Document O1EeODmgz9pDEYzNNEB3RNovX

A B C's OF PAINTING vV A. Allow plenty of lime lor drying between coats B. Brush paint out to a uniform thickness ol paint lilm. C. Clean all surfaces properly before applying paint. D. Don't pay for large amounts of "sand"and "water" in paint. C. Establish a systematic painting program. F. Follow painting directions carefully. G. Gather information on paints and painting from authentic sources. H. Hire skilled painters to do the larger, more difficult paint jobs. I. Investigate the formula on the can of paint before buying. ]. fudge paints by their durability. K. Keep paints lightly covered when not in use. L. Let the whole family help with the painting program. M. Mix paints thoroughly and make some of your own paint ing equipment. N. Never put a used brush away without first cleaning it thoroughly. O. Open paint cans carefully to avoid waste and so covers can be replaced lightly. P. Provide the necessary equipment and high quality ma terials to do the job properly. Q. Question doubtful paint formulas. R. Repair before painting. S. Save money by intelligent selection of paint. Cheap paints may be expensive. T. Take time to do each paint job well. U. Underlay finish coats with well-anchored foundation priming coats. V. Visit your neighbor and observe his paint successes and failures. W. Wait lor satisfactory painting weather. X. ) , y I The X Y Z of successful painting depends largely on the 2 I paint selected and skill of the person who applies it. co PAIN l AIIM U ANIt IM SELECTION AN PAINTS SUITA AND INTE v. W.' a ! HOSS, S Agriculturut Kducntioti Federal PON t.'UIT Agricultural Service Divi Prepared and Published by L liou with the l). S. Office o sure sirn of a proKresiTt farmer--well painted buildings in attractive and well-kept surroundings. > ? Vj FOREW The importance of milking the roundings more attractive and us sized. Unpainted or poorly pain from the appearance of any farms In rural areas one finds evidenc assistance in connection with sa grams. The need for systematic application of paints suitable for faces is also apparent. Where tim to such matters by those concerne stead ami the farm home is not on of the farm is enhanced. In addit maintain neat nnd pleasant surro contented and progressive. Just ns the skills of farm bln tuught with the use of the raw ma --so may the fundamentals of fa youth in vocational agriculture an ing them how to make home-mixed and how to judge factory-prepare flax crop and gum turpentine from south are both products of the fa fore, thnt students become famili farm buildings. This publication is designed to agriculture nnd farm people in matter. It is organized in a usab with painting furm buildings and nnd considerable hitherto unpub cluded. Farmers, teachers, nnd h welcome such a publication since m derived from its pages. . Grateful acknowledgment is ma of Education for the splendid coo which made this publication poss V r guidance i 11 tornis of the entire undertaking. ,r 7;: Special thanks are due to I)r. F. L. Browne, Senior Chemist, U. S. Forest Products Laboratory. Madison, Wis., who offered many helpful suggestions and provided illustrations showing paint failures. Valuable assistance was secured from experienced painters and decorators located in various parts of the country; from specialists in the U. S. Bureau of Standards; from representa tives of the lumber manufacturers' associations; from govern ment publications; and from supervisors and teuchers of vocational agriculture. I VI PAINTING FARM BUILDI Selection anil Application of Po interior S INTIIOIH A knowledge of painting proce siderable value to the average pe painting or have it done. This is rural areas, where expert painters fortunately, there are inferior pa very unsatisfactory results. The cost per gallon hut will not stand u average weather conditions. Fla often take place within a few mo paints may also contain reinforcin and scale to such an extent that the than protect the materials they are the idd paint must be removed in manent repaint jnh. Paints of various kinds have be tion and protection for centurie painting is n story involving ma nnd new materials. White lead, used single white pigment for ex light colors nre desired, wns kno Latin writers ns Pliny told of its u years ngo, history tells us that th probably contained certain pigme Farlh pigments, such as the umbe of iron have been in use since thos also used by the ancients. Other c during the Middle Ages, nnd the through the centuries. 1 Figure 1.--An unsatisfactory paint job is costly and detracts from the ap pearance of the entire farmstead. Many improvements have been made in paints in the past quarter century. The leading puint manufacturers, ns well as certain governmental agencies, have well-equipped laboratories where men experiment constantly with vnrious materials and develop reliable information from which color pigments have been made clearer and more resistant to light. This is particularly true of the blues, chrome greens, and chrome yellow. An out standing blue pigment known as phthalocyanogen blue, is a re cent addition. This is a light-fast organic pigment and is not affected by heat, alkali, and acids. It is used in high-grade paints, enamels, and printing inks. The newer types of titanium pig ments have remarkable opacity and whiteness. White lead in combination with zinc oxide and titanium pigments is used in many of the extra white factory-prepared paints of today. Linseed oil, known and used for centuries, is still the most satisfactory and widely used vehicle for exterior paint. In recent years, small proportions of china wood oil have been used in con junction with linseed oil in house paint primers, trim and trellis paints, porch and deck paints. Factory-prepared flat wall paints for interior use usually in clude lithopone or titanium pigments in treated oil or varnish vehicles. Enamels for interior woodwork consist mainly of litho pone or titanium pigments in synthetic resin varnish vehicles. There is, of course, a great variation in quality in these synthetic enamels. When factory-prepared paints are desired, the con Ki|>urc 2.--Porch floors deteriorate w sumers' best guide is always to pur reputable manufacturer, and to tell purchase is made the specific use intended. Ilefore buying exterior paint it is a find out about its composition. A plainly labelled with the formula of some of the transparent pigments u are sometimes misleading. Extende the paint in a can, but have little hid durability of the paint film. A list o 1. Calcium carbonate (also known verized limestone.) 2. Silica (also called silicious mult :i. Calcium siilfnte. 4. barium sulfate (Harytes.) 5. Magnesium silicate (talc, china The most important ingredients u high quality exterior white and tinte linseed oil or white lead, zinc, oxide, linseed oil. Gum turpentine is used a grade paints and varnishes. In studying or analyzing the form portant to note the proportion of pi formula for exterior while or tinled p 4 I'AiNTINC KAIIM BUII.OJNCS AND EylllTMlINT less than 65% pigment to 55% liquid, by weight*. Among the unidentiAed vehicles or liquids in the formulas of low-grade paints are: 1. Fish oil. 2. Oriental oil. 3. "Paint Oil." 4. "Boiled oil" (other than linseed.) 5. Vegetable oils. 6. Volatile thinner. 7. Water. Low grade exterior paints sometimes contuin as much as 35% water, designated by such terms as "emulsiAed solution," "collo idal solution," "solution," "aqueous body agent," or occasionally as just plain water. Durable exterior paints should not contain more moisture than the trace of water which is present in certain of the dry pigments used. * Ftdtul Specifications for Ul and tine ffP* and titanium, lead, tine type pnnii Fed. Sptc. , TTP Ua Claas I and TTP JOta Type A call lor lormulaa with a minimum of M% pigment and 32% liquid. FAINTING VAUM llUll.mNGS A PAINTING LXTKBIOUS OF PltOVIDINf; LyiJIl'IMliNT FOlt I.ADD For ex up to 18 ladder, on foot ladd the surfac ing Unde inconven able loss ous. For ing up to two foot substitute Fvcry ad a buildin in ladder point. To make ladders safe and to keep forms or hard surfaces, it is advisab the lower ends of the side rails. Window brackets or window seats teriors of window frames and sash. full use of both hands, provides a pla painting is less tiring than from a la Where the use will facili ing or pa or ridge sential to satisfacto Figure 15.--Student comparing the service of paint Jobs on an annual coBt basis. others interested for the purpose of comparing the durabilily of various paints. To judge the selling prices of paint, the average cost of the pigments and oils used in its manufacture may be used as a basis. (See page 31.). The cost of packaging, manufacturing, selling and shipping remains somewhat the same with all paints. So if the amount of each ingredient and percentage of it in relation to the other ingredients is stated on the label and comparative costs of the raw materials are known, the value of the pnint in the container can be judged fairly. (See Formula Survey blank page 29.) 5. Bulbing Value of Pigments. In comparing pigments there is another very important factor. Each pigment has a "bulking" value when mixed with the paint liquids. Just as starch or flour Alls up a measure or bulks more per pound than sand or rock, paint pigments have similar bulk ing characteristics. This is the main reason why such substitutes and fillers as calcium carbonate (limestone), silica (sand), mugnesium silicate, and other inexpensive raw materials are in troduced in paint formulation, replacing the more durable and valuable heavy metallic pigments such as white lead and zinc oxide. This should reduce the cost to the buyer when temporary paints are desired. To judge the bulking values of the pigments, see page 30. 