Document RJKzX4VOjg14ba1zxBrn7qn18

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Ji daaq oj jpAi aqj jsupSs Xpuy jr Suissajd -`siaSuy aqj qjiAi jaAo pus jaAO paujnj aq - -- ppoqs jadEd papuinia jo jpj aqj `piEMUAiop - SuiqjoAi pus aoEjjns pajupd Xpsajj 'aqj jo Jaujoo puuq-jjai doj aqj u io j J uaqj SuijJBjg pasn aq jou ppoqs sjadsdsAVau pajupd Xpia^j > 'qjSuai ui saqaui jqSia oj uaAas puAV pajsSuop ' UB ojui XjjqSij paiduinjo aq ppoqs aadudsAvau 6ui}uwj 1P/H jousfuj gg IMPORTANT .: ......;TV- The white-lead paint formulas in this booklet are based upon the use of the Heavy Paste form of Dutch Boy white-lead. When using Soft Paste Dutch Boy white-lead, bear in mind! that it contains more oil than the Heavy Paste--almost one gallon more in ioo pounds of pastes and call?: for the use of about one gallon less of oil in each formula given in this folder based on 260 pounds of white-lead. The resulting paint rill approximate the consistency of that mad Som Heavy Paste. The packages containing Soft Paste are plainly labeled SOFT PASTE on the side. If a flat effect on inside wall work is desired, the Heavy Paste is to be preferred. The higher oil content of Soft Paste will give more of a sheen to surfaces painted with it. */ THE HANDBOOK ON PAINTING NATIONAL LEAD COMPANY New York, 111 Broadway; Boston, 800 Albany St.; Chicago, 900 West 18th St.; San Fran cisco, 235 Montgomery St;; Cleveland, 820 West Superior Ave.; Buffalo, 116 Oak St.; Cincinnati, 659 Freeman Ave.; St. Louis, 722 Chestnut St.; Philadelphia, John T. Lewis & Bros. Co., 437 Chestnut St.; Pittsburgh, National Leadi6& Oil Co., 316 Fourth Ave. Vi______________ ___________________ 0007-SWP-0053185 CONTENTS - CHAPTER Introduction ............., PAGE i I. Exterior Wood Painting 3 How Much Paint, Easy Method--Accurate, Method--Square Feet to a Gallon--How' Many Coats--Mixing the Paint--Paw and Boiled Linseed Oil--Painting New Outside Wood---Repainting Outside Wood --Paint Ingredients in Tabular Form-- Painting Porch Floors--Preparing the Surface--Priming Soft Wood Floors-- Priming Hard Wood Floors--Body and Finishing Coats--Colored Exterior Paint --Formulas for Exterior Colors--Painting . Wood Shingles--Staining Wood Shingles --Helpful Hints in Mixing and Applying Paint--Departments of Technical Paint Service and Decoration. II.Interior Wall Painting........................ Soft-Tone Effects--Area of Room Sur faces--Number of Coats--Preparing the Surface--Mixing the Paint--Colored In terior Paint5--Formulas for Interior Col ors--Applying Flat Paint--Stippling-- Special Wall Finishes--Two-tone Crumpled Roll Finish--Satin Finish--Stencil Finish --Lace Stencil Finish--Tiffany Finish-- Shaded Tiffany Finish--Polychrome Fin ish--Two-tone Glaze or Antique Finish-- Wiped Stencil Finish--Striping--Paneled Effects with Paint;--Sponge-Mottled Fin ish--Combed Stencil Finish--Combination Effects--Plastic Paint Effects--Painting Fabric Coverings--Painting Wall Board-- Washing Painted Walls--Departments of Technical Paint Service and Decoration. 26 III. Interior Wood Finishing..................... Estimating Quantity of Paint--Painting New _ Inside Wood--Enamel Finish--Re painting _ Inside Wood--Special Interior Wood Finish;--Antique or Old Ivory Fin ish. for Interior Wood Trim--Colored In terior Paint--Staining Interior Wood-- Graining--Painting Interior Floors-- Other Finishes for Hard Wood Floors-- Oil Finish--Sh'ellac ' Finish--Varnishing Floors--Wax . Finish--Departments of Technical Paint Service and Decoration. 51 :I 0007-SWP-0053186 CONTENTS CHAPTER PAGE IV. Stucco, Concrete, Brick and Stone Painting------ ..---------- ........... Preparing Brick and Stone Surfaces__ , Preparing Stucco or Concrete--Formulas for Stucco and Brick--Formulas for Con crete and Stone--Semi-Flat Finish Painting Concrete Floors--Departments of Technical Paint Service and Decora tion. 66 i V. Metal Painting ............................... ;. Red-Lead in Paste Form--Area Red-Lead Paint Will Cover--Preparing the Surface ---Number of Coats--Mixing the Paint-- Applying the Paint--Dark Finishes--Light Finishes--Painting Metal Ceilings--Paint ing Galvanized Iron--Departments of Technical Paint Service and Decoration. 