, the Dutch Boy front Painter, stands for paint that 'stands Th up'. The symbol above the display says adve `Bernhardt--a good store in which to glass get painters' and glaziers' materials'." busin Precisely the Rig al precisely ihe right time with v, . ... " ^ mg . . . that's the distinguish pianist. And the mark that di painter is his ability to produc paint that will best serve its pu N white-lead and Dutch Boy oils painter has at his command pr rials to produce paint that can give a noteworthy performance PAINTS-VARN1SHE! A SHOW WINDOW front the "SHOW ME" STATE The Rogers & Baldwin Hardware Company, in whose store at dli-Jl South Avenue, Springfield, Mlssourl> this window display recently ap peared, was founded in 1885 and in corporated in 1901. The firm does both a retail and a wholesale business in shelf and heavy hardware, Dutch Boy products and other pun mg essentials, and has a staff of sales men covering Southwest Missouri Northwest Arkansas, Northeast Oklahoma and Southeast ansas. A special feature of this display, as you may have noticed, is the opened 25 lb. bucket of Dutch Boy white- lead. No doubt many painters who o o '"S I*-- ** D"''h ^,or ,bcir 01 r d z imia n c r e d it s d u t c h b o y I Dzimian, Inc., has for years attracted o o for a good share of the success he has volume buyers because this trade natu o enjoyed in building up his p.n.m supply business. Located at 11 rally gravitates toward the sign of th Dutch Boy. And, with this window lay way Buffalo, N. Y., the store of S. A. out, Dzimian has made ----- -- sure that identification of his store would be quick and easy. In ad dition to using current Dutch Boy displays sup ported by the full line of Dutch Boy materials, Dzimian clips Dutch Boy full page ads from the national magazines and pastes them on his window. No wonder this store handles as much as 50 tons of Dutch Boy white-lead per yearl BIG LEAGUE baseball suade games, washed out by vamp spring rains, are played latedrown on in the year as parts of some double-headers. strong Not so with rained-out closel painting jobs. As a general paign rule, the property owner who this y intended to paint this spring idea: but was stopped by bad Mode weather, puts the job off till month next spring. Just why the FHA work is postponed for a year ing ar instead of for a few months, Pa nobody seems to know. Much paint of the year's finest painting suppo weather occurs in most sec found tions of the country between tion j September ist and December new ist. featu This fall, as last, painters (Title and paint dealers who lost those out on considerable spring with business have a chance to are make up at least a portion of volum the lost ground. They can plan, do this by cooperating with Admi the country-wide moderniza that a tion campaign sponsored by mode building materials manufac made turers and supported whole about heartedly by the Federal of pr Housing Administration. The ready campaign, designed to per Plan. h er e's h o w t h e f h a pl an c an me a n MORE NEW SALES FOR YOU... TOP: Three-color 'window streamer, bo" x 16", and two side pieces, 16" x 60". Ask FHA for "Window Display No. 5", in ordering. CENTER: Cover page of "Dealer Guide". LEFT: Three-color window poster, 28],4" * jS'/i". are availing themselves of the benefits offered by the FHA Plan. The mount ing figures also suggest that the paint ing industry stands to benefit in direct proportion to the amount of coopera tion it gives during the coming months. As a matter of fact, FHA officials m throughout the country point out that industry is approaching that agency more and more frequently with co operative suggestions and plans to O seem to be steadily rising and at present make the most of the FHA moderni o o average about 10,000 a week. This in zation and repair program. In line o creased activity indicates that the public with these suggestions, FHA has again 2! r and the lending institutions realize and prepared literature and display mate 's 88 O O o so 00 00 1&. Dutclv Boi| Pointer. rial for the trade. This is available at headquarters in Washington, or through FHA's sixty-four field offices. The material includes a colorful window display printed in dark red, blue, and yellow and a cleverly illus trated booklet with a check list for home owners, printed in red and black. A mimeographed piece describes how paint dealers can develop and handle business under the "Property Improve ment Credit Plan", Title I of the Na tional Housing Act. It is a brief mer chandising manual that suggests means by which paint distributors may in crease their sales through the FHA plan of installment payments. Both the display material and litera ture are available to all dealers wishing to be identified with the national modernization program, but it will be sent only on direct request of the dealer or of the painter who operates a store. It is suggested that this be done as soon as possible since quantities are limited. By tying up with the FHA Plan the painting industry profits in two ways: more sales can be closed, and dealer and painter get cash payment. If you want to develop some "double-header" business now to make up for that which was "postponed on account of bad weather" earlier in the year, lose no time in getting in touch with FHA headquarters in Washing ton, D. C., or with your regional FHA office. Ask for literature and sugges tions that will make your cooperation really effective. M in w info Whe copie place buy espe of th zine with stam Addr pany way, 0 0 0 0 -N L I-0 0 0 0 19849 Ed Stanley, Sr. Proves With Pictures YOU CAN'T KEEP A GOOD MAN DOWN IN the steeplejack article that ap tice, he became one of the top men in peared in the last number (Vol. the business. 