6. Kind of llepainl Surface. Regardless of the kind of exterior p exposure to the sun, rain, air and oth The important question to be cons face will be left to repaint. Shall it from four to 10 years' exposure? C by postponing repainting if financia repainting? Will the paint film fail toring, or peeling? Will the owner cracked and scaling paint before rep JUDGING FORM Certain paint pigments are known others arc known us "inert" pigme most generally used in the manufact lead, zinc oxide, red lend and blue lend mixed with linseed oil a chemical re which the pnrliclcs of pigment "bloom tion with the oil. White lead and linse film whereas zinc oxide nnd linseed o film. These characteristics of the act do with the durability of exterior pai The "inert" pigments consist of silic stone), magnesium silicate, barytes, c and similar pigments all of which huv linseed oil and do not react with it. T in the pigments when mixed with lin their designation as "inerts." IMI/Vi i/Vi; e-'/iriAr a n ii i m i:n t Exterior white uml tinted paints containing nunc Uinn 10 per cent of extenders such ns calcium carbonate, silica, kaolin, aluminum silicate, magnesium silicate, barium sulfate (barytes), and lilhopone are not usually graded as lirst quality exterior paints. If large amounts of these cheaper extender pigments are indicated on the formula label, the selling price should he cor respondingly lower in proportion than when the paint is made of the higher priced basic lead and zinc pigments. Less dura bility in cheaply formulated paints is also to be expected. The quality and durability of exterior white and tinted paints can be judged somewhat by the weight per gallon and the costs of the pigments used in formulating the paints. (See pages 2G and 27 for weights.) The more durable house paints usually contain not less than 65 per cent pigments and not more than 36% liquid by weight. This is the basis used by the Government and painting contractors in specifying formuhas for paints described on pages 2G and 27. Recommendations found in Consumers Guide Vol. 6, No. 17, of the Agricultural Adjustment Administration Division of the United Slates Department of Agriculture describes Type "I#" (lead) paint as designated by the United Stales Forest Products Laboratory, as follows: "Type `L' Paint: The pigment consists entirely of white lead except for the additions of colored pigments to make the tinted paints. This paint, if used exclu sively, remains the best choice for house owners who wish to allow very long intervals, longer than the dura bility of any other white or tinted paint, to elapse be tween paint jobs. When worn out, a coaling consisting wholly of white lead, on woods that hold paint well, will still go through a long period of neglect during which it looks shabby but not unkempt. After such neglect, a while lend surface can easily be repainted without undue expense. Paint of type `1/ is recommended also for houses in which moisture at times collects behind the painted woodwork. The coating will blister as readily as other paints, but if the coaling consists entirely of white lead paint, the blisters usually disappear when the wood dries out without leading to a subsequent peeling and scaling." (See TT-P-156, page 2G.) The single pigment while lead paint is available in ready-touse form by the gallon as well as in soft paste form. If a factoryprepared multiple pigment paint is to be used, careful investiga tion of the formula should be made and the pigments and nils o ' . r *0 V Q ". ^1 0 <. 0 ' . ' .. f * T ` a y. * t A ^ O, o. q . .* . o ] i 0*.* * ,*`v s *, r '* .* '-.fC II) Tlio final stag*, allowing result of tho physical and chemical reaction of load pigmcnia (a It a tekilt feathery apots) and linieed oil (dark field of picture) magnified f,000 lime*. rigiirr 17.--Tin* iiarlkle ue of while leai fini i< if i 11 n||irm<*h n **70 r-4l/V7'|/Vli KAIIAI IIIIII.IIINCN AMI Kt^l'il'M KN'I' i'/i it should come within the limitations of Federal Specifications TT-IM5G, TT-P-36a, Class 1 and TT-P-lOla. Type A, if the most durability is desired. "TT-P-15G for pure white lead paint is as follows: Pig me n t White Lead Tinting Pigments No t Mo k e Th a n No t I.e s s Th a n The liquid shall contain not less than 87% of linseed oil, the balance to be drier and thinner. The weight per gallon ahull not be less than 19yZ pounds." "TT-P-36a, Class 1, Federal Specification for lead und zinc base outside paint is as follows: Pic me n t Ma x imu m Pe r Ce n t White Lend Zinc Oxide Tinting colors and white siliceous mineral pigments containing no lead or tine com pounds Matter soluble in water -- 20 10 0.8 Min imu m Pe r Ce n t 70 16 -- In factory-prepared paint the liquid shall contain not less than 87 per cent linseed oil, the balance to be combined drier and thinner. The thinner shall be turpentine, volatile mineral spirits, or any mixture thereof. The weight per gallon shall be not less than 17yi pounds." TT-P-lOla, Type A, Federal Specification for outside titaniumzinc-lead factory-prepared paints is as follows: Pic me n t Ma x imu m Pe r Ce n t Titanium Dioxide (TiO.) Zinc Oxide White Lead Extenders (white silicate pigments, barium sulfate or mixture thereof! Matter soluble in water -- 26.0 -- 10.0 -8 Min imu m Pe r Ce n t 7.0 68.0 The liquid shall contain not less than 85 per cent of linseed oil, the balance to be drier and thinner. The weight per gallon shall be not less than 17 pounds." CompoHUton of Vf (Itcady to Per cent rompiisitioiis, by weight a used on exterior wood. (See formulas Fo iiMUI.a M at k iiiai. White-lead ....... No. I Linseed Oil........ (First Coat, Repaint- Turpentine ..... ing) Drier ................... Per cent pigment in non-volatile port No. 2 White-lead ....... I Finish Cont, Itc- Linseed Oil ..... painting and New Turpentine ..... Wood) Drier .................. Per cent pigment in non-volatile port White-lead ...... No. 6 Linseed Oil .... (Priming Coat, New Turpentine ....... Wood) Drier .................. Ter cent pigment in non-volulile por MAKING A SIJItVUY O The purpose of making a surv munity is to help determine th liquids that have been ground tog how to judge the comparative As about 80% of all exterior sumer is white or tinted paint, used as the standard for comparis following procedure: (1) Provide a supply of surve (2) Notice on the paper form the can, the formula showing the word "formula" means the reci manufacturer when he mixed to Sometimes formula labels are glu cans. Formula labels are require in others hut all reliable paint m label on the can in plain view. It will lie found, usually, that headings. One will he "Pigments percentages of solid or mineral p heading will be "Liquid" or "V means, in the paint industry, t paint to hold the pigments togeth the pigments. Note the proportio total liquid stated on the label sheet.  .4 V i tit:, 20 fAtN`Mma*44S fAttUt ANI U^IMCMICN'I' (3) Observe (hat some formulas may have the ingreriicnls listed "By Weight" and some "By Volume," so copy down the figures showing the percentage of the pigments and liipiids, placing these figures in the proper column, "By Volume" or "By Weight." In all cases the column of figures will add up to lOO'/o, which is the total at the bottom of the columns on the survey blanks. If there are pigments or liquids named other than those on the survey sheet, fill these extra names in on the blank lines at the lower part of the list of pigments or liquids. (4) At the lower section of the survey sheet is a space for remarks or footnotes. Copy off the footnotes from the label. (5) In order to complete the proper study of formula labels, carefully read the sections in this bulletin relating to Selccling Paints, Comparison of pigment costs and "Bulking Value of Pig ments." (See pages 30 and 31.) After the survey sheets have been filled in from formula labels on the different kinds of paint being compared, check the proportions and values of pigments and oils in relation to the facts found in the literature studied. Near the top of the survey sheet fill in how the paint salesman regards the paint being surveyed as to grade and quality. Then at the bottom of the sheet write in the opinion of the person mak ing the survey. Figure 18.--Cross section (greatly magnified) of while lead paint film on wood after being exposed to the weather 5 years. Pari of the surface coals hare gradually chalked away,' leaving the original priming coat anchored to the wood and providing an even surface for repainting. I'AINT Name of Manufacturer....................................... 11 lit 11<I Nnnie of I'ii i itl........................................... Tlio I'iiiiit Store sells it ns llieir (Check) First quality...................Second quality............. Is there 11 formulit Inliel on the can?............ W Pigments Pe iic e n t a g e or liV Wt . Ur Voi.. Liqu Cnrhonutc of lend /.inc Oxide I.ended Zinc Basic Sulfnlc of White l.rntl Titanium Dioxide Titanium Mag nesium Silicate Zinc Sulfide Magnesium Silic ate (Asbestine) linrium Sulfate (llurytes) l.itho|ionc Calcium Carlion- nte Silicates Aluminum Silicute Titanium Pig ment I.ins Gum Tun Soy Pro Min I tr Thi Wa Iteid Veg Tur Vol ner TOTAI, 100% 100% Percentage Pigments of Total........... Ily Weig Percentage Liquid of Total................ By Wei I think the quality of this pain (Check which) Why .......................................................................... Student Mnking Survey 30 /Mi/vii/vr; t'AH/Kt aunt.tuna* ANII I'VIJli'M ICMf FACTS AUOUT FAINT PIGAIIiNTS THAT Kllotll.D llli TAKICN INTO ACCOUNT WIIHN COMPARING FORMULAS The following tables show comparisons with bar graphs how one pound of each pigment fills up the can or "bulks." For ex ample, when a pound of calcium carbonate, magnesium silicate, or silica is in a paint formula, these pigments IlufT up in the gallon about 2l/2 times what heavy pigments like white lead will bulk. The bulking property of pigments creates the temptation for un reliable paint manufacturers to make paint with cheap high bulking pigments of low opacity and durability. As paint is bought to cover up or decorate a surface it is a waste of money to apply paint containing excessive amounts of such fillers and extenders. Pa in t Pig me n t s Basic Carbonate White Lead. Basic Sulfate White Lead.... Zinc Oxide .................................. Titanium Dioxide .................... Lithopone .................................... Zinc sulfide ................................ Magnesium Silicate ................ Calcium Carbonate .................. Barium Sulfule ........................ Silica ............................................. Iron Oxide Bu l k in g Va i.u e Wo t . Hid in g Av . Co s t or o n e Po u n d i>e r Ga l . Ab ii.it v rr.R. Lb . .0176 66.73 Good 0.76 .0187 63.40 Good .006 .0212 .1)306 47.16 32.82 Good Very Good .072 .146 .0279 36.82 Gooil .042 .0300 33.32 Good .082 .0421 23.74 Poor .01 .0443 22.67 Poor .01 .0270 37.07 None .0)2 .0453 22.07 None .01 .0233 42.90 Very Good 0.68 Since pigments vary in their ability to "bulk" or fill up the "paint gallon" and there is a wide range in their cost, the unit of 1 quart in volume has been selected for the purpose of comparing the relative cost of pigments listed in the table on the following page. COMPARISON OF PAINT P Dr y Pig me n t While Lead (Basic Carbonate)......... White Lead (Busic Sulfate)................ Red Lead ................................................... Leaded Zinc Oxide (G6% Zinc Oxide (.'15% I .end Sulfate Zinc Oxide ................................................. Lithopone (30% Zinc Sulfide)........... (70% Barium Sulfate).... Titanium Barium Pigment (Titanox (30% Titanium Dioxide).................. (70% Barium Sulfate)...................... Titanium Cnlcium Pigment (Titanox (30% Titanium Dioxide)................. (70% Calcium Sulfate)...................... Titanium Magnesium Pigment (Tituuox M) (30% Titanium Dioxide)................. (70% Magnesium Silicate)............. Titanium Dioxide (Titanox A)......... I.cud Titanate (Titanox I.)................. Zinc Sulfide .............................................. Cnlcium Sulfate (Gypsum)................. Magnesium Silicutc (sometimes list as asbestine on luhels)...................... Barytes (Barium Sulfate)................. Aluminum Silicate (China Clay)...... Whiling Commercial (Chalk) (Calcium Carbonate) ...................... Calcium Carbonate (Limestone)...... Silica (Sand) .......................................... Iron Oxide (Ferric Oxide).................. Siliceous matter (including any or a magnesium silicate, china cla silica, eelite, mica) approxima average cost .......................................... jtttsit 4'/**** \-*4*4*n% tn ftttft l /** !*<! ( |iilliit. 