71 VI. Miscellaneous Painting....................... jPainting Boats--Power and Sail Boats-- [Row Boats---Canvas Canoes--Departments !of Technical Paint Service and Decora tion. 85 VII. General Painting Facts....................... Simplified Mixing Directions--Gloss Paint --Flat Paint--Tinting One Gallon of Paint--How Much Paint to Make--How Many Coats--Time Between Coats--How to_ Make Putty--Making Joints Tight-- Linseed Oil in Sealed Cans--Brushes and Their Care--Keeping Pigment Soft:--De partments of Technical Paint Service and Decoratioh--Painting Contract Form. VIII. Useful Information ............. .............. Watch as a Compass--Finding Capacity of Tanks in Gallons--Concrete Work-- Capacity of Corn Cribs--Capacity of Coal Bins--Familiar Facts--Square Box Meas ure---Weights and Measures--Mensuratiort, Length, Area and Volume--Metric Equivalents--Products of National Lead Company. 106 ----- II Introduction T F you want to know how to paint a house or A other building and how much paint it will take; if you want to know how to finish a wall or floor," how to paint metal, how to paint masonry, how to paint #a boat--this look `&UI tell you. It is a veritable storehouse of practical paint knowledge, equally valuable as a guide to the uninitiated and as a reference work for the architect, engineer, building manager, painter and other experienced users of paint. In saying "this book will tell you," it is not implied that the mere following of directions will turn a novice into a skilled painter. This is not possible. It would be just as ridiculous to claim that reading the recipes in a cook book will turn a beginner into an expert chef. Painting is an art and there are many things about the art of painting which require study, observation and constant practice. It always pays, therefore, to hire an experienced painter if ope is available. The superior knowledge of the man who "knows how" is worth the little extra money it may cost to hire him. Do not, however, allow yourself to be deprived of the advantages of made-to-order paint simply be cause a painter who knows how to mix whitelead and linseed oil into paint is not within easy reach, as is the case sometimes in the smaller towns. 0007-SWP-0053187 2 Introduction The Handbook on Painting gives all neces sary mixing and painting directions. They are easy to follow. Attention is called particularly to the directions for doing small jobs given on page 54. By the method suggested, white-lead can be mixed into paint in a jiffy and .you are assured of the same durable lead-and-oil painf for the small jobs that *is used for the big ones. Exterior Wood Painting CHAPTER I Exterior Wood Painting The right prescription for exterior painting 4 . on wood is an old one--simply pure white-lead thinned to painting consistency with pure lin seed oil. Nothing has yet been found to equal this combination. It gives the best protection and decoration at the least outlay. Because it is mixed to order, lead-and-oil paint can be adapted to meet all surface and weather conditions. It can also be varied in color from pure white to any desired shade and tint (except the very dark colors) by the addi tion of the proper tinting materials. Paint made of pure white-lead and pure lin seed oil forms a tough, tenacious film that 1 never scales off, but wears down smoothly. When the time comes to paint again, no ex pensive preparation is necessary. Often substi tutes offered for pure white-lead leave the sur: face so rough and scaly that it not only looks bad, but requires the use of the gasoline torch to smooth it down before repainting. This preparatory work takes time and costs money, which of course must be added to the original cost of those substitutes before 1: they can be compared in price with pure white-lead and linseed oil; It never pays to use cheap paint. Even the best paint is a minor item in the whole cost of a painting job. Labor is the chief item. There fore, it is false. economy to spend money and time in applying paint which will crack and scale off in ugly splotches, allowing the weather to attack the surface underneath. Dutch Boy white-lead is the highest grade 0007-SWP-0053188 4 Exterior Wood Painting white-lead that can be made. It is pure, 'finely :: , ground, smooth, excellent in spreading and .... hiding properties--a superior paint material. We urge you to try it just once; we know it will hold your favor by its merit. Dutch Boy white-lead is on sale in all relia- i ble paint stores and is used by first-class painters j everywhere. It comes in 1225, 50 and 100 | pound steel kegs and one and five pound cans. * Our famous trademark, the Dutch, Boy Painter, 1 ir on every keg and can and is your protection j against substitutes. .