33, No. 3) of the Dutch Boy Painter In all his years of steeplejacking, Mr. magazine it was reported that we had Stanley has never suffered serious in learned Mr. E. J. Stanley, Senior, jury, nor has he ever been responsible 1951 Gleason Avenue, Bronx, New for others getting hurt. Neverthe York, had retired from the active work less, he protects his workmen with of painting and repairing stacks, flag State Compensation and he protects the poles and steeples. That statement was man who engages him with Public Lia incorrect. And, as proof that he is still bility and Property Damage Insurance. both literally and figuratively at the He believes in the utmost caution in top of his profession, Mr. Stanley preparation ; the "ounce of prevention" furnished photos of himself in action is the code by which he works, and on two recent jobs--see opposite page. which he requires of all who work for When we learned from Mr. Stanley, him. His advice is "You can't be sorry Sr. that we were in error in stating for your carelessness--on the way he was no longer active, we offered him down". His recipe is good equipment, our apologies and suggested that he steady nerves, and confidence. As to give us some facts about himself and his materials, Ed Stanley has used Dutch work on which to base an article that Boy white-lead for thirty years. would serve to set the record straight. The one near-accident Mr. Stanley As a youth, Ed Stanley worked at experienced happened some years ago outside painting. It wasn't long, how when he was doing a stack job. Due to ever, before his natural ability and a misunderstanding in the maintenance enthusiasm led him into the highly department of the building, the new specialized field of steeplejacking. shift of workmen were not advised that Under the guidance of Mr. Franz someone was working on the stack-- Regal, for whom he served as appren- with the result that the boilers were 90 Far "off flag buil New Rep of I Chu ingto turned on. But, thanks to a high wind and Stanley's quick sense of the emer gency, he threw himself onto the out side of the stack and hung there on his ropes until he was revived. When it was mentioned to him by the amazed workmen later on, he calmly answered, "It's all in a day's work". Mrs. Stan ley accepts her husband's occupation like any other housewife--but she has no desire to see him actually at work. After 35 years of continually facing danger, Mr. Stanley rates himself a better steeplejack today than yesterday --and is sure that tomorrow will find him still better. His services are in de mand by many of New York's largest business houses and by federal and mu nicipal departments in the New York area. When asked why he doesn't give up his hazardous work, Mr. Stanley re plies, "If I did, I would probably have a nervous breakdown". Perhaps an other reason is that he has the rare ability to make his work his hobby--and his hobby his work. i National Lead Company's staff of practical paint men will help you solve your painting problems without charge. Address your letter to National Lead Co., Room 18/5, til Broadway, New York, N. Y. Please state your problem fully and be sure to place your name and address on your letter. Our reply will reach you promptly by mail. The problems discussed below have been selected because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled. Paint "Frosting" on Glass Question: In our paint store there are glass transoms about three feet high above the regular show windows. The sun shines in brightly a good share of each clear day. Is there some way to paint these transoms so that the strong glare is kept down while still letting in most of the light? I've seen windows like these painted in other stores but the paint doesn't stay on in good shape. Answer: Your transoms can very easily be "frosted" to cut down the sun's glare while still admitting plenty of daylight. First clean the glass inside and out. Then wipe the inside surfaces with pure denatured alcohol and allow this to evaporate. Do not touch the glass with the fingers or cloth following the alcohol rub. Mix a thin paint from equal vol umes of Dutch Boy soft paste whitelead and Dutch Boy flatting oil, say a pint of lead and pint of oil. Apply this thin paint to the inside surface of the glass using a soft brush, then stip ple lightly with a wall stippler or a bridled sash tool to produce a uni form coating, free of brush marks. 92 Allow this paint to dry and notice whether or not the sun's glare has been sufficiently reduced. If not, apply another thin coat and stipple it. The secret of making paint stick to glass, for a "frosted" effect, or for any other purpose, lies in having an ab solutely clean surface to work on-- no dust or finger marks--and in using white-lead paint in very thin coats. Covering Joints in Plywood Question: ITe have a job of fixing up a room the walls and ceilings of which are plywood. When the house was built a few months ago, the joints of the plywood were taped with muslin, then the walls were papered and the ceiling painted. Now nearly all the joints have split open on the ceiling and walls. If e did not do the original job and we would like your advice on how best to fix the joints so they won't cause trouble. Answer: Assuming that the material in question actually is plywood and not some kind of plain wood veneer or com position board, the chances are that the plywood used was either an unsuitable grade or that it was not primed or sized &___________________________ ________ properly when it was installed. Ply wood and some types of wood composi tion board that are not presized, should be primed on both sides and all edges with Dutch Boy wall primer before the sheets are nailed in place on the walls. This minimizes any tendency of the panels or sheets to shrink or swell due to changes in moisture content of the material and to humidity in