77ie prices usetl nre representative of the respective mnterinl costs i/i nornm/ times. Adjustments to meet llie current prices prevailing for such materials will he necessary to arrive at the total cost per gallon of paint. How To Fig u r e Co s t s o f Ex t e r io r p a in t rofa/jnmnfofmj/er/j/Zapmfiasv fffrjppfymga/k0M///q!v//r/jffS. 72?a j mY SOAfre^ st/rfoes /,ae*7f/sarjvrfc mfr/e/nx/reytArerf /Os. iga6j YSaZ/mrs Pot/ei/ ///ue&fo// fo/Zarsa/ /erpen/ix nyu/retf rot*/ 4flP/PA#rrj/i` {Rt/Amiff/ mfprfiYAn pjf/rS cf/umfs/tify rest//////# Zajpp/i/ /2SOO SOO (A6V /2& S 33& f2.Z6 sooo 2200 (6%! Z3& 2J6 /or*3700 /SO ts/ 3* /&. 2.Z6 1SOO-' /OO 7/900 \3*) (2&) 2& /* / 6% & 2J6 2.Z6 /2S0 SO f/%) /* 3%, 2J6 62S 2JS (Mil Va & m 2.16 Figure 20. ** Ksample:--If enough paint to cover 2,400 square feet is iceded, purchase 100-lb. pail of white lead, 2'/, gallons of linseed ; >il and 1 gallon of gum turpentine, ns shown in the above table to . over 2,500 square feet of surface on a two coat repainting job. : Basic Cost Soft Paste White Lead--3'/i gallons (100 lbs.)........... $12.00 Pure Linseed Oil--2'/i gallons (ti) 80 cents.................... 2.00 Pure C5um Turpentine--1 gallon (a) 60 cents........................ 60 .! To t a i, Co s t .................... $14.60 $14.60 divided by 6)4 gallons, the total volume of the paint ady to apply, makes a cost of $2.16 per gallon. :J.:V ^ V.; w V>i l,ry %*ut water hat aotkd 1*1 pni tiled tie fore this excess water has evaporul may result. Oil previously painted surfaces, a careful s the building should be made to determine w been fuiling on account of water getting buc sure to look under eaves, beneath porches n places for paint failures. Any peeling, scaling should be scraped or sandpapered so all loose (See pages II, 12 and 19.) Check any causes of condensation of moistu building and ventilate walls to stop water fro paint causing peeling. I'ltLI'AltINC, MIX INC ANI TINTINC LX Mix Pain W par it r p o u r o t f ~Z>/l srut\ PAlNlfPOf BOTTOM WITH PAOOtt I be mix ing som set IP tom pe pai dea POUR Oil SLOWLY BACK POUMAIKITOATH A 3. WHHC STIRRING SIVCAAl TIMCS 4. war lim T Figure 21.--Thoroughly mix factory-pre pared paint before applying it. pou liqu maining liquid anti paste until it is uniform an L&i v $ "IK  *- l11 * l 4I 30 /Ml/V'l i/V<; t'AitM iiuiLi>f/v<;s a n u i^v i ii i'mu n t (See Figure HI.) Then add (lie balance of (lie liquid .slowly mid stir until all the ingredients are evenly dissolved. Strain the paint through a piece of fly screen as it is poured into the paint bucket for brushing. Follow the manufacturer's thinning direc tions found on the can label if the puint is to be used as a prim ing coat. Manufactured paints also come in heavy paste form which requires thinning and thorough mixing before using. Mixing llanic Paint Materials on the Job. When paste white lead is to be thinned into paint it is more economical to purchase it in 60 or 100 pound kegs. Measure out what is needed for the immediate paint work and cover the re maining paste lead with a small amount of raw linseed oil or water; replace the lid tightly. The paste does not deteriorate and can be used for various kinds of interior and exterior painting as the need develops. Of course, the water used to protect the soft paste lead during storage should be removed before thinning down into paint. To complete the preparation of while lead paint dip or pour the quantity of paste lead to be used into a clean mixing tub or can and thoroughly stir in the linseed oil and gum turpentine as specified in the formulas shown on pages 164 and 156 according to the surfaces being painted. (See Figure 22.) Tinting. Attractive individual colors and tints arc easily mnde by add ing one or more tinting pigments to white lead paint. The quantity required depends on the depth of color desired and the tinting power of the color in oil used. If heavy paste colors-in-oil are used, thin the paste with gum turpentine before stirring color into the white paint. To pre vent streaking always tint and strain the white paint after it has been made ready for application so that the color pigments are more easily and thoroughly dispersed throughout the paint. It is always advisable, when following a color formula, to add small quantities of color at a time and mix thoroughly. Other wise a deeper tint than desired may be obtained, leaving no alternative but to add more white paint to reduce the color strength. In tinting paints, it is best to keep a wet sample or small amount of the tinted paint in a tightly sealed fruit jar or small can in order easily to duplicate the lint if a later batch is desired. now TO THIN OOWN VA TO MAKE llOMK-M |fc| `Add about on* third of iht oil nd nir until the mJoturo btcoout thin ptut. Then add balanca of mil. ( Tlgnri 22.-- Sups in mixi 3U i'AINTINt: l AUrtl JMItl.JtlMCS AND ICgllll'MICNT 'I'intinK 1 *riminK foul. Even when the finish coal is to lie while, the adding of a little raw umber to the priming coat shows up any "skips'' and helps in the hiding as well as providing a more uniform thickness of the finish coat. Use about two level leaspoonfuls of raw umber in oil to each gallon or one tube (J4 pint) to five gallons , for tinting the priming coal. Tinting Formulas for llome-Mixcd lSxterior Paints. The following are formulas for producing the most popular tints. Only full strength high quality cnlors-in-oil should be used. The quantities of colors-in-oil indicated will tint 100 pounds of paste white lead and should be adjusted accordingly if a smaller or greulcr amount of white lead is to be tinted. (See page GO, for measure reducing table.) If paste white lead has already been thinned down ready to apply, use approximately one-seventh of the amount specified below of each color to tint each gallon of ready-to-use white paint. FOIt ICXTEBIOB BODY COl.OltS (Per 100 lbs. of Soft Paste White l.ead) Ivory 1'IC pint medium chrome yellow Cream V pint raw sienna Lemon Yellow Vi pint lemon chrome yellow Colonial Yellow Vi pint medium chrome yellow Light Buff 1 pint raw sienna Light Tan Vi pint burnt turkey umber ItuNsel Brown 3'/i quarts burnt turkey umber I Vi quarts Venetian red Leather Brown IVa gallons burnt turkey umber 1 quart Indian red Light Cray Vm pint lampblack Medium Cray Vi pint lampblack Warm Cray I pint ruw turkey umber Olive Drab I quart burnt turkey umber I pint light chrome green Light Green I quart of medium chrome green Foliage Green I gallon chromium oxide green Light Blue Vi pint C. P. Prussian blue 1 pint burnt turkey umber Shutter Blue 3 quarts cobalt blue I quart raw turkey umber TltlM COl.OltS The following formulas produce dark-colored paints which are often required for the painting of trim, sash, blinds, and the like. These paints contain no while lead. They are prepared by reduc ing colors in oil to painting consistency according to the formulas specified. These paints are for use as finishing coals only. The regular procedure for exterior painting should be followed in the case of undercoats. A satisfactory ground for these dark colored paints shade of the finishing color. For quirk set. and good Ihoro suggested that about three mince into each gallon of finishing coa arge should be used within two If boiled linseed oil or litharge i of drier specified. I Italia Yield: V, gal. English Vi gal. Indian r 2Vi qls. raw lins I qt. outside s Vi pt. liquid dri Bright Yield: 1 gal. C. I*. (I l1/, gals, raw lin 2 qiiurls outsid 1 pint liquid d Medium Yield 3 I gal. C. P. ch 1 Vi gnl. raw lins 2'/t qts. outside I pint liquid d Itnrk Yield: I gnl. C. P. ch 1 Vi gals, ruw lin 2 qts. outside I pint liquid d Cresce Yield: I gal. C. P. b 1 pint Indian 3 qts. raw lins 1 qt. outside s V> pint liquid d Chromium Yield: I gal. C. P. ch 2'/i qls. ruw lins I qt. outside s Vi pint liquid d Prussi Yield: I gal. Prussia 2Vi qls. ruw lins I qt. outside Vi pint liquid d '< H It is i/uite common practice to dip aliiii^lcs hcforc they are applied to a building. Of course, (his refers only lo the priming coat. Shingles can be dipped after delivery to the job by using a vat or tub and placing them in a trougli after dipping so (lie excess stain or paint drains back into the tub. (See Figure 111.) Spraying. Spray painting is economical from the standpoint of Inbor, es pecially in the application of paint on concrete, stucco, brick, wood shingles, or rough lumber such as fences, barns and out buildings where there are few windows. The type of equipment used and skill in handling the spray gun are important. To se cure a more uniform thickness of the paint Aim, two men arc often used, one to operate the spray and one to smooth the paint with a brush. The following points should be observed to insure efficiency with spraying equipment: 1. The equipment should he carefully selected and purchased from a reputable manufacturer. 2. It should be carefully adjusted and operated. 3. The gun and paint hose should be thoroughly cleaned after using, before any paint has had time to dry in the parts. The correct air pressure required and the consistency of the paint should determine the type of equipment to be used. Gen erally speaking, an air pressure of 45 to 56 pounds will prove satisfactory. The gun should be adjusted to spray the paint as specified without extra thinning, as the addition of thinners in excess of that stated in the formulas will not produce the full thickness in the paint film. In spraying, the gun should be handled in slow, sweeping strokes, approximately eight to ten inches from the work. Too close spraying results in sags and runs. The work will be facili tated if the areas difficult to reach are sprayed first, and the broad surfaces last. The spray gun parts should be cleaned at the end of each working day and whenever the material to be sprayed is changed. This cleaning can be done by spraying the correct solvent, us ually painter's naphtha, through the gun and finally blowing the parts clean with compressed air. Then the nozzle should be re moved and cleaned. This operation should always be done before Figure 21.