| All formulas in the Handbook on Painting j which call for pure white-lead are based on 1 the use of Dutch Boy white-lead. j How Much Paint? Easy Method. For those i who do not wish to go to the trouble involved j in figuring out the measurements of a building j in detail and who are content to know the j approximate amount of paint needed, the fol lowing method will suffice. First measure the girth of house in, feet and multiply by height in feet to eaves. If there is a j gable, multiply width of gable in widest place by half the height of gable in highest place. ; Add the quantities and divide result by 600 (ap sroximately the number of square feet one gallon of white-lead paint will cover). This gives the number of gallons of paint needed for the body of house, one coat. Multiply the number of gallons thus found by tie number of coats jou wish to apply. The' result is the total gallons of paint you will need. If a house has only medium trim (window frames 4 inches wide or less, cornice about 9 inches extension, porch posts rather slender), ' count 2/5 gallon or about 3 pints of paint for everj' 100 feet of trim. If trimming is of more Exterior Wood Painting 5 massive style (say window frames six inches, heavy veranda pillars 30 inches in circumfer ence), figure 3/5 gallon or about 5 pints to every 100 feet. N How Much Paint? More Accurate Method. The exact area to be painted and the quantity of paint needed can be ascertained by employ ing the detailed rules below. If approximate calculations will do, follow the quicker method' of figuring described in preceding paragraphs. To calculate the square feet in one end, mul tiply height from foundation to eaves by width.. In diagram (next page) : 20 (height) X 24 (width) = 480 square feet. Multiply by 2 to get number of square feet in both ends, or in this case, 480 X 2 = 960 square feet. To calculate the square feet in one side, multiply height from foundation to eaves by length. In diagram: 20 (height) X 30 (length) = 600 square feet. Multiply by 2 to get number of square feet in both sides, (in this case 600 X 2 = 1200 square feet). To calculate the square feet in gable, mul tiply one-half the height of gable by distance between eaves. In diagram: 4 feet ()4 of 8 feet, height of gable) X 24 feet (distance between eaves) = 96 square feet. If there is another gable of the same shape and size* multiply by 2 to get the number of square feet in both gables, (in this case 96 X 2 = 192 square feet). When gables differ considerably in size they must be measured separately and the results added together to get the number of square feet in all the gables. 0007-SWP-0053189 Exterior Wood Painting '"--.S-I&E- ;::V l Add square feet in ends, sides and gables and the sum is the number of square feet of surface to foe painted. In diagram: 960. + 1200 4~ 192 = 235a square feet to be painted. If roof is to be painted, the paint Trill proba bly differ from that used on the body of the house and the measurements should therefore be kept separate* Multiply length by distance from Comb of roof to gutter. In diagram: 31 (length) X 15)4 (distance from Comb of roof to gutter) = 480)4 square feet. Multiply by 2 to get the number of square feet in both sides of roof (in this Case 48034 X 2 = 961 square feet). The preceding directions can easily be fol lowed where the building is regular in shape like a box. , Occasionally, however, a building has irregu lar lines. Iri most cases of this kind, to lay down a set of rules for measuring would be to inflict unnecessary and confusing detail. If there is a large wing, figure the wing as if it Exterior Wood Painting 7 were a separate building, but allow of course for painting only three sides. If the house is very irregular or confusing we suggest the use of the short cut described on page 4. Square Feet to a Gallon. In figuring the number of square feet a gallon of white-lead paint will cover, a great deal depends upon the surface to be painted; that is, the kind of wood, whether it is very dry or not, whether the surface is rough or smooth, etc. Some wood is more porous than others and consequently absorbs more paint. Much depends, too, upon the way the paint is brushed out. Some painters brush the paint out more and thereby cover more surface than others. The priming coat mixed according to in structions given on page 9 will cover, on the average, 575 square feet to the gallon, one coat. Second and third coats on new work and first and second coats on old work will cover, on the average, 600 square feet to the gallon, each coat. How Many Goats. Three coats should al ways be applied to a surface which has never before been painted--a thin priming coat and two heavier coats. (See formulas 1, 2 and 3, pages 9 and 12.) Two coats are sufficient for repainting old work. (See formulas 4 and 5, page 12). Two coats on new work is false economy. A third coat costs only one-third more and makes the job last twice