the room. In order for you to correct any future tendency of the plywood to warp it would be necessary to remove the sheets and size or backprime them. This, no doubt, is out of the question. Possibly your best move is to strip the wallpaper from the walls and clean the ceiling and allow the walls and ceiling to dry thoroughly. Prime the walls with Dutch Boy wall primer, then fill the joints and cracks with a putty made from Dutch Boy soft-paste white-lead stiffened with dry whiting. Follow with two coats of paint, on walls and ceilings, made by mixing equal volumes of Dutch Boy soft-paste white-lead and Dutch Boy Lead Mixing Oil, tinted as desired. Painting a Metal Ceiling Question: The paint on an embossed metal ceiling in a store that we are going to paint is cracking and coming loose in several places. The paint that comes off seems to be very brittle and crumbles easily when handled. IIow should we go about repaint ing this ceiling so the job will last? Answer: In the first place, it will be necessary to remove all of the paint now on the ceiling. Even though the paint on som have n loose la As you paint underco paint, movers stores, the labe Whe cleaned vent s making in the p bared m ing red and be into ev design Follo coat of ing equ paste w Mixing called finish i coat of ing Oi coat, m coat pa For a f prepare C Ques to show difficulti tried ar 0000-NLI-000019850 0000-NLI-000019851 Dutch Boi| Painter. ------------------------------------------ --______ j screen is rolled up the paint cracks and flakes off. The screen is made of canvas. Can you suggest a good paint for this purpose and one that wilt have good light reflectiont Answer: Of the several methods of treating motion picture screens, we be lieve you will find the following pro cedure very satisfactory: First, dissolve finely sliced beeswax in cold turpentine. This will require three or four days, at the end of which time the resulting mass should be of the consistency of soft soap. To each pound of this wax paste add three pounds of Dutch Boy soft paste white-lead, three tablespoonfuls of soft soap and three tablespoonfuls of japan drier. Mix these ingredients very carefully and when the batch is thoroughly mixed and uniform, apply the paste to the stretched-out screen with a large spat ula. Be sure that all the pores in the fabric are filled, then smooth off gently with a broadknife or spatula to remove the excess material that did not get into the mesh of the fabric. Allow the screen to dry out com pletely, then back it up with smooth wallboard and sandpaper the coated surface lightly with ooo sandpaper. After dusting, apply a coat of Dutch Boy wall primer thinned with about one-quarter as much turpentine. Finally, apply a thin coat of paint based on this formula: 12^2 lbs. Dutch Boy white-lead 2V2 pts. Dutch Boy flatting oil Vs pt. good floor varnish 1 tablespoon Dutch Boy liquid drier This coat should be brushed out very 94 carefully and cross-brushed lightly so that all brush marks are eliminated. As you know', the clarity and brightness with which the moving pictures are re produced depend greatly upon the color, smoothness and uniformity of the finish of your screen. The above description of the filling and painting of fabric is a good one to follow not only on movie screens but also whenever fabric of any kind re quires painting and a fair degree of waterproofing with sufficient flexibility to permit rolling. Painting Canvas-Covered Pipes Question: 1 have contracted to paint sev eral large rooms in each of which there are a number of canvas-covered pipes which are to be painted while the same as the walls. The covering is regular 8-ez. white duck. The owner of this building had a similar job done a couple of years ago in another build ing and the work did not turn out satisfac torily. 1 am anxious to do a first-class job on these pipes and would appreciate your recommendations. Answer: For the first coat on the canvas covering use Dutch Boy wall primer. You will find this better for the purpose than either a glue size or an unpigmented varnish size. After the primer is dry and hard, apply two coats of paint made by mixing equal volumes of Dutch Boy soft paste white-lead and Dutch Boy Lead Mixing Oil. This will give you a practically flat finish on the pipe, one that should match the finish of the adjacent plaster walls that are painted in the same manner. FORMS to help you MAKE MORE MONEY O BE successful these days, the painting Tcontractor needs more than the mere tools of his craft. He needs "the tools of his business", too. Shown here are six of these "tools". They help you estimate accurate ly, help you run your jobs and your shop effi ciently and help you keep the data so necessary for figuring current taxes. Furget-Not Estimate Korina These blanks encourage the making of accurate estimates. They provide the data needed in filling out forms such as the Check List-Contract. One side of sheet for exterior work, other side for interior. Size of sheet, x 14 inches. Price, 50 cents per pad of 100 sheets. Cheek Llt-Contra<*t Rlanka These blanks tell the customer Just what will be done for the price quoted. They carry a form of contract that specifies both the price and the terms of payment. One side of sheet for exterior jobs, the other for interior. Put up in pads of 50 duplicate sets. Size of sheet, x 11 inches. Price, GO cents per pad. Weekly Time Reports For those who prefer to keep weekly, rather than daily, time records this form is suggested. Has space for social security tax deductions and signa ture. Size of sheet. 