--Spray pninliug ses labor when wall Nurtures where there are few the paint material used in the gun has ha ever, if the gun is to be used again in a sprny nozzle and set it in a can of so ready for use. All paint should be slruined through ing before using it in spray equipment Currecl Amount per Square Foot. Whether brushing, dipping or spray thing to keep in mind is to apply the co square foot. When using home-mixed or faclory film of the finished job should be of the formulas which are based on certain ar (See formulas pages 147, 164 and 15 film is too thin and will not wear as lo To determine how thickly any paint ure out one quart and apply it to a mea of paint does not reach, it has been ap paint is left over, it has been spread this adjust the brushing, dipping, or s When lo Paint. Outside painting should be done du Figure 25.) Avoid painting during p The surface should be dry and the tem 60*F. Paint will brush on easier when 52 IMI/Vriw; FA JIM fll/fl.l>JNl,S AN|> l|J'M I N I' PAINTING INTEItlOUS OF III JILDINLS I'HOVIDING EQUIPMENT FOB INTEIIIOIt FAINTING No elaborate set of equipment for interior pninting Is neces sary, but to produce a good decorating or painting job with the least work a few items are essential. To paint ceilings and sidewalls two stepludders with an ad justable trestle or plank that will rest on the steps and reach between the ladders should be provided. Benches or sawhorses, if of proper height, and a solid plank of the fight length can usually be used if stepladders and trestles are not available. Annld tarpaulin makes a good drop cloth to cover the floors or furniture. If no cloth is hundy, use several layers of news papers so no wash water or paint gels to the floors. A putty knife, broad scruping knife, wood scraper, sandpaper, steel wool, washing compound, rags, bucket for wash ing mixture, paint buck ets, paddles, paint re mover and paint brushes make up the average list of items that should he provided if painting is to be done on both walls and woodwork of a room. INSPECTING INTEHIOK SUIIFACES TO IIE FAINTED After deciding on a plan for repainting and decorating, one should take a notebook and make a survey of each room in the house. Begin in the attic and the upstairs rooms. This is Hie OAlNTtNC. HUM lllllt .lltNU and dirt into the rooms while the work is begun on the upper lloor keeping the dust out until the pa surveying the attic, note what sho tion through the ceilings of the causes deposits of dust on ceilings of the lath. This can usually he paper or insulation between the c are nailed. The insulation will als in winter and make the upper ro nical laboratories have found tlin the ceilings. Look for roof leaks anil have water will slain the ceilings or w been redecorated. If a roof leak or calcimine paints have been us peatedly "burn through" repain and spoil the appearance of the su oil paint but may cause it to peel s before painting. It is important to note whut the walls and woodwork before r to see if sanding of the woodw smooth surface for the new pain or two coals of paint will be suffi cord, putty or window glass need scraping window sills? The time before repainting. What should be done about the under the windows or worn spots ing or scraping off the old paint o Have the cracks between the llo crack filler should be I used to ma and walls need repairing, should n be concealed in the walls and floo Should the old wall-paper be r ings? Are there plaster cracks plaster on ceilings broken loose fro ceilings or walls so badly in need o ing with new wet plaster will delay shellacking or wall sizing be nece in the surfuce of the new paint j faces be covered with plywood to  j'f I'a d v iiiv i; i-'a h u i i ii /k .imn i.s a n d i ^i i ii'mk n i Shall repairing of leaking radiators, or defective plumbing, he made to stop water from staining the ceiling? Possibly a joint around the chimney needs caulking or new Hashing is required where the chimney joins the roof. Gutters or valley tin may also need repairing. These are things that should he investigated when making an inspection tour of the second floor rooms. On the way down to the main floor, the condition of balusters and hand rail on the stairs should he noted. Is the varnish or paint work worn off the stair treads? Shall the color of the balusters and hand rail be changed to conform with a change in decoration of the lower entrance hall or living room where the stairs land? Such a survey should continue through all the rooms of the first floor--notes being made concerning each room. A page set aside in the notebook for writing up the-preparatory work to be done, as well as the colors and quantity of the paints to be used will help in planning the painting program. If this method is followed, even though all the rooms are not repainted and decorated at one time, there will be a well-planned, harmonizing treatment brought about in each of the rooms as the work progresses. Such a decorating plan may require a year or two before it is completed. Just as the construction of a well-designed home results when an experienced architect is consulted, so the whole fumily can help plan und curry out the redecorating job with great pride and satisfaction. SELECTING INTERIOR PAINT llow lo Select. Selecting interior paints for quality and durability is more difficult than selecting exterior paints. Some interior paints such as flat wall paints, enamels, and calcimines are patented products with secret formulas and no label appears on the pack age or can to indicate the pigments and liquids that have been used in their manufacture. Factory-prepared paints are avail able in white and in many lints and shades, in original contain ers. These carry a label on the can giving complete directions for thinning each coat either for new surfaces or repainting work. ft is important that the manufacturer's directions he carefully followed. The price per gallon cannot always be taken as a guide lo quality or durability. Some puints, though made of low prndo niVmenfs wifh oils and other vehicles of doubtful .'***> I'AIN IINIl V'AUM'UUlt.V Light Reflect 1(1% 211% 30% 40% 1III.ACK LIGh hHoTw n IAl'I'LE g r een HI 1C N Cl 1 lll.l'E LIGHT 1 CHAV SILVER 1 i E--LI COItAI. IISEA II | |CltEAM || LICIIT || I'ASTEI, | CHEEN OYSTER ||' 1 11 LIGHT | | | | | 1 1 1 1SUNLIGHT | |IVORY | |LIGHT | | | | WHITE |1|| Figure 31.-- Eight reflectivity uf color interior rx> mi.mim; k a i. durability are sold at a high price. They may fail on walls or woodwork that must he washed. It is important that all in terior paints he selected to withstand repeated washing if paint maintenance cost is to be kept at a minimum. Skilled painters estimate that nbout two-thirds of the cost of a paint job is the labor necessary to prepare the surface and apply the paint. Washable paints, therefore, save time and labor as it is much easier to wash walls, ceilings, und woodwork than it is to repaint them. With exterior paints, the weather exposure to sunshine, rain, and air, gradually wears down the paint lilm by a graduul chalking process. On interior surfaces there is no such weather wear but if too many coals of unwnshable paints are piled up in an effort to mnintuin clean walls there is every possibility that the weight of the paint will cause it to lose its adhesion and leave the surface resulting in a rough patchy appearance even when repainted. The best pructice is to use wushable paints that can be cleaned without unduly af fecting the paint film. Therefore, in selecting interior paints, for economy as well as for good appearance, one should choose a paint that has demonstrated its ability to withstand the use it will probably get in the different rooms. Typrs of Interior Paints. Interior paints are divided into two main types--those that are for woodwork and those to be used on walls and ceilings. The interior wall surfaces of a home usually are constructed of plaster, wood or insulation board. Ench type of wall material requires a priming coat adjusted to the surface of the material painted. However, with washable paints the body and finish coats can be used on any of the surfaces after the proper prim ing coat has been applied. Some grades of enamel can be used on woodwork or plaster where high gloss is desired. If homemixed white lead paint or paint formulated and tinted on the job is to be used, the formula specified with the basic paste pig ments and oils can be adjusted to suit either the wall surfaces or woodwork, and to give a gloss, flat, or stipple finish. Cold Water Paints. Casein and calcimine paints are widely used for painting bed rooms, offices, and ceilingB where high light reflectivity without gloss is desired. They dry rapidly, as soon us the water has evaporated; this is usually within one to two hours. They have a fair spreading rate and good hiding power and are usually lower in price per trallnn than nil paints. Their use is limited co / 09 ill that they are not "scrulibahle" not he used on walls exposed to hu such as kitchens and bathrooms. moved if oil paints or enamels a otherwise they may cause scaling Casein paint should not be used on such as in basements, cellars, milk rooms because tbe casein mildews like old cheese. The adhesion of s properties of the casein or skimm it is manufactured. Calcimine is a mixture of glue, usually consisting of whiling (c similar inert pigments and should where a temporary finish may be and must be removed if oil paints casein and calcimine are usually a brush. Directions for application as fo be followed. Flat and Srmi-(>loaa 1`ainla. High grade flat and semi-gloss and very satisfactory. Their form as the vehicle in combination wit quality pigments. Some interior f contain large percentages of lilho bonate. These dry with a lion-gl be washed successfully as repeate pigment, leaving a splotchy wall. rooms where tliiB type of paint ha paint rather thun to wash them. pigments nre used, their value pe one-third that of high grade exte mixed white lead paint. Interior ICnamela and (Ilona I'ainla. The use of enamels and high glos is primarily to obtain a finished hard usage and clean more easil Aside from these qualities such p sirable on interior surfaces. In f of reflected light from high gloss disagreeable surroundings in which like surfaces emphasize patched 5d 1`MNIINU t'AHM UUIIIUNOS AN/I Cgilll'MKNT Figure 35.--lllgli quality paint materials properly applied to interior wood work provide a washable and durable finish. walls. In school rooms, glossy surface walls are objectionable because of eye-strain resulting from the reflection of light in irregular and wavy sections of the walls. Flat and Semi-Gloss Home-Mixed Faints. High quality flat and semi-gloss paints provide a nou-glure, permanent finish that can be washed repeatedly with common soap and washing compounds and yet retains its original color and flat finish. If desired this type of paint can be prepared by mixing it on the job from the basic materials of white lead and oil generally used by painters or it can be purchased as a factory-prepared product. By adjusting the amount of oil, the paints can be used on any interior surface, including wood work, plaster or other types of wall material. Formulas recom mended and used "by interior decorators who prepare the paint on the job will be found on page 155. The lead mixing or re ducing oil is made especially for thinning paste white lead and provides a tough waterproof paint film when combined with the white lead. This seals the wall surface and helps prevent condensation of moisture in the walls. Home mixing of these paints has the advantage of reducing * * . iii 1 ft ................ , r i :r . CO I'AINTINtl t AHM may be used for painting the interiors wnll, milk house, or other surface wh white or tinted paint is desired. Tiiiln fur Varioun ItimmN. In selecting the color of paints fo woodwork, each room should he consid vary in their use and amount of lig ample, in the hasemcnl there may he as the fuel. Dost accumulates on th concrete, cement block, or brick wit thorough cleaning a problem. (Sec F To brighten up the basement, a w is the most practical since the usual a limited amount of light. If the wa ment are painted in light colors, the more satisfactory for the laundry wo and in some climates, for kitchen and ( hot summer mouths. Occasionally the store room is in where windows are lacking. In such reduced and the rooms rendered mo walls and ceilings with calcimine, o permanent paint jolt is planned, hom pared at a comparatively low cost a wulls or ceilings. A common hand p sometimes be used for applying white The effect of color in thti kitchen shows dirt very quickly so it is ust walls tinted. Under average condition are finished in light colors with a flat o children are in the home, the lower pa to three or four feet from the Hour, ca color. This will help to eliminate fing paint used should he of the most dur The lower wainscot section, or dado around the room might he decorated shape design in two or more shades o part of the wnlls and the ceiling, if p muke a pleasing combination. If the window space, or possibly one electric en, the room will appear lighter when is used for the ceiling und upper side the most durable and washable paint t, OtP #*4i/Vi7/V; >4HM JinJU>JNf;s ANII KVDirMKNl /it l/ie living, dinmjr room arid bedrooms the walls should huve tin La that harmonize with the furniture and rugs. Light tinted ceilings will reflect artificial illumination, ns well as sun shine and daylight, into the different parts of the rooms. (See Figure 34.) The colors of paint for the walla should he se lected according to the exposure of the windows. If windows face north, the warm colors, such as cream, yellow and coral, help to make such rooms more cheerful and overcome the lack of sunshine. If rooms have south, east, or west exposure, cool colors, such as blue, blue-green, and gray are desirable. Bathroom walls should be painted white or light tints, with flat or semi-flat paint that can be repeatedly washed without injury to the paint film. For a further study of color harmony see color wheel in Figure 40, page 23. ESTIMATING TIIE AMOUNTS OF INTEIUOIt PAINT NEEDED To determine the amount of paint required, it is necessary to find the area of the walls and ceilings. To do this, measure the distance around the room and multiply by the height of the wall. Deduct from this number of square feet of surface the area of windows and do'jra and you will have the net amount of squnre feet of sidewall surface. The ceiling surface can be calculated by multiplying the length of the room by its width. Add this to the surface of sidewalls. Tq determine the gallons of paint required, divide the totul square feet of surface by the number of square feet that one gallon of paint will cover. The covering rate of one coal of home-mixed paint is approximately 800 square feet per gallon over old paint or properly primed surfaces. If factory-prepared paint is to be used, follow the manufacturer's directions for es timating. I'MN l INt; FAIIM mitl.mNtiU HOW TO ITCIIUI, COST OK HOME l.l'.AI) I'A The table below gives the total am to purchase for a typical three-co including all the material specified plaster, second coat and flat finish c To Paint Square Feet Of Surface 3 Coats Pouails of I'uste White l/cad Required I'ounds 'Callous Cal l.cm i Re Oil 8000 4000 2000** 1000 600 400 200 100 60 26 < 13) (014) *(314) (1%) (%> The accompanying table is a p mixing directions. See page IBB fo the three coats included in this ma (a) This oil should be of a grad white lead manufacturers fo lead to provide washable fi There are 3)4 gallons by m of white lead. This volume the total gallons of paint pr the cost per gallon ready t prices are used as follows: $ lead mixing or reducing o pounds for soft paste white prices of raw materials acco prevailing in different local cost per gallon of the pain surfaces have been compu mately with the covering pnekages of white lead ns (26 lb., B0 lb., 100 lb.) ** Example. If enough paint 2000 squnre feet of surface 100 pound pail of while lea lead mixing or reducing oil table. Thin will total enoug 62 /'AINTINi; KAIIM IIIJII.DINCS A Nil ICIJI11 I'M KNT a typical three-coat decorative joli when mixed ac cording to the formulas for priming, second and third coat Hat finish on new plaster. Music Coat Soft Paste While Lead 100 lbs. (11/, gals.).. $12.00 (u) Lead Mixing or . Reducing Oil 4 gals, (to I.G0 Total $12.00 0.40 7>< gain. $18.40 $18.40 divided by 7'^ gallons, the total volume of paint ready to apply, makes an average cost of $2.63 per gallon. . I'KKPAItlNU suit PACKS Poll INTKItlOlt PAIINTINC Nrw Plaater Walls. Examine the plaster closely. Remove any lumps or high spots with a wide putty knife and sandpaper smooth. Notice whether there are any openings around door jambs, base-board, window sills, casingH, and picture mould. Patching plaster should be forced into noticeable crevices and cracks. KliminalinK "llul Spots'* from Wb IIh . Plaster walls that have aged for six months or more do not usually require any speciul treatment before puinting as expos ure to the air usually neutralizes whatever free lime the plaster originally contained. Plaster that hus not had this lime for aging should be treated with a solution of Zinc Sulphate or at least tested for hot spots (free lime) before painting. To test plaster surfaces not previously painted and to avoid "hot spots" developing, the following procedure should be employed: Dissolve about 6c worth of Phenolphthalein crys tals, available at a drug store, in about a spoonful of alcohol. Mix this in one-half cup of water. Apply the solution with a small swab or brush to spots in different sections of the wall or ceiling that is being tested. If places where the liquid has been applied turn to a deep pink or orchid, it indi cates that the plaster has "hot spots" and should be given special treatment to neutralize the exces sive lime. To neutralize hot spots, dissolve two pounds of zinc sulphate in a gallon of water. Apply this liquid freely over the entire I'AINTINU V MM mn lime dust that has come to th for priming with paint. Washing 1'lanlrr Walls. New paint will not udher tends to make uneven spots remove gloss remaining from does not remove the gloss it puinls will have belter adhe ltr|iairii>K Oacha in I'laHlrr WbII Ilefore painting plaster damaged plaster should be ulong the cracks so that pat securely retained. Force th knife and smooth it to mutc ing plaster strips on smooth and ullowed to dry before a When patching plaster is plastic designed surfaces of o sections must be patted with scrub brush, or sponge that wall surfuce surrounding it. For repairing cracks in p amount of thick paint from to he used for repuinling w stirring in the free oil that opened can of paint. In this until the mixture can be k repair material will be prac which is to be applied. uo /Mf/vii/vu j * a i iiUjj.iiiNcs n i> KyiHrMKN To produce commonly used tints add, to the gallons of readylo-use white paint indicated the measures of paste colors-in-oil shown below: To Produce Tints of For 1 Gal. For 2 Gal. For .1 Gal. For 6 Gul. Lionr Ye l l o w Med. Chrome Yellow 1*i Teas. 3 Vi Teas. Teas. 3 Tbls. Oy s t e r Wh it e Haw Turkey Umber 1 Teas. IK Teas 2% To d *. 4 Vi Teas. Po t t y Co i.o r Raw Turkey Umber 3 VI Teas. 2 Vi This 3 Vi Tbls. G Tbls Lic iit Iv o r y Itaw Italian Sienna 2* Teas. 5 Vi Teas. 2Vi Tbls. 4 Vi Tbls. Co r n s t a l k Ye l l o w Raw Italian Sienna ' Raw Turkey Umber Pe a c h C. P. Orange Chrome Yellow 3Vi Teas. 1 Teas. 2 Vi Tbls. IK Teas. 3 Vi Tbls. 2 Vi Teas. . 6 Tbls. 4Vi Tens. IK Teas 3 Vi Teas. 6K Teas. 3 Tbls. LlLAC Rose Lake 1% Teas. 3 Vi Teas. 6'/, Teas. 3 Tbls. Sh e l l Pin k English Venetian Red IX Teas. 3 Vi Teas. B'/i Teas. 3 Tbls. Tu r q u o is e C. P. Dark Chrome Green Hi Teas. 3 Vi Teas. 6Vi Teas. 3 Tbls. Lic iit Gr e e n C. P. Medium Chrome Green Pis t a c h io C. P. Light Chrome Green Mi Teas. 3 Vi Teas. Mi Teas. 3 Vi Teas. 6 Vi Teas. 6 Vi Teas. 3 Tbls. 3 Tbls. Sil v e r Gr a y Lampblack 1 Teas. IK Teas. 2 Vi Teas. 4 Vi Teas. Diii.i. Ro b e English Venetian Red Rurnt Turkey Umber Ar t ic h o k e Gr e e n C. P. Dark Chrome Green Row Turkey Umber Po w d e r IIl u e Lampblack Prussian (Hue Du l l Win e Indiun Red English Venetian Red lUniHstii Gr a y English Venetian Red Lumphlnrk 6 Teas. 3 Vi Teas. 3 Vi Teas. 6 Tbls. 3 Vi Teas. 1 Teas Vi pint :i'A Tbls. 2Vi Tbls. 4 Teas. 3 Vi Tbls. 2 Vi Tbls. 2'A Tbls. 12 Tbls. 2 Vi This. IK Teas. Vi pint 7 Tbls. 4 Vi This. 2 Vi Tbls. 6 Tbls. 3 Tbls. 3'A Tbls. Vi pint 3 Vi Tbls. 2 Vi Teas. K pint lOVi Tbls. 7 Tbls. 4 Tbls. 8 Vi Tbls. 6 Tbls. 6 Tbls. % pint 6 Tbls. 4 Vi Teas. 1 Vi pint Vi pint 11 Vi Tbls. 6 Vi Tbls. If stipple finishes are being tinted increase the amount of color-in-oil slinhllv / c< ro" m r- 1`Alrsl'INi; KAllM HUII.III COMPARISON OF KITCHEN I Pinteipials .................. !4 Pintei|unls ................. Vi Pintequula .................. Vi Pinti'i|iiuls .................. 1/16 Pint equals ............. Ounces 10 B 4 2 1 AITI.YINC INT Painting A Itoom. Prepare to paint the room furniture us possible. Place dr remaining furniture, or cover w Set stepladders or auwhorse ceiling surfaces can he easily re ing across the short wuy of the laps is avoided because each quickly and the next one starte to set. When painting a room 1. Prime or first coat: a. Woodwork h. (Veiling c. Wall 2. Apply finish coals to a. Ceilings b. Walls c. Woodwork In painting ceilings and wall s the windows or other source of better lighted view of the sect avoid leaving missed spots or oth job. On ceilings the paint should he semi-circular movement ending nlrcady painted. On sidewalls work interfere with free brushi overcome with light vertical stro the tip of the bristles to touch th page 12d.) The proper type of brush is an the best for the purpose are lo inches in width. The woodwork should he pai coals so that woodwork paint that may have been left along th c#rr 'i I i Atnntsa i iim HUii.ntNui i n i# s') . i r .ii .-.u ! ' ' i I i i I I Figure S3.--This dairy barn ia repainted every S year* aa part of a regular painting program. Such a practice ia followed by many aucccaaful farmers. Figure 54.--Testing a painted aurface to determine the rate of chalking. Gradual chalking ia the normal wearing away of a paint film and ex cessive chalking indicatea poor paint. I'AII INC KMIM llll. Jol> I.--KslalilUiiing mill Mu ANA Step* |0|iiiiioni) i I. Provide permanent paint record muleriulH. Secure scho seve Inclu reco ture Secure to b 2. Inspect buildings. Starlin tion prop Study the f Walk n tions failu or w page umic Exam hind build tliut Make each Determ shou late I.ist pu work mois died 3. Secure history of previous piiint jobs. If a p kept, able I mint luild pain If prop the p paint 4. Investigate formulas of If facto new paints to be ap a sur plied. able Copy fo Inn m may page Com par of (li l>ri i'. rw Steps (Oprnltonll I low li I'riloim I 5i joifai tJ A|>|x<ii>J or Prrn<rt 6. Select mill purchase paints. 0. I'ainl buildings. 