as long. *t Mixing the Paint. The steps to be taken in mixing white-lead paint are: * There are many jobs around the house which re quire a comparatively small, quantity of paint. For jobs of this kind, see simplified directions for making white-lead paint given on page 94. t See also the mixing diagrams on pages 10 and n. 0007-SWP-0053190 Exterior Wood Painting ist. Tate the proper amount of white-lead required by the formulas which follow. "Break up" or soften it in a large pail with just enough oil to bring it to a workable paste. Use a wooden paddle to stir. 2nd. Add tinting colors, if the paint is to b$ tinted, mixing them thoroughly into the white- lead, 3rd, Pot in drier. Stir thoroughly. 4th. Add the remainder of the oil required by the formula. Stir thoroughly. 5th. Put in the turpentine, Stir until the whole mass is thoroughly mixed. Strain through wire or cloth screen. The paint is now ready to apply. Raw and Boiled Linseed Oil. Raw linseed oil with a drier is somewhat better than boiled linseed oil for paint to be used on wood, but boiled linseed oil without drier may be used if desired. The results will be quite satisfactory. Boiled linseed oil is particularly desirable for painf: to be used on metal, plaster, concrete and stucco, In speaking of boiled linseed oil the reference is to genuine boiled oil. A variety of oil is. sometimes sold as boiled oil which is noth ing more thin raw oil to which drier has been added. The danger that this so-called "bunghole boiled" oil may have been made with poor drier or too much, drier, makes it preferable to buy raw linseed oil and put in your own drier, in case genuine boiled oil is not obtainable. Painting New Outside Wodd. {Note: The following formulas are for white plaint. For tinted paint see pages 17 to 21 inclusive.) For the first or priming coat on new, un painted outside wood the paint should be thin. Use the following: .J | Exterior Wood Painting 9 Formula No. 1--Priming Coat I (New Outside Wood) 100 pounds Dutch Boy white-lead I 4 gallons pure raw linseed oil 3 2 gallons pure turpentine j 1 pint pure drier } This formula makes 9 gallons of paint which l should cover about 5,175 square feet, one coat i Note: The painter may exercise his own dis cretion in using a larger or smaller quantity of oil according to whether the wood is oil absorbing, such as white pine, poplar and bass wood, or less permeable, such as yellow pine, cypress, spruce and hemlock. The painter may find it advisable, in rare cases, to increase the quantity of turpentine for extremely sappy or resinous woods. Where this is done a corre sponding decrease should be madfe in the speci fied amount of linseed oil. ! Raw linseed oil with drier is somewhat better than boiled linseed oil for making paint to be used on outside wood, but boiled linseed oil with out drier may be used if desired. The results will be quite satisfactory. Formula No. 2--Second Coat (New Outside Wood) 100 pounds Dutch Boy white-lead 1J4 gallons pure rawr linseed oil iTA gallons pure turpentine 1 pint pure drier The preceding formula makes 6 gallons of paint which should cover about 3,600 square feet,, one coat. ,i 0007-SWP-0053191 10 Exterior Wood Painting Exterior Wood Painting 11 c-oja u C w'E'OpS K u 01 8 S. ,2 * ow 8ww J~t3UB3,"ful ~<0.~t2?431Bu3 osVj S 2 & s 0> go j l |^c ; -m l U SB & o S. z ^' ^ u rzo2 -o ^ S:Ro-- c ho-i 25 o 1 3 S'~ * O-H g c*o*G 4*-3 oy no -oh <htHW0r13f o*i- *5 * .5 .3 (+o4 r<iu *r^*?* 3 doCL,r`5: *+oa >/g' 9I M ti EI1Ip g ^ rt *"*< % <mcM5{ - bXi3-X ,--Oo* 5 2to S rit 53 o g* S 3o.a5 G, 'S3 ? H g "g 8 i 5 = .S 2 x ^ &'JS i"c -- n g W "4 IE ~ r ja C rt j*3 -2Kmoh <Wes TgS* ttAg, s-G (5- F--gr3cSt 0C^G*IU-< *4"--0",,w3o'SErCOtJ^>"cH0SOoii C> +J OJ --Wc .G4-' 3' G u &_FQO CO (U G. c` C C CJ .ic 73 *3a,g g-u:ss M G 4u3 "*C1! 4U3 * oS-l bO " o"o J5 S?3 --Ga JuoO3* 'Ji 3 u o gg <S (NC4f W3 <U -" s >> a ^c m O ui Grt gt-< utl OT3 O <u-4o> ct 3G ^. C jo3*^h ^ uo NO .S 73 ^ G M-t tuH HO-t .Ptt nGC33 "nGs < C. 1i |w-sy gC ^ hvS v>.GG*G -Q V 0007-S WP-0053192 14 Exterior Wood Painting .It 'S' 04 cs 132 <4- Cj 3 c ^c Wc . O. 'X ft 'Xw "fXt & a *Xii \Mn >i's* oO O <aa O 5 ^r; tc oj "aCD ^ ^o ."c .33 . vj n CJ >35 O X o u _ <0 *+4 cv>S -O e> -y a* 3s 1 '; c to < *+-t O 3 s "" . . o .5 ; c* tft ~ ft " M 'S o > o It M "V N ' ^ cu JS OC3 m Mo-t 0CO) r* ? +- ,,w .S; c s* . + o r- h i> tp"oC 2 ol* 25 o lv g mr53t Q C-t -t PL, Z0 X** <n C W ,+> tI* -P.sC.