8% x 7 inches. Price, 35 cents per pad of 50 sheets. Employee's Wage Record Cards These cards are especially designed to simplify the gathering and recording of information needed In making out vari ous tax returns--income, unemploy ment, old age benefit, etc. Size of cards, 8x5 inches. Price, 2 cents each. Dally Time Card* Labor is the biggest element of cost on nearly all jobs and It is necessary to have some means of keeping track of what each man does each day. These cards serve the purpose. Size of card, 3% x 7% inches. Price, 40 cents per 100. Job Record Envelopes Keep complete records of every job on (and in) these envelopes. Estimate details, materials, labor, overhead and profit are noted on the envelope; papers concerning the job are filed inside. Size of envelope, 4% x lO1^ inches. Price, 60 cents per 100. Hinder for Job Envelopes Sturdy two-ring binder to hold 100 Job Record Envelopes. Price, 85 cents. Send your order, with remittance--check, money order or postage stamps--to: NATIONAL LEAD COMPANY Room 1815, 111 Broadway, New York City KEEPING AHEAD OF THE TIMES HE future of Dutch Boy white-lead is as full Tof promise as its past has heen rich in per formance. That's because the Dutch Boy research staff never lets well' enough alone. You have hut to try today's Dutch Boy to prove that it is better than ever. Yet Dutch Boy laboratories and fac tories are still seeking, and finding, ways to im prove on those qualities that have made Dutch Boy the painter's preferred paint. 0000-NLI-000019853 DUTCH BOY To DEALER To PAINTER Quality and Quantity are Assured ]\if ORE and more, as its advantages are real ized, dealers and painters are turning to Dutch Boy "sealed can" linseed oil--the oil that is aged and mellowed for six months before it leaves the factory. DEALERS like to handle packaged Dutch Boy oil because: 1. It saves space. 2. It cuts down waste. 3. It saves selling time. 4. It invites good display. 5. It eliminates a constant fire hazard. 6. It does away with filling orphan containers that may or may not be clean and that may or may not hold the assumed gallonage. PAINTERS like to purchase packaged Dutch Boy oil because: 1. It is pure oil. 2. It is so easy to handle. 3. It assures accurate weight and measure. 4. It eliminates the need for saving old cans. 5. It proves to customers that well-known materials are being used. 6. It is easily identified--no need to go about the shop sniffing nameless containers. Next time you need linseed oil, make it aged and mellowed Dutch Boy linseed oil--raw or boiled--in 5-gallon or 1-gallon sealed cans. DUTCH BOY PAINT Volume 33 1940 Published bi-monthly by National Lead Company, N. Y., in the interest ot better painting. Mailed witho NEW DUTCH BUY LINS NOW IN PRODUC HE new linseed oil plant in into TBrooklyn of National Lead the Company's Atlantic Branch has besehnow completed. Since early August, clear, ing pure oil, from the finest flaxseed, has rigid been coming out of the filters and at c pouring into the storage tanks. fina Before the erection job was started, lowi the management gave instructions to T the construction people to design and prov set up a plant that would embody the seed very latest ideas in linseed oil process the ing. They were asked to install refer equipment that would make possible Gold the production of oil that would be our even better than that turned out for F so many years by the old factory, de light stroyed by fire. How well their task tie u has been done we leave first to the buck findings of technicians, then to the seed tests of the laboratory staff, and each finally to the results noticed by the The painters of the country. a bu On the following pages we have poun tried to show, by means of a flow was chart and by actual photographs, pre of a cisely how choice flaxseed is changed one- 0000-NLI-000019854 | sh A Ke \TcuTtHf S" Pit-. F/ow (hart on this page shows route of flaxseed from the East River boat to the belt convey ors that lead to the oil presses. more than nineteen pounds or two and a half gallons. From the "yard" we make our way to the screen room on the fourth floor of the main building. Here we see the flaxseed, that comes from the silos via bucket and screw conveyors, drop from hoppers on to shaker screens. These screens, powerfully agitated, shake the seed free from impurities such as small weeds, splinters, pods, bits of string, etc., that have been mixed in with the seed during harvesting, hand ling and transport from the fields to the plant. This sift ing and shaking allows the flaxseed to drop through to hoppers and conveyors to continue through the process. However, the impurities above mentioned do not pass the screen. They fall off the low end and into receptacles, MEAL COOKE A BELT CONVIVOB Left: Handful of cleaned flaxseed as it looks before enter ing crusher. Right: Same seed as it looks in the form of meal as it enters cooker. to be hauled away and finally burned. The cleaned flaxseed is now con veyed to the 20,(XX) bushel storage bin on the top floor of the building. F rom here the flaxseed "flows" through out lets and into conveyors that lead to steel roller mills. In these mills the sleek, brown seeds lose their stream lined shape. The five steel rolls in the mills crush the seed into meal--a form in which oil extraction is made easier. The flaxseed meal travels now to the cookers--two stories tall and seven feet in diameter. In these huge cook ers, the meal is heated to 200 F., the while a bit of steam is introduced to further soften the ground flaxseed for the squeeze that is soon to come. Having looked down into the heav ing mass of warm meal in the cookers from the balcony, we go down to the main floor--the big room in which the meal becomes linseed oil. At the base of each cooker we see a workman standing behind a device that at first glance looks like a steam pants-presser in a tailor shop. This is the cakeformer. A box of warm meal shuttles se I l Co flow pag raw pres terr mo 0000-NLI-000019855 Diiltli Boi| Painter. out from the