7. Record pniiiliiig informa lion for future use. 8. Repaint regularly. Compare the price asked for each grade of paint surveyed. If home-mixed paint is 16 he made wj||i paste white lead, linseed oil and gum turpentine, these formulas are always the same since they have been standardized by government agencies and painting contractors. Com paring prices to be paid for the ruw ma terials is all that it necessary. Note location of trees and shrubbery so the color of paint to be selected will contrast and At into the landscaping. Discuss with other members of the family the colors to be selected for the body of the building and the trim colors. If the building is to be painted white, decide whether a durable paint thul will with stand possible postponed repainting is to be used or, an extra-while paint which re- 3ulres repainting more often is the kind eaired. If the paint job is sizcublc, a saving can be made by purchasing paint materials in large quantities and large size containers. Decide which building should be painted Aral according to need for nrotection or paint. failurea that are developing. Apply the paint. In the paint record book, list month and year that painting is done and about what year each building should be repainted. Record the exact formulas, grade, and brand of paint used, weuther conditions during the painting process and the appruxiinute drying time allowed between coats. Record the cost of the paint used, the num ber of man hours required to apply it and what preparation of the old surface was necessary. Carry out the painting program which lias now been established, using standard ap proved painting practices. INTERPRETIVE SCIENCE AND RELATED INFORMATION Why investigate the history of previous paintingaT Many paint failures are caused by piling up widely different formula tions of paints. (See pages 18 and 10). If the present surface to be painted is in good condition for repainting and no paint failures have shown up in the known history of the old ap plications the same formula of paint should be used sgain. This, however, may be difficult as there have been many manipulations of paint formulas to meet competition in paint selling during recent yeurs, and the paint made according to the original formula may not be available. Why kee|i a permanent cumulative rec This should he done so that future on specified fonnulns that will he les patibility of the paint films. If the past history shows thul whi example, there is no need of a formu one pigment anil the formulas would b painting was done, weather conditio Items should lie made so that In case their cause can he traced back to e proper formulation of the paints use Why inspect buildings once a year? Tliis should be done to discover p in order Hint the cause nmy be reme dition Hull might require complete re Why Investigate formulas? This is Ihc best way to buy piiin formula riitlicr than by brand name. las in ccrluin factory-prepared pain pigments and oils. Some changes i tried out in certuln sections of the co Usually these paints have not been being placed on the market. What kind of exterior paint is heat -- For painting farm buildings the has been proven the most durable o wholly made of white lead, it has bee content the greater the durability w This applies to both white anil tinted Why repaint regularly? Good white paint when exposed t average conditions wears down appr Aim of somewhat uniform thickness done. 'The best thickness of a paint A Two coals of new paint applied a Alin to the proper thickness and prote The period between paintings shoul building, exposure to sunlight, climati and quality of point used. r^i/vriftc; * mm ,n i k v o u 'm^n i 5rpi |Op I l~ 40 |*.f.*(... (Sttmlird A||xovtJ or Au|Miil I'liiiurtl If home-prepared red lead painl is to be used. mix it aa follows: To make 1 quart, ' alowly atir 6 pounds (approximately 4 cups) of dry red lead in I cup of raw linseed oil. bet this paste stand over night. Thin to brushing consistency with 1 cup raw linseed oil, ft cup gum turpentime, 1/3 cup drier. (See ii>(< 168.) If blue lead metal primer Is to be mixed on the Job, use 3 c u d s of dry blue lead instead of 4 cupa and tnin as indicated with red lead. If factory-prepared metal primer is to be uaed, aelect one which ahows in the for mula label a high percent of red lead, pre ferably 100% red lead as the pigment portion. For the finish coats on metal work, prepare the same kind of paint that Is being used for other parts of the building auch aa ex terior walls or trim. The metal priming paints provide the proper foundation for the succeeding coats of house paints. Mix the paints thoroughly according to the formulae selected. Strain through a piece of wire screen to eliminate lumps. 4. Apply paint. . . llrush on the paint thoroughly and of even thickness ao that the priming coat will pro tect every crevice in the metal against rust creeping back under the paint Aim. Apply two coats of metal primer on all sections that have been rusting. After metal priming paint is dry, apply fin ishing coats of house paint by the same method as when painting exterior wood work, allowing ample time between coats for drying. Keep lias tight on paint cans when not in use. Some metal priming paints dry rapidly or set hard in cans if exposed to the air too long at a time and are thus wasted as they cannot be re-thinned for painting. INTERPRETIVE SCIENCE AND RELATED INFORMATION What la galvanised metal? Galvanized metal is coated evenly with a thin layer of zinc, usually by dipping sheet iron in molten zinc. As long as the coating of zinc re mains uniform it will gradually corrode away and the iron is protected for a long time from rusting. If breaks occur in the coating of zinc, however, rust begins to attack the iron below at these spots. Galvanized iron does not hold exterior house paint very well because the zinc corrodes under common house paint, forming salts of zinc that are soluble in water, and thereby takes the zinc out from under the paint, leaving the paint with nothing to stick to. Good primers for gslvanized iron contain basic pigments that neutralize acids ami thereby stop the corrosion of the zinc. Red lead, blue lead, or zinc dust-zinc oxide primer. (80% metallic zinc, 20% zinc oxide) is very suitable for priming galvan ized iron. House paints may then he applied over such a primer and if of high <|uality will not scale or peel off from the metnl priming under coal. Whal docs acid do lo galvanized m Trcuting galvanized metal with the surface and roughens it ao tliu anchorage. Also, if there is any o manufacturing process, this oil wil In this way the paint will hold bet Why Id the acid dry over nigh!7 Allowing the acid to dry or cut i gives it lime enough to react on the will hold better. Why brush off the accumulated pow Ilrushing off the powder is to uv to be applied later, as well aa to metal and make the brushing eusie Whal dors weathering do lo galvan unnecessary T During the few months' exposure water, ami sunshine destroy any po ized Iron. Weather exposure starts after about G months' time this c effect secured in a few hours by tr la paint needed on other metals? If sheet lead or alloys of lead a valleys, anil flashing, they last inde paint except to decorate them to ha ('upper needs no paint us for ns however, water-soluble compounds f which, during rains, results in a puinted surfaces and discolors the Copper staining usually Is found This staining can be prevented if th varnish about every two years. Copper discoloration washes off w a permanent stain effect. Ilow do red lead, blue lead, or other Red lead is an oxide of metallic large pots to a cherry red color of m Its surface. This forma a gray or lead oxide known as litharge. (I'b small amount of lend is melted in n lie performed In a high acliool Inho I.ithurge (I'ltO), when reburned, another lead oxide with the chemical form when mixed with linseed oil "b reaction (see illustration page 26) mixed with linseed oil. Painting new steel or iron wo started coals the surfnee with an ox which seems lo amalgamate itself lo gen of the air getting to the iron a y--4 y/v u n i . y y 'I yyayyy.yyyyvyyM y i iLtyliil'ylKNl' l`rmctically mil alvei work usual in cuiisli ucting Imlliling*. oil sloiagu tanks, bridges, battle6bi|>s, and other such structures are kept well painted with red lead as the priming couts over which paints of other colors may be applied for decoration. A few weeks after red lead paint is applied its bright orange color gradually changes to a yellowish gray. Close inspection will show that a white powder has formed on the surface of the red lead paint. The oxygen and other gases in the air have turned some of the lead oxide Pb.O, to basic lead carbonate [(while lead) (2PbCO,.Pb(OI().] which is a white paint pigment and appears gray over the red lead paint. This conversion of red lead to white lead does not affect the durability of the paint. Metallic lead la almost indestructible and its oxides change their color and atomic composition which all seem to be useful in protecting the oxi dation of other metals. Some of these phenomena, although difticult to explain scientifically, may have something to do with the fact that up to the present time no paint treatment for prevention of rusting of iron has been found that appears to excel the use of lead oxides when cost and durability are the main factors and they can easily be prepared at home for painting metal by the simple addition of linseed oil and gum turpentine. Blue lead is another lead pigment that has practically the same rust inhibitive properties as red lead. Such metal primers as described can be used on iron or steel machinery after old rust has been thoroughly wire brushed off. What are moat factory-prepared metal primers made off Factory-prepared metal primers usually contain red lead, blue lead, or other similar pigments along with varnish or linseed oil. Ilow do good metal primers provide foundation fur houae paint f Good metal primers provide a suitable foundation for house puint be cause the lead oxide pigments and oils dry hard and hold to the metal without alllgatoring or peeling as common house paints are liable to do when applied directly to metal. Why thin down paste and alrain metal priming painlaf All paste paint must be thinned down to brush and spread it to a uniform film thickness on the metal surfaces. It should be strained to remove any "skins'* or lumps of paste in order thut thick and thin spots do not result when brushing. Why apply uniformly? If paint films are not applied with uniform thickness, the thin spots will wear through too soon and the whole building will require repainting more often than otherwise. Too much paint piled up on any surface, wood or metal, may result in alligaloring, cracking, or peeling. The total paint Aim should be kept as nearly as possible to about !/200th of an inch (about the thickness of 2 sheets of Itond paper) which by properly spacing periods between rcpninlings and application of the proper amount of paint per square foot can he maintained. (See Figure 26.) co oCoO V< Figure 71.--Sealing lower edge of windows prevents moisture from entering sash and causing decay or paint peeling. figure 72.--Rood materials and skilled brush work are necessary to secure *k*:m.*i The. bjash )* especially Important. It must be small, the bristles dose-packed and flexible. <con t'Mr< t t Joli VII.--I'aiiiling Ne ANAL Sif |*t 11 Ipci tiong) I. Secure equipment and supplies. 2. I'repare surface. H. Secure pnint. 