|-ftIf^t o) to "tooS VO 2r- -o* 10 *-*t+fl> <-> *H .5n3.C3 .C3 o* C. ft ft ft [ft I? VO *. .3-3 "vV3 wc > oo 23 o >>: o .hH <Vw4-t u 3^ pr w, Wo 4> ^O U5i UU U3 33U P3-t C3-I CcOr Exterior Wood Painting 15 Painting Porch Floors. Porch floors require protection against moisture from the damp space beneath the porch. This space is fre quently left without sufficient ventilation. -If the soil is damp the porch floor cannot help absorbing a great deal of moisture, which is almost certain to cause blistering and peeling. To prevent trouble of this sort give the under side of the floor, also the tongued and grooved edges of the boards, whether soft or hard wood, a coat of paint mixed as follows: Formula No. 6 (Underside Porch Floors) zoo pounds Dutch Boy white-lead 4 gallons pure raw linseed oil 2 gallons pure turpentine i pint pure drier This formula makes 9 gallons of paint and should cover about 5,175 square feet, one coat. Preparing the: Surface. The same precautions must be taken in preparing to paint a floor as in the preparation of any other surface. If the floor has old paint that is' rough and scaly or thick and gummy it should be cleaned down to the wood either by scraping, planing, burn ing or by the use of a liquid paint remover. If the last method is used the surface must be brushed afterwards with a coat of strong r vinegar to destroy any trace of the alkali in the remover. Make sure that ever]' part of the floor is firm and solid. There should be no spring to it when stepped on. After sandpaper ing and cleaning, the floor is ready for painting. Priming Soft Wood Floors. If the floor is of white pine, poplar, hemlock, or other very soft woods, use the following; r 0007-SWP-0053194 16 Exterior Wood Painting Formula No. 7--Priming Coat (Soft Wood Floors) ioo pounds Dutch Boy white-lead 4 gallons pure raw linseed oil 2 gallons pure turpentine i pint pure drier This formula makes 9 gallons of paint which should cover about 5,175 square feet, one coat. In applying use a full brush of paint and brush out well. One cause of stickiness on floors is flowing the paint on so thick that it does not dry thoroughly underneath, and then hurrying too much with the other coats. After the priming is dry, all joints, cracks, nail holes, and other defects should be filled with a good putty. The putty should be firmly pressed into the joints and smoothed over with a putty knife. When entirely dry, sandpaper carefully to re move any surplus. Priming Hard Wood Floors. New hard wood floors1--oak, maple, ash, yellow pine, walnut (all less absorbent than white pine or hemlock) --are not often painted, but when it is desired to paint them with white-lead, use less oil and more turpentine. The following formula is a good one: Formula No. 8--Priming Coat (Hard Wood Floors) 100 pounds Dutch Boy white-lead 3 gallons pure raw linseed oil 4 gallons pure turpentine 1 pint pure drier This formula makes 10 gallons of paint and should cover about 6,000 square feet, one coat. Exterior Wood Painting 17 The priming coat is always the most impor tant. A first-class foundation saves material and labor in repainting. Body and Finishing Coats. For the body or second coat, whether on new work or old, regardless of the variety of wood, use the fol lowing: Formula No. 9--Second Coat (Hard and Soft Wood Floors) 100 pounds Dutch Boy white-lead 1 gallon pure raw linseed oil 2 gallons pure turpentine 1 pint pure drier This formula makes 6 gallons of paint and should cover about 3,600 square feet, one coat. For the finishing or third coat: Formula No. 10--Third Coat (Hard and Soft Wood Floors) 100 pounds Dutch Boy white-lead gallon pure raw linseed oil Ys, gallon pure turpentine 1 gallon floor varnish J4 pint pure drier This formula makes about 5Y gallons of paint and should cover about 3,150 square feet, one coat. For porch floors a varnish should be used that will withstand exterior exposure. Two things to keep in mind throughout the work are: first, vigorous brushing to spread out each coat to the utmost; second, allowing each coat at least four days to dry. Colored Exterior Paint. All formulas given so far in this book make white paint. Where colored paint is w'anted, it can be secured simply by adding tinting colors according to the shade or tint desired. These tinting colors are known r 0007-SWP-0053195 18 Exterior Wood Painting Exterior Wood Painting 19 as "colorst-in-oil" and can be secured, either in tubes or in cans* wherever the white-lead is purchased* 1 'f 1 entire quantity of colors called for. Weigh out the color and put it in gradually, noting the effect. Stop when the desired shade or tint is There is scarcely any limit to the number of shades and tints obtainable by coloring whitelead paint but only shades and tints of certain colors are desirable for exterior painting. For arrived