bottom of the cooker and dumps its load onto a mat placed on the cake-former table. The box slides back to the cooker, the work man folds the loose ends of the mat over the deposited meal, then pulls a lever. The heavy lid of the cakeformer comes down, on top of the mat-covered mass of meal and a cake is formed. The workman releases the lid, shoves the cake onto the ad jacent conveyor belt and is ready to repeat his operations. The conveyor carries the cake along to another workman who is loading an oil press. A battery, or row, of twelve presses is ranged alongside each of the conveyor belts. Each oil press consists of a series of twenty-two shelves on each of which a meal cake is placed. The press man lifts the cake off the conveyor, slips it into a shelf of the press and repeats this procedure until the press is loaded. Then pressure is turned on and the big squeeze begins. The press in action works much like a piston in a cylinder. A pressure of 900,000 pounds is exerted on the piston at the base of the press, slowly forcing the shelves upward. The movement is progressive--the lowest shelf inches upward, then the next s ec r es t "s ig n s iip" 102 HE photo at the left shows how Tthe Secrest Wall Paper & Paint Store of Geneseo, Illinois, advertises Dutch Boy. This sign was painted for Verne Secrest, owner of the business, by George Pobanz of Geneseo. The Secrest store has been in opera tion since March of this year and busi ness is reported to be good. Mr. Secrest writes us that Dutch Boy white-lead has been an important factor in attract ing a good share of the local painters' business and that Dutch Boy sales have far exceeded expectations. In his letter to us, Mr. Secrest adds, significantly, "a painter in another city used our Dutch Boy white-lead on the home of a salesman for another paint company". &___________________________ ______ and. so on until the whole group is compressed into a vertical space onethird as deep as when in the "free" position. As the first cakes feel the squeeze, the meal begins to give up its oil. It drips, slowly at first, off the edges and falls into troughs at the base of the press. When the full pressure of the powerful hydraulic ram is exerted, oil--pure and golden, literally rains off the press, drops into the troughs and runs into tanks from which it goes to horizontal filter presses. After this filtering, the linseed oil is pumped into storage tanks, each with a 30,000 gallon capacity, for aging. W has cakes shelve separ ment draw the p loadi As rock when are s to th edges is sto GOOD PAINT HAT the trade is sold on Dutch TBoy quality is evidenced by the number of dealers and painters who not only use Dutch Boy on their own houses but also give it their advertising support. The advertisement repro duced here is a case in point. This en dorsement of Dutch Boy white lead recently appeared m the Taylor Coun ty St a r -Ne w s , published at Medford, bu F P Y Wisconsin. When asked for permis sion to reproduce the ad, Mr. A. C. Emmons, manager of the Emmons Oil and Paint Company, told us to use the ing clipping in any way we saw fit. Well, we think it fitting and proper to use this space to thank our Medford friends for spreading the gospel of good paint. 1. Flaxseed storage tanks holding 100,000 bushels. 2. Shaker screen for cleaning incoming flaxseed. 3. Storage bin for 20,000 bushels of cleaned seed. 4. Steel mills for grinding cleaned seed into meal. 5. Cookers in which meal is moistened and heated. 6. Forming cakes of flaxseed meal at base of cooker. 7. Loading oil press with mat-covered meal cakes. 8. Filtering oil from presses before aging period. q . Indoor, constant-temperature storage and aging tanks in which oil mellows for six months be fore final processing, filtering and packaging. (Center) General view of linseed oil press room. 0 0 0 0 -N L I-0 0 0 0 1 9 8 5 7 Duteli Boi| Painter. or ground into meal, to farming and dairy districts where it is highly val ued as a protein-rich feed for cattle, hogs, horses, sheep and poultry. N#v, to get back to the oil. We last saw it pouring into the 30,000gallon storage tanks after the filtering process. If we had the time, we could wait, a mere matter of 180 days, beside the storage tanks to watch the oil we have been following take the next step. However, we are im patient to move on so we decide to see what happens to oil that was put into these tanks long before we ar rived. Following the aging-mellow ing period, the linseed oil is again filtered and finally, if to be sold as raw oil, pumped into the tanks from which the familiar black and orange Dutch Hoy cans are filled. Oil des tined to be marketed as boiled linseed oil, goes from the aging tanks to another building in which it is given the necessary treatment before being pumped into the filling tanks. In this same building is located the equipment that produces special types of linseed oil for many purposes and several industries: Oil for printing and lithographic inks, oil for linoleum and oil cloth, oil for leathers, oil for disinfectants, oil for drugs, and so on. In all, twenty-seven standard types are in regular production and many other kinds are made on special order. It is interesting to note that, with the exception of boiled linseed oil (in the making of which driers are incor porated), nothing is added to the pure linseed oil to adapt it to its varied uses. It is simply a question of pro cessing by means of heat, for heattreated oils, or by means of cold, for refrigerated oils. Our inspection trip is over. We have seen how white lead's partner- in-paint is produced the Dutch Boy way. From seed to meal to cake to oil--from river boat to filling tank-- we have gained a lasting impression not merely of modern equipment and efficient layout but also of the experi ence, skill and patience that is as much a part of every drop of Dutch Boy oil as the original flaxseed itself. 