4. Apply pnint. |S Provide Slepl Rugs Putty Steel Paint Strai (ol iB Padd Clean from oiling wipe Remove wood prop pape wind and appe with ofT a If hard door tures arou If wa mask time use If fac man tion. If whit on t foriil finish to co 68 ) Apply it ill Kill al putty St ruin chees it w < , linl MUII.Ml^lrl % fV * Kf Sit pa {Operation*) I lo<* to I'rrfoiiit (Standard Ap|>invJ or A(irpitl I'i i u mi iI When applying interior puint use it 2-iiich or 3-inch high quality Hut brush anil a sash brush. As paint or enamel for in terior woodwork contains oils or varnishes that level out more easily than exterior liusceil oil paints, such finish inatciiul should be "flowed on" with the brush and allowed to level itself without loo much brushing. A uniformly thick coaling should be applied, based on the correct spreading rates found in mixing formulas (pages 166 and I6(i) or in the manufac turer's instructions. Apply priming and undercoats to seal the surfaces anil build up the necessary foun dation for finish coats which are subjected to the wear. Be sure the tops and bottoms of all sash and doors receive at leust one coat of paint to prevent the entrance of moisture. Finish painting the casings around one door or window at a time. This prevents laps and uneven surfaces. In general, the. finishing strokes of the brush should be with the grain of the wood. (See Figure 72.) Sand to smooth surface between couls with No. 00 sandpaper and be sure to dust or wipe off surfaces before applying the next coat so loose sand does not get mixed with new wet paint. Allow enough time between coals for paint to dry so that the paint docs not gum up the sandpaper. Avoid dust circulation in the room by covering the floors with drop cloths. Windows may be kept open if screens pre vent the entrance of insects and the weather is not rainy or windy. Soon after finishing the job, move each window sash up and down several times so that they do not get stuck to window stops by hardened paint. Clean off paint spots as painting proceeds. These can be easily removed while fresh with a rag wet with gum turpentine. If allowed to harden they require scraping off with a razor blade or the use of liquid remover. If new wood, such as Southern Pine (Yellow Pine), Douglas Fir, or Ponderosa Pine, is to be painted, apply a thin coat of shellac to .such surfuces, after they have been primed and holes have been puttied, to get a smooth and uniform surface. (Cut the regular grade of shclluc with equal parts of wood alcohol to make thin enough for this use.) Sand oil" smooth with No. 00 sandpaper and dust. Apply necessary coats of paint ns when painling other woods. CO I |Alh |M % AH M )) i Jo|> VIII.--lte|>uiiilii ANA Spt | Opel it ton I I. Secure equipment and supplies. 2. Prcpure the sur face. 3. Select und secure paint. 4. Apply paint. ( Provid Slep Dus Pai San Stee Pain Cheese Wash wut com the surf f los ng ('/a Itcmov eons time to r Putty wur not form sev ove If fiu man tion colo glos with job, and ami Use u quu buc piec for nish teri ena brus out thic base ill m or i Formulas For Making Home-Mixed Exterior Paint Fo r mu l a oft Paste vhite Lead vaw Linseed Oil* .urn Turpentine par Varnish .iquid Drier* Gallons of Paint Produced 'otal Square feet will cover REPAINTING EXTERIOR WOOD OVER OLD PAINT -- SIDEWALLS PORCH FLOORS i PAINTING NEW EXTERIOR WOODWORK No. 1 No. 2 No. 3 No. 4 No. 5 No. 1 No. 2 Fir s t Co a t 100 lbs. (3y4 gal.) Fin is h Co at 100 lbs. (3V4 gal.) Fir s t Co a t 100 lbs. (31/4 gal. 1 Fin is h Co a t 100 lbs. (3V4 gl.' Fir s t Co a t Priming 100 lbs. 3Vi gal. Bo d y Co a t 100 lbs. (3Vi gal. 1 Fin is h Co a t Escape perch ftoert 100 lbs. (3Vi gal.l 1% gal. 1% gL 1 Pint 3Vi gal. 1 Pint M: gal. 2y4 gal. Vi Pint % gL % g*l 1*4 fL H Pint 11 j 4 gal. 2 gal. 1 Pint 1-y* gal. 3Vi gal. 1% gal. 1 1 Pint 1 Pint 6% 6VS 6 6 9% 6% 6*; 4850 4850 4200 4200 ' 5600 4850 4850 tn * Thtw Mmpiitrd niiug chart* eat he n*ed r mikitf larfff tf null* t ( pai. Aar ^5EEDTg!^ > * aaMnsi can mcr hei jid if tha pwpn lanwai ( in(radiant* ara>| nMMirnl and nnad 2 PARTS Wh it e I par t l,NSEEO O'1 i par t wHtTE lE*0 4 PARTS t URPENTIH 6 PARTS Wh it e l E^ 1a t t u awCSE- 1^*T UHHp^ 6 PARTS Wh pt e LEAP IF BOILED LINSEED OIL IS USED OMIT DRIER. wttv.4 ttu i 4tv Formulas For Making Home - Mixed interior Paint REPAINTING INTERIOR WOODWORK AND . OLD PLASTER PAINTING NEW INTERIOR WOODWORK PAINTING NEW PLASTER Fo r mu l a No. 6 : No. 6 i; No. 7 ' No. 6 No. 6 ' No. 8 No. 6 1 Fir s t Co a t Fl a t l| Fir s t Co at 1 Fin is h Co a t " (Pr imin c I ISe c o n d Co a t ; Fl a t ;i Fir s t Co a t Fin is h Co a t IPr imin c 1 Se c o n d a n d Tin is h Co a t s Soft Paste White Lead Raw Linseed Oil* 100 lbs. 3V4 gal. , 100 lbs. :: 100 lbs. 100 lbs. 100 lbs. : (3y4 gal.l !: (3V4 gal.l i3Vi gal. i (3y4 gal.l !! 3 gal* ; ' 100 lbs. 3 Vi gal. 100 lbs. 3Vi gal- Gum Turpentine 1 2 gal. : Lead Mixing or Reducing Oil** 3V4 gal. ; 3 Vi gal. 1 3V4 gal. 3 V4 gal. ' 4L gal. 3V4 gal. Liquid Drier* 1 Pint Gallons of ' Paint Produced ' 61-; gal. 6L gal. ! 8Vi gal. ! 6I-0 gal. 1 6L gal. 734 gal. 6Vi gal. Total Square feet will cover 5200 5200 ' 6000 5200 5200 ! 6200 Y 5200 Than# unpli&*d vaiu aaaanf chart* ai> ha naadi *nr aMtif lar*ar m rr yam af |*aani. AariJ , iwar . Wto kiga*6 0| MtxiN6<L trini can me? ha> , I PART . **** UDUOjf 0 MIXING PARTS . -^TURfOrT]^ . < IART . , 1 PART . <U0 KOOO^ MDUOR* * MIXING O'1. MIXING <l. 4 PARTS , ^AO lEOUO#* * MIXING .Wto1 TART r epoc it . 0| mix in g x.htTtvti "x vaI \mv Komt' A lternate Formulas For M aking Home - Mixed In te rio r Paint (These formulas may be used i f Lead M ixing o r Reducing O il specified in formulas on page 155 i, not available) IF BOILED LINSEED O IL IS USED OM IT DRIER. NOTE-- I f the finish coats on plaster are to be stippled reduce the amount of liquid so the paint w ill be of thicker consistency. This will pw depth and sharpness to the stipple design. SI*A KOtlMlM.Aa >U KXTKUU The formulas below are for two coals on new wood, repla three-coat paint job by adding to keep the wood from soaking obtained with special priming are factory-prepared or home full brush and then brushed ou age. Such brushing is essenti painters prefer applying the u instead of trying to apply the two coats. For very porous old wood s worn oir and the siding hus coat of these two-coul mixing f surface and make a very satisf It is also a good priming coa sidewalls. FORMULA No. 9-- 100 lbs. sofl past PRIMINC COAT 1 Vi gals, linseed % gal. exterior V4 gal. pure gu I pint liquid d U pint raw um No. 10-- FINISH COAT 100 lbs. soft past 2% gala, linseed 3 pints pure g I pint liquid d (Note--The small amount of raw u cause an off-white Aral coat hides like Douglas Fir and Southern Pine the grain formation. Off-white pr when the next coal is applied beca tween the two coals. 15ft FAINTING FAIIM UUII.UINI.S AND EQUIPMENT How to Make Home-Mixed Red Lead Paint with Dry Red Lead To make 1 Quart of Red Lead Paint proceed as follows; Fir s t St e f Stir 4 cups (5 lbs.) of dry red lead into 1 cup of raw linaeed oil to form a paste. (See volume mixing chart). Let this mixture stand a few hours, or over night to allow the red lead to become thoroughly wet with the oil. is* UH5P^ 4 CUPS (5 lbs.) buy REP . LEAD , Se c o n d STtr Thin the paste red lead into a paint of brushing con sistency by adding 1 cup of raw linaeed oil, 2/3 cup of gum turpentine and 1/3 cup liquid drier. Stir well and keep tightly covered when not in use. If boiled linaeed oil ia uaed, omit the drier. J^CUp ^MjURPENTj^ I CUP LINS6*p ^ OIL > No t e: If larger amounts of red lead paint arc to be made. Increase the quantities ol dry red lead and other ingredients proportionately, and follow the volume miiing charts above. Foa ElAMrLI: 20 lbs. of dry red lead, stirred in 4 cups ol raw linseed oil will make paste enough to be thinned to one gallon ol red lead paint when 4 times the quart lormula illustrated is miied together. CaUTlort: As homemade red lead paste or paint soon gels hard in the can alter miiing it with oil make only what paint will he used for immediate painting. Dry red lead keeps indefinitely. Ill IIF I FAI> MFTAI. 1'AI NT-- II a quart ol hf nr trad mrlal primer is to he made ' 1 1 ii. .1.. 0f ,|rv rri| load and add liquids fr DEFINITIONS OF I Actinic Itays.--The aim's light rays w down of paint films. These are al Active Figment.-- Pigments in paint th linseed oil. White lend, red lead, b cipal, ao-calletl active pigments. Adhesion.--The property a paint film Adulteration.--Tin: substitution of infe standard. Air llrush (air gun).- An atomiser f Alkali.-- A subsltincc I lint neutralizes Alkalis nr strong ulkuline solutio films. Alligaloring. --A form of puiul failure wide cracks due to a lop coot dry which it has been applied. Aluminum Silicate (silicate of alumin rullicr fluffy extender pigment w inert. Anchorage.--The mcchunical effect of face of wood or other materials effect la aimilar to the "clinch" of Ilarium Sulfate (barite, barytra, aulfa while cryatnlline extender pigme expensive hoavy pigments. Itaslc Farbona te White Lead.-- Sec wh liaak Lead Sulfate (baalc aulfate wh made try subliming lead sulfide, w llcnziiie (mineral spirits, petroleum sp lennr distillate, lens volutile than llcnzol. -- A by-product of the distillulio properties for many of the matcriu For this reason It is used extensi ileenuse of its toxic effect on ninn by toluol and xylol in the manufac Hinder.--The non-volatile vcgelulile oi erally linseed oil in good paints. Ilkrding. - A term npplied when desc as creosote or niiiilinc dyes that m In wood. I.ati-r they may dissolve IOO I'AICV I Jrvr; rn m ni/ii.ninc.i <11 i-.v,,*l'lvla''l'< ' Peeling.--A term applied to puinl failure when Ihe paint film lose* its ad hesion to the underneath surface Mild coined nil in sizable pieces. Uauully caused hy moisture hack of the paint lilm, improper formula tion of the paint, or painting over greasy surfaces. (See puge 12.) Pigment.--The solid, finely divided particles of paint such as white lead. line oxide, titanium, otc. rlaslic Taints.--A thick, plaster like paint usually made hy mixing whiting in either factory-prepared or white lead paint made on the job. The mixture is usually thick enough to trowel on the wall instead of being brushed on as is the usual method for applying paint. Primary Color.--A primary color is a color which cannot be produced hy mixing any other two colors. The three true primary colors are red, yellow, and blue. From the standpoint of paint making, black and white may also be considered as primary colors since they cannot be made by mixtures of any other colors. Technically, however, black is the absence of all color and whit* is the presence of all colors. (See color wheel, page 40.) Priming Coat.--The coat of paint applied to surfaces which serves as a foundation for the succeeding coats. It helps to seal pores and anchor the paint to the surface of the building material. Prussian Blue (Chinese blue).--A pigment composed of ferric ferrocyanide. Prussian blue is easily affected by alkali but not by acid. Available in colors-in-oil for tinting paints. Putty.--A stiff plastic mixture of whiting and linseed oil with or without white lead used for filling cracks or holes and for holding window glass in the sash. Itaw Oil.--Linseed oil in ils natural state is called ruw oil. Haw Sienna.--One of the brown earth pigments found in France, Italy, . England, and America. It contains from 60 to 10 percent hydrated ferric oxide, the rest being alumina and silica. The color naturally varies according to the exact chemical composition, the deposit from which it is secured, and the method of preparation. Available in colors-in-oil or in japan. Itaw Umber.--One of the brown earth pigments, consisting essentially of hydrated ferric oxide but differing front raw sienna because it contains in addition to alumina and silica, JO percent or more of manganese. The color varies according to the locality from which it is obtained and the method of preparation. Umber is obtained from deposits in Italy, France, and England and also from the Island of Cyprus. Available in colors-in-oil or japan. Ited Lead.--A bright orange red oxide of lend which is used most exten sively as a pigment in paint for priming structural steel and other metal surfaces. Ituns.--defects in a finish due to an excess of finishing material being ap plied which diil not "stay put" but flowed down in a curtained or rugged effect. Usually caused by pointing over a greusy surface or using a r.-iini ri.tilnininr too much oil in proportion to the pigment. (See pngc CO CO ,#a ip' iNt; v a u m Irrt'KUlmitk's in ftmuhctl au uneven llow. Whenever on excu on horizontal or upright work, Hal Soda.