at, even if the formula calls for more. So also, if the color is too light, add a little more tinting matter until the color is exactly right. mulas for making some of these colors are given on page 20. Any of the colors listed can be Where tinting colors are used in sufficient quantity to alter the consistency of the paint, varied indefinitely simply, by increasing or de creasing the amount of tinting materials spedified. add pint of linseed oil and turpentine (com bined) to each pound of coloring material. The proportion of the turpentine to linseed oil Most of 1 the color formulas given call for the use of two or more tinting materials, but it should follow the particular white-lead formula being used. should be remembered that simpler colors may For example: To make "Yellowish Tan" be obtained by the use of one coloring pigmerit. according to formula on next page requires Mixed with white-lead, varying quantities of about 21 pounds of colors-in-oil to each 100 lamp'olack will produce a pleasing range of pounds of white-lead. Therefore, add io)4 grays, chrome yellow will produce yellows, chrome green will produce greens, Chinese bide will produce blues, Venetian red will produce pinks, and so on. See page 96. pints more of liquid (linseed oil and turpen tine) than would have been used if the paint were to have been white. If, for example, the body coat formula for exterior wood is being Formulas for colored paint are at best always only approximate as some allowance must biq followed, 5)4 pints of turpentine and sJA pints of linseed oil would be used. made for variations in the strength and tone of Where no white-lead is required, as is the case different manufacturers' colors. Chrome yellows with some of the dark colors, the tinting colors and ochres, for example, vary quite noticeably should be thinned to brushing consistency; use both in strength and tone. approximately the same quantities of linseed oil, All formulas for colored paint in the Hand* turpentine and drier called for in the white-lead bohk on Painting are based on the use of formulas with a slight amount of additional John T. Lewis & .Bros. Company's colors-in-oil thinner, where necessary. (Dutch Boy brand). These colors or othef Formulas for Exterior Colors. The following highest grade .colors should be used. Cheaj) formulas with the exception of those marked colons-in-oil lack tinting strength, fade out and "No white-lead" are based on the use of xoo never give satisfaction in any particular. pounds of Dutch Boy v'hite-lead. For smaller As explained under "Mixing the Paint" on or larger amounts of white-lead simply decrease page ,!5 the tinting colors should be added to the' or increase the quantity of coloring material ac white-lead . Be Fore the paint is thinned to paint cordingly. Read section entitled "Tinting One ing consistency. Never put in all at once the Gallon of Paiint" on page 96. I 0007-SWP-0053196 20 Exterior Wood Painting Pale Buff r pound french ochre 3 ounces medium chrome yellow Light Olive Green i pound lemon chrome yellow 7 ounces medium chrome yellow r ounce lampblack Colonial Yellow z pounds medium chrome yellow Medium i Gray Y pound, lampblack Yellowish Tan 20 pounds french ochre i pound medium chrome yellow 1 ounce lampblack Yellow Green 15 pounds medium chrome green 5 pounds medium chrome yellow 8 ounces, lampblack * Warm Drab P/2 pounds medium chrome yellow 2 pounds Venetian red 1 pound lampblack Olive Green 19 pounds medium`chrome yellow 1 pound medium chrome green pounds lampblack Dark Venetian Red too pounds Venetian red 40 pounds indian red No white-lead Pale Greenish Yellow 5 ounces medium chrome yellow 1 Y ounces medium chrome green Buff z pounds french ochre Y& pound medium chrome yellow ' Exterior Wood Painting 21 Light Yellowish Green P/z pounds medium chrome green Yz pound medium chrome yellow Grayed Blue Green ' Y pound Chinese blue Yz pound medium chrome yellow J 3 ounces lampblack ' Yellowish Brown I 86 pounds french ochre 3 pounds Venetian red j 1 pound lampblack _ \ Dark Gray j iY pounds lampblack | Dark Brown | 100 pounds french ochre \ 28 pounds Venetian red j 5 pounds lampblack j No white-lead j Dark Green \ 100 pounds medium chrome green 8 pounds medium chrome yellow 1 pound lampblack ; No white-lead Painting Wood Shingles. A paint for wood shingles should be prepared as'follows: For the priming coat use formula No. 1, page 9. For the second coat use: Formula No. 11--Second Coat (Wood Shingles) 100 pounds Dutch Boy white-lead 2 gallons pure raw linseed oil 1 gallon pure turpentine 1 pint pure drier This formula makes 6 gallons of paint. For the third