106 SavUr5 Westin AN important mercantile event of -/l-the year in Reno, Nevada, was the opening of the new store of H. E. Saviers and Sons, Inc. Merely mov ing into larger quarters marks a longto-be-remembered milestone in the lifetime of any business. But to take over so large and modern a structure as that into which the Saviers' busi ness moved marks a most significant milestone. It is a tribute to the abili ties of the management and staff. It means whole-hearted endorsement by the public of the firm's policies. It indicates complete faith in the future. The president of the company, Mr. H. E. Saviers, set up in Reno in 1907 as a painting contractor and also ope pass and atte the tinu son Six ness elec the the whe vada app E has pain i'-ii : : (. , 3Ti "Dutck Bf (actual^ a ffi'l) *rtet*4 if;/m. t#w# #w a matter of fact, Saviers is generally credited with carrying the largest paint and painters' supply stock in the Pacific Coast territory. And, as might be expected, the Dutch Boy line is prominently displayed. Mr. Saviers' personal acquaintance with Dutch Boy materials goes back to his early contracting days, so it is only natural that he carry the line for his present extensive painting contrac tor trade. In this connection, we are told that a highlight of the two-day new store-opening ceremony was pro vided by "a very sweet little girl who", according to paint store manager A. L. Crocker and Dutch Boy repre sentative Frank Ross, "dressed as a Dutch Boy, circulated through the store, giving lollypops to the children". Since paint has always been one of M r. Saviers' favorite subjects, both as a decorating material and as stock in trade, it was to be expected that he would take especial pride in the paint ing of the interior of the new building. 108 -T , . Aton Mia ml**r*n */ wtw <tw neat, wll-ttachd. Below; peili^f (MW#.!,' " % *tptr ,vxtll dttamiof i tttmt tf// tihlte* .SwCim* kttnulillAdlmi^Mg ;. r 1 ,ips in' *JZ] *rS'' \. ,5r * til W f: w -. j- ' > Th by bi in st bu in Ar of fo an br sc blo ing cre the lin in lin the wi dra the 0 0 0 0 -N L I-0 0 0 0 19858 0 0 0 0 -N L I-0 0 0 0 1 9 8 5 9 Dutell Boi| Painter. design is, of course, stencilled. Six shades of orange are used. In the wide drape sections the deepest orange is at the bottom and the shades get progressively lighter toward the ceil ing line. In the narrow drape sec tions this shade sequence is reversed, the deepest orange being at the ceiling line. A continuous silver band around the room at the side wall-ceiling joint, effectively diverts attention from any possible irregularity in the cove or any departure from true parallel in the edges of the ceiling and the side wall border lines. The principal side wall color, down to the chair rail, is a few shades deeper than the cream used in the centers of the ceiling panels. The wall below the chair rail is a still darker cream. Adjoining the upper edge of the chair rail a one-inch wide stripe of very deep cream has been placed to do away with any sugges tion of smudges which might . be expected to appear on light colored paint when the chair rail is dusted. The color scheme, as a whole, em ployed in the interior of the building, demonstrates once again the versatility of Dutch Boy white-lead, oils and colors in the hands of a competent painter who closely follows the ideas of practical yet imaginative designers. wsaf... A '' "`"I ' --Plan to Go T O the ordinary bystander, stip pling paint on a plaster looks like a job that could be anyone. As, in truth, it canM doi\ pat --after a fashion. But, as w/ti per other phases of the painti/g wlik there is more to a good stipftliiqyjoD teri than meets the casual eye. and Stippling is employed clue( E produce an even, uniformly! fact surface by obliterating brusfi afte and irregularities in the paint tain In so doing, a slight texture* t parted to the paint film that ni e flat paint appear flatter and a* egg plac shell gloss paint appear fairly flat. on Since paint that is to be stipph cl need not be brushed on to the wa I with 1 ave the extreme care that a straigh brush., re finish requires, stippling does uot a much to the cost of a job. A> is wel iccu recognized, it takes very skillfi 1 brusl req work to spread flat paint on a wall s< lor smoothly and evenly that the pb wil dry with no suggestion of brusnqTR^i ive or laps or shiners. The paint must prftt be just right, the brush nearly perfect, fairl the wall surface smooth and well ing sealed and the lighting conditions ex pain cellent. In addition, the job takes Boy time to do right. Where stippling is Dea called for, on the other hand, nearly lbs. perfect conditions are not essential. of o 0 0 0 0 -N L I-0 0 0 0 1 9 8 6 0 Give the brush a quarter twist of the wrist between taps. This prevents the formation of a square pattern that results when the Hiim and working quality to produce good clean-textured stippling. A good brush is a prime necessity for a satisfactory stippling job. Al though there are several styles of stippling brushes, the one most often used for working large areas on plaster walls has the appearance of a squarecornered, long-bristled scrubbing brush. The back (handle) of the brush is a block of wood from 2)4 to 3)4 inches wide, 6 to 8 inches long and about an inch thick. The bristles are stiff and are 2)4 to 3)4 inches long. While we are on the subject of brushes, it may be well to put in a few words about their care before dis cussing their actual use. As anyone l 12 who has had occasion to buy them is well aware, good stippling brushes cost real money. An ordinary wall brush can be thrown out or used on rough work after its best days are over but a good wall stippler must last a long time to