- Crystallized sodium carb solutions to remove grcusc and Sap-Wuod. -The portion of a tree ju about one-fifth to approximate tree. Usually distinguished by the heart-wood that forms the trunk of a tree. When the tre used where there ia too much heart-wood, on account or the w resist decay. Satin Finish.--When a dried paint f one resembling the luster of aa Scaling.--An evidence of paint failu Itaiu moisture entering the crac property, and results in the brea Semi-Cloas. -A material is said to out to a sheen about half way b Shellac.- It Is available as a brown or as a transparent white shel leaves a very hard hut aomew down aa a smooth foundation f Silica (ailex).--A natural extender It is chemically inert anti has Sice.--A solution of gelatinous ma varnish, which is used to seal n quenlly hold succeeding coals of Skins.--The films of dried paint tha when left exposed to air. Form oil in the paint and to the action Skipa.--Places where the painter has has been loo dry to apply the Soft Paste White Lead.-- A pasle (while lead) 0% raw linseed o made for painters and large u factory costs of mixing by thinn job with additional linseed oil a Solvents.--Volatile liquids, usually o similar nialeriuls to dissolve th Some of them arc used to disso lacquer. Siiv-llisn Oil. A semi-drying vegeta when properly processed, can b varnishes. Spirit Varnisli. A varnish, siieli as resiiiM in H very volatile liquid ida AINTINC fAII I UUII.ItINOS A. > Kyifll'MKNT spirits, or a similar volatile. When tlry this hind of varnish leuves a very thin film of the original resins or gums that have been dissolved in the spirits. Starch Solution.--A solution made with water and stnrch used by painters for soaking off wall paper or for starching newly painted walls so that they can be more easily washed. Stencil.--A piece of tough paper or card board from which cut-out designs have been made. By holding the stencil against a wall, the pattern or designs can be made on the surface by applying paint in the cut-out portions in the stencil material. (See page 138.) Stippling.--A finish made by using a stippling brush or roller stippler on a newly painted surface before the paint is dry. This is done by tap ping the surface with the bristle ends of a brush or by rotating a roller stippler over the wet paint thus leaving an orange-peel, rough ened design. (See page 72.) Stretch.--A term used to describe the width of a section of a wall that is painted before moving the ladders or scaffolding. Sublimed White Lead.--See basic sulfate white lead. Thinner.--A liquid that can be added to paint, varnish, or lacquer to reduce its consistency. Usually thinners are highly volatile, auch as turpen tine, mineral spirite and wood alcohol. Tint.--Is a color produced by mixing a white pigment or paint with a small amount of a colored pigment or paint. When used as a verb, the word Tint" indicates the act of adding small quantities of color, as for ex ample, a white paint Is tinted to an ivory shade by adding a small quantity of yellow. Tinting Colors.--Pure concentrated colored pigments ground in oil or a neutral varnish used for adding to white or colored paints to produce other shades. Titanium Dioxide.--An inert white pigment with very good hiding power. Titanium Pigments.--1These Include the pure titanium dioxide, lead tilanate and the composite pigments in which titanium dioxide is co-precipitated or mechanically mixed with blanc fixe, (barium suirale) calcium sulfate, or magnesium silicate. Tooth.--A term sometimes used by painters when describing the charac teristics a paint has for providing good anchorage or adhesion for the succeeding coats. They say it gives "tooth" to the surface. Touch-Up Colors.--Paint made and tinted to match old painted surfaces. Used for touching up mended cracks and holes that have been repaired with patching plaster. Transparent Pigments.--Having no hiding or covering power. Not opaque. Examples are: Silica, calcium carbonate, magnesium silicate, and calcium sulfate. Turpentine.--(See gum turpentine.) Tung Oil (Chinawood oil).--An oil extracted from the nut of the lung tree. It has rapid drying qualities and is used Inrgely in the manufacture of ' * .......r:.... -iTifl tin Hurt of CO CCOO I'AIN'I'tNC I'AHM mm. I uaran lied. A red pigment made alizarine dye. A typical anal 43%; ferric oxide, 33'/,.; and colors-in-oil. Ultramarine Blue, tine of the b mixtures of china clay, sodium easily affected by acids but n for tinting. Undercoats. -The coals of paint smooth finish before applying Undercutting.- The preparation of putching plaster. The crack in wider at the bottom of the cr the patched plaster will clinch crack. (See pages 63 and 130 Van Dyke Brown.- An organic p similur to lignite or brown c from Cermany. It has a warm transparent in oil. Used for s Varnish.-- A solution of certain gu applied to surfaces, produces a Vehicle.--1 he liquid portion of a p the oil, varnish and volatile th and holds it in the paint film. Venetian Bed. -A bright red pigm anlfale. Available in dry pow Washing.--A type of failure where if composed of certain pigmen or streak down over the aidew positing the paint pigments on walls. Washing Compounds.--Chemicals t alkali liquid similar to lye so grime when used for washing can be made strong enough to d White Lead (basic carbonate of lead metallic lead. According to hi use for over 2000 years. It is alone with linseed oil, makes power, chalks gradually, and u repainting. It is used as the p factory-prepared white and ti oxide and titanium pigments. Whiling (calcium carbonate, chalk) lowisli while rock which is com marine organisms. Cliffatone w inouly used lor mukiug putty. inert extender in maiuifncluring lao ' ' ' ^ ~ *?rs 1 niii...iumucwni FAINTINO FAHM IIVII.IMNCa ANI) EQUIPMENT spirits, or a similar volatile. Wlien dry this kind of varnish leaves a very thin film of the original resins or gums that have been dissolved in the spirits. Starch Solution.-- A solution made with water and stnrch used by painters for soaking off wall paper or for starching newly painted walls so that they can be more easily washed. Stencil.--A piece of tough paper or card board from which cut-out designs have been made. By holding the stencil against a wall, the pattern or designs can be made on the surface by applying paint in the cut-out portions in the stencil material. (See page 130.) Stippling.--A finish made by using a stippling brush or roller slippler on a newly painted surface before the point Is dry. This is done by tap ping the surface with the bristle ends of a brush or by rotating a roller stippler over the wet paint thus leaving an orange-peel, rough ened design. (See page 72.) Stretch.--A term used to describe the width of a section of a wall that is painted before moving the ladders or scaffolding. Sublimed While I.ead.--See basic sulfate white lead. Thinner__ A liquid that can be added to paint, varnish, or lacquer to reduce its consistency. Usually thinners are highly volatile, ouch as turpen tine, mineral spirits and wood alcohol. Tint.--Is a color produced by mixing a white pigment or paint with a small amount of a colored pigment or paint. When used as a verb, the word "tint" indicates the act of adding small quantities of color, as for ex ample, a white paint Is tinted to an ivory shade by adding a small quantity of yellow. Tinting Colors.--Pure concentrated colored pigments ground in oil or a neutral varnish used for adding to white or colored paints to produce other shades. Titanium Dioxide.--An inert white pigment with very good hiding power. Titanium Pigments.--These include the pure titanium dioxide, lead titanate and the composite pigments in which titanium dioxide is co-precipitated or mechanically mixed with blanc fixe, (barium sulfate) calcium sulfate, or magnesium silicate. Tooth.--A term sometimes used by painters when describing the charac teristics a paint has for providing good anchorage or adhesion for the succeeding coats. They say it gives "looth" to the surface. Touch-Up Colors.--Paint made and tinted to match old painted surfaces. Used for touching up mended cracks and holes that have been repaired with patching plaster. Transparent Pigments.--Having no hiding or covering power. Not opaque. Examples are: Silica, calcium carbonate, magnesium silicate, and calcium sulfate. Turpentine.--(See gum turpentine.) Tung Oil (Chinawood oil).--An oil extracted from the nut of the lung tree. It has rapid drying qualities and is used largely in the manufacture of ' ' ..............ri rwt innkev nt nnrt of CO Tuscan Ited.--A red pigment alizarine dye. A typica <3%, fcriic oxide, J.l/e colors-in-oil. Ultramarine Blue. -One of mixtures of china clay, easily affected by acids for tinting. Undercoats.--The coals of p smooth finish before ap Undercutting.--The preparat Pushing plaster. The c wider at the bottom of the patched plaster will crack. (See pages 63 a Van Dyke llrown.- An orga similar to lignite or br from Cerniany. It haa transparent in oil. Used Varnish.--A solution of certa applied to surfaces, prod Vehicle.--The liquid portion the oil, varnish and vola and holds it in the pain Venetian lied.--A bright red aulfate. Available In d Washing.--A type of failure if composed of certain p or streak down over the positing the paint pigme walls. Washing Compounds.--Chem alkali liquid similar to grime when used for wa can be made strong enoug White Lead (baalc carbonate o metallic lead. According use for over 2000 years. alone with linaeed oil, m power, chalks gradually, repainting. It is used as factory-prepared white a oxide and titanium pigme Whiting (calcium carbonate, lowisli while rock which i marine organisms. Cliffs monly used for making Inert extender in uiaunfn 170 PAINTING FAICM IIUII.DINGS AND KgillPMKNT Wood Turpentine.--Turpentine that bus been made by steam distilling Southern pine chips and stumps rather than distilling the pure gum gathered from live trees. ' Wood Fillers.--Fillers are of two kinds--paste and liquid. Paste Alters are something like a very thick paint and are composed of some solid powdered substance, usually silica or powdered quarts, mixed with linseed oil or varnish thinned with turpentine or benzine. They are applied to the dry surface of the wood with a stiff short bristle brush or put on with a cloth and rubbed well into the pores of the wood. After half an hour or so the surface of the wood is wiped off and after further drying sanding is done before Anish coats are applied. The word "Aller" is sometimes used synonymously with extender. Wood Stain.--Stains that penetrate and change the color of the cellular . structure of wood. They usually form no Aim on the surface of the wood. Spirit stains made with alcohol or oil stains, composed of linseed oil and color pigments do not raise the grain of the wood and water stains composed of water and coloring matter are used on close grain woods where the grain la not easily raised by moisture. Wrinkling.--A defect in paint Alms usually caused by applying too thick a coat which partially dries Arsl on the surface; later drying and shrinking of the paint underneath wrinkles the surface. (See page 16.) Zinc Oxide.--A white pigment composed of the oxide of zinc and made by ' burning metallic zinc. Used largely in factory-prepared paints, enamels, and lacquers in combination with other pigments. V* co /