coat use formula No. 3, page 12. I 0007-SWP-0053197 22 Exterior Wood Painting Staining Wood Shingles. A small amount of tinting material, sufficient to stain the shingles to the desired color, should be added to a mix ture of the following oils: (a) 1/3 Dutch Boy flatting oil 1/3 pure boiled linseed oil 1/3 creosote oil --or-- (b) 1/3 Dutch Boy flatting oil 2/3 pure boiled linseed oil ` - In order to obtain the desired color, it is only necessary to add the proper paste tinting pig ments to either of the above formulas. The fol lowing color formulas give the amounts of paste pigment required for each gallon of the oil mix ture to produce some of the more commonly em ployed colors. They are but a few of the numerous colors obtainable. Gray I2j4 lbs. white-lead *4 oz. lampblack Deep Red Brown lbs. dark indian red Bright Red 4 lbs. Venetian red Green lbs. chromium oxide Blue lbs. white-lead lbs. prussian blue 8'1 oz. lampblack Helpful Hints In Mixing and Applying Paint. Be sure to mix plenty of paint, both for body and trim.! It is better to have some left than Exterior Wood Painting 23 to run short, especially if you are using a tinted paint. None will be wasted, for the left-over is useful for painting cellar stairs, roof valleys or gutters and various odd places. Often the body and trim colors can be thrown together for such -work, bringing the mass to a neutral color by adding lampblack. 2. Note carefully the order of putting in the coloring matter as instructed. If the lead is mixed to painting consistency before the coloring matter is added, the latter is likely to break up in lumps and make streaks when brushed out. 3. It is an excellent idea to strain paint through cheesecloth or a wire strainer before using as this wilt be a further safeguard against lumpy colors and consequent streakiness. Paint also spreads further if strained. ' 4. Never use benzine or kerosene as a thinner instead of turpentine. This is sometimes done but they are inferior and injure the paint. 5. Use only the best liquid drier of some well-known manufacturer. 6. Dark driers as well as turpentine will slightly alter shades, and this must be taken into consideration. 7. On new wood, knots and sappy streaks should be shellacked before priming With pure alcohol shellac, brushed out very thin. When the lumber has very many knots, less oil and more turpentine may be used than the formula calls for, as too much oil on the knots causes later coats to draw and check. 8. Do not do outside painting in extremely cold, frosty or damp weather. Painting may be done in winter if care is taken to choose periods when temperature is right (above 50 Fi) and surfaces are dry. 0007-SWP-0053198 24 Exterior Wood Painting 9. Moisture in wood is the greatest foe to paint. Wood in new buildings is almost always water-soaked. Let it dry before painting. id . Be equallj' careful when repainting. Wait for dry weather and examine the surface care fully for moisture before painting. 11. The surface to be repainted should be smoothed down before the new paint is applied. If the old paint was white-lead and linseed oil, all that will be required is a dusting off. If hard paint was used it will be necessary to scrape the surface or perhaps burn the old paint off with a gasoline torch. Do not paint over old, lumpy, scaling paint. 12. Brush the paint well into the pores of the wood. Do not allow the paint merely to flow' from the brush. . 13. Use nothing but putty made of linseed oil and equal, parts of white-lead and whiting for filling nail-holes, cracks, knot-holes, dents and other defects in the surface. These places should be filljed thoroughly after applying the priming coat. Putty containing petroleum and marble dust often mars what would otherwise be a good painting job, by making yellow nail- holes and cracks. 14.. Preparations of cheap shellac, rosin, etc., are likely to ckuse knots to turn yellow. 15. It is ^vell to mix the paint 24 hours before being used, but if the paint is to stand long do not put the drier in until just before application. It is better not to allow paint to stand for long periods. It becomes fatty. 16. Two thin coats of paint are better than one hick coatL 17. In the case of linseed oil substitutes, it is sometimes claimed for substitutes that they are "just as gobd." Some of these substitutes are worthless. You should not, under any circum- Exterior Wood. Painting 25 stances, allow yourself to be persuaded to use any vehicle for outside painting in place of pure linseed oil, unless you have proved it to be satisfactory. In general, for one substitute that possesses virtue there are many that are simply adulterants. 