pay for itself and even when partly worn, it is of little value for any other type of work. Stippling brushes of the usual woodback, rectangular type can readily be cleaned out with turpentine or ben zine, followed with soap and warm water, care being taken to see that the handle stays out of the water. A good lather should be developed and worked well into the bristles to get out every bit of paint. Then the bristles should be rinsed well, the brush shaken out vigorously and al lowed to dry thoroughly. When not in use the brush must not be left standing on the bristle ends or lying on its side. Hang it, so that the bristles ride free of all contact, or let it rest on its back. The object of this extra care is to prevent the bristles from being bent or curled for so long a time that the distortion becomes per manent. When this happens, the brush loses much of its value as a stip pling tool. Keep the bristles straight --at right angles to the back--at all times when the brush is not working. Although there may be consider able latitude in the time allowed be tween the brushing on of the paint and the beginning of the stippling op eration, it will be found that the best This is the way a stippling job looks when, fa) the wet paint is stippled too soon after application or (b) when the paint is mixed too thin, or (c) when it is spread too thin Thi The the clea stippling can be done when the paint is just about to set up. That is to say, the paint is ready to stipple when the brush marks have stopped their tendency to How out. Naturally, a fast-drying paint must be stippled within a few minutes after applica tion while a slow-drying paint can wait much longer. The white-lead and flatting oil or Lead Mixing Oil paint described above is a "medium setter". It permits good stippling even on a one-man job if too much area is not taken in with the brushwork before the stippler is used. As a rule, on a solo job, a wall area six bv twelve feet can be coated in before sta side of spre plin and S rap pain eve 0 0 0 0 -N L I-0 0 0 0 1 9 8 6 1 Dutch Boi| Painter- is used, the bristles are apt to spread out and either blur the work or leave odd impressions in the film. It is a good plan to turn the brush slightly between taps; otherwise it may leave a square pattern that is objectionable. Avoid stippling clear to the edge of a stretch. Work to within a couple of inches of the margin of the stretch, and after the next stretch is coated in, the lap may be stippled to form an invisible joint. If the stippling were carried right up to the edge of the v-?~ WHen the brittle* hit the wall in the mannt < shown below, the stippled effect will i ifoiled due to ilippnge which remits in bit# t ' form this operation. The brush must be firmly held and must meet the wall surface squarely, the bristles being at right angles to the wall when contact is made. The pressure of the brush must be uniform at both ends and sides. The tap must be sharp and the brush withdrawn quickly and cleanly. If it slips ever so slightly, no well-defined texture will be produced. The beginner usually pounds too hard until he discovers that force isn't at all necessary. If too much force 1 14 stretch, that edge' would receive a double coat of paint when the joint is made and this would show up with a different texture, thus emphasizing the joints when the job is finished. Two men rarely produce stippling jobs that look exactly alike. One may strike harder than the other or hold his brush differently. Similarly, the same man may produce one type of stipple when he begins work in the morning and a different type at the end of the day, when he is tired. How frequently a stippling brush should be cleaned during a job de pends on the type of paint being used and how closely the stippler follows up the applier of the paint. The stip pling brush should not be allowed to accumulate a lot of paint. An over loaded brush will be less effective and will teri It i the pain the bris tice ava inte A pen of a that the used lowe and ing the 0 0 0 0 -N L I-0 0 0 0 19862 National Lead Company's staff of practical paint men will help you solve your painting problems without charge. Address your letter to National Lead Co., Room 18/5, ill Broadway, New York, N. Y. Please state your problem fully and be sure to place your name and address on your letter. Our reply will reach you promptly by mail. The problems discussed below have been selected because they appear to be of general interest. Space limitations permit the printing of only a few of the problems handled. Cause of Paint Blistering Question: The paint on a porch deck is blistering and peeling badly. The paint has been on for several years and since tire house is old, there apparently are many coats of paint involved. IVhat causes the blistering at this late date? Answer: As you doubtless know, blistering and peeling can almost al ways be attributed to moisture behind the paint film. This moisture need not necessarily be true water vapor. In many cases of failing deck or porch floor paint we have investigated, it was found that the painting had years ago been done with paints too rich in oil. This old trapped oil eventually decomposes and produces a vapor or gas that tries to get out. Blisters then form and peeling starts soon after. In all cases of this sort, it is ad visable to remove all the old paint down to the bare wood and start the painting cycle all over again. The removal can be done with a slowdrying paint remover or with a torch and scraper. When the deck is 116 cleaned of paint, prime and proceed with the painting as on new work. Repainting Stained Shingle Band above Siding Question: I have a house to paint, the upper story of which is shingled and the lower story clapboarded. The shingles had been dtp-stained dark red ten years ago and have faded slightly. The color appears to have run down on to the white paint on the siding below. The paint on the siding has chalked slightly. Are there any special precautions to take before re painting and restaining f Answer: The shingles may orig inally have been treated with a creo sote stain carrying an excess of red pigment or stained with a linseed oil stain having not only an excess of red pigment but also one that contained an aniline dye. In either case, it will be advisable to start the job by vigor ously brushing the shingles with a coarse, stiff brush to remove as much loose pigment as possible. Then apply one or two coats of stain consisting of two parts Dutch Boy boiled linseed oil and one part Dutch Boy flatting oil. To this oil mixture, add Dutch Boy Indian red at the rate of one pint of color to each gallon of the liquid. This will produce a dark red that may approach the original color of the shingles. The lower story siding should also be cleaned off thoroughly with a stiff brush. If the discolored areas remain untouched by the brushing, coat them over with rosin-free shellac, 2 lb. cut. Follow with two coats of Dutch Boy white-lead and linseed oil paint mixed according to our standard formulas. Painting Cement Pool Question: One of my customers has a cement pool in his garden. He wants it painted a light green tint. The last time the pool was painted the green color faded out in a short time. IVhat paint should 1 use and how should it be tinted so it won't fade f Answer: To say that any particular color won't fade under any and all conditions would be to make a very broad statement indeed. In the case of your cement garden pool, perhaps the best material to use will be a paint composed of equal volumes of Dutch Boy soft paste white-lead and Dutch Boy Lead Mixing Oil, tinted with Dutch Boy chromium oxide green. Assuming that the paint now on the cement is in good shape except for its faded condition apply a first coat of the white-lead and Lead Mixing Oil paint after the pool has been emptied and tho pai is gre chr lam Pr Q face bee don hav the A fram tain cals and drie the tion in cle pai all wit is d face com wh Q If s A oth pro 0000-1VU-000019863 Dutch Boi| Painter_______________ ---------------------------------- been treated with materials that would cause trouble. Your local paint store undoubtedly handles a commercial bleach that would do the work satisfactorily. If you want to make your own bleach use a hot, saturated oxalic acid solution. Add ox alic acid crystals to boiling water until no more can be dissolved. Carefully apply this hot solution to the woodwork and allow it to dry. Another effective bleach is ordinary hypo solution used by commercial photographers. Filling Joints of Plaster Wallboard Question: Haw can I fill the joints in walls lined with plaster wallboardf Answer: After the wallboards have been nailed in place with about an eighth inch space between boards, the entire surface should be primed with Dutch Boy wall primer. Force the paint well into the joints and allow the job to dry. To calk the joints, stiffen paste white-lead with dry whit ing to very stiff putty consistency so that the mass is almost crumbly when worked between the fingers. Then mix varnish and japan drier, in equal parts, with the batch to reduce it to normal putty consistency. Knife this putty into the wallboard joints and into all nailholes. The mixture dries quickly and will stay put. "Lath-Shadow" on Painted Plaster Question: Dark lines that look like lath tnaiks have appeared on the walls and ceil ing of an interior job l painted a few years ago. I am going to repaint this room soon 1X8 and I would like to know if there is any way of preventing the reappearance of these dark, parallel stripes. Answer: Apparently the only way to prevent "lath-shadow" is to insulate the outer walls and ceilings of the rooms in which this trouble occurs. At any rate these marks do not appear in well-insulated dwellings. An investi gation into this "lath-shadow" phe nomenon some years ago indicated that it is due simply to accumulations of dust, the theory being that those por tions of the plaster wall that are direct ly backed up by wooden lath or beams do not change in temperature as rapidly or readily as the more porous portions between the lath. Slight air currents that are present under these conditions are responsible for depositing more dust on some parts of the wall or ceiling sur face than on others. After a year or two, the outlines of the lath show up rather clearly on the walls and ceilings. This explanation seems plausible be cause lath marks do not appear on par tition walls nor on lower-story ceilings. And, as noted, they do not show up on well-insulated walls because the air currents responsible for dust accumula tion are not present. Where insulating the house merely to prevent "lath-shadow" is out of the question, our only suggestion is that you paint the walls and ceilings with Dutch Boy white-lead and Lead Mix ing Oil paint, tinted to suit. This paint can be washed or cleaned as frequently as may be necessary without harm. OST of you M you put staging or They're starte store, or pick materials. Tha right foot. Th that "well beg lime to say DUTCH DUTCH DUTCH DUTCH To end right, your custome you finish the left on the su Get oft on the DUTCH 'r I ^ PORTRAIT OFA PROMISE > li-Uw .................................................... __ ' ' s,. , f :P^wr^''r '"Tootber#,the pypihol * tiniply the sign of. .: H/sW:'^ :'f:* ; ' ' '- 'i*j :i f But i its deeper meaning and in the tru- i^ ieiuet the Butch Boy Painter trademark Is more -thana picture, more than the mark of ti|e maker* It m a guarantee of qual V`fl ity, a pledge of value, a promise of honest performance, ; f ** 0 0 0 0 -N L I-0 0 0 0 19864