18. Allow plenty of time between coats for the paint to dry. Exterior work should be allowed to dry two or three days before the next coat is applied and interior work at least twenty-four hours. Departments of Technical Paint Service and Decoration. If you have some special problem of a technical nature that is not covered in this book address your inquiry to us and opr De partments of Technical Paint Service and Decoration will give it prompt attention. If you wish color scheme suggestions for the exterior decoration of a house, please give us the information requested on page 102, So that we can more satisfactorily help you with your . problems. 0007-SWP-0053199 ~26 Interior Wall Painting CHAPTER II Interior Wall Painting The decoration of interiors presents a problem quite different from the painting of exteriors. Paint used inside is not exposed to the weather and is consequently mixed differently from paint ; intended for outside use. A large part of in terior surfaces is plaster, which is treated differently from wood. Glossy paint is invari ably used on exteriors while the decoration of interiors calls for a variety of finishes (lustre less, semi-gloss, full gloss, etc.), and a range qf color effects which includes those more delicate and elusive tints not ordinarily selected for exterior use. The points to consider in the treatment of interior surfaces are beauty, cleanliness and economy. Beauty involves color and style of finish. Cleanliness depends upon washability. Economy has to do with cost and years of wear. These three results are best reached by the use of psint made of pure white-lead. Soft-Tone Effects. Most inside painting now adays is done in dull or so-called "flat" effects. Up to a few years ago, these flat effects were always obtained with white-lead by thinning it with turpenline instead of linseed oil. At that time, special flatting oils for use with whitelead were developed. These flatting oils are. largely superseding turpentine for interior paint ing. The handsome, durable, washable, softtoned finishes1 which flatting oil gives is resulting in a marked increase in the popularity of the painted wall, especially for homes. One of the most successful flatting oils on the market today is Dutch Boy flatting oil. It flats Interior Wall Painting 27 white-lead better than turpetine does, yet binds the pigment particles together, insuring a paint film which will not chip off. Dutch Boy flatting oil is designed especially for use with Dutch Boy white-lead. So used, it produces a soft, glossless finish that has a depth of tone and a richness all its own. Aside from the remarkable beauty of a Dutch Boy white-lead and Dutch Boy flatting oil finish, the paint merits consideration from the standpoints of cleanliness and service. The hard, tile-like film it forms stands frequent 'washing with warm wrater, mild soap and a soft cloth or a sponge and can thus be kept absolutely clean and sanitary. The durability of the paint is not affected in any way and there is no un sightly streaking as often occurs when a less stable paint is washed. Dutch Boy flatting oil with white-lead also makes a superior under-coating for enamels. Dutch Boy flatting oil is sold in quart and in one and five gallon cans, bearing the famous Dutch Boy trademark as a guaranty of ex cellence. Complete directions for use are printed on each can. Area of Room Surfaces. In estimating the number of square feet in a room to be painted, it is the practice to consider the walls, ceiling and woodwork as separate units. It is neces sary to do this as paint for plaster is mixed differently from that for wood, and the ceiling and sidewalls are not usually the same color. To ascertain the area of wall surface to be painted, multiply thi; linear measurement around the walls' of the room (perimeter) by the height of the walls (measured! from baseboard to pic ture molding or ceiling). From the area thus obtained, deduct the. area occupied by doors and windows. Divide the result by 600, which is 0007-SWP-0053200 28 Interior Wall Painting approximately the number of square feet of surface one gallon of paint will cover. The - answer is the number of gallons of paint needed ! for one coat. jfc I To determine the area of the ceiling, multi- - \ ply together its two dimensions. To this figure, " * add the area of the four strips of wall surface above the picture molding. Divide the total j area thus obtained by 600 which gives the quantity of paint needed for one coat. .-agn-* If walls or ceiling are irregular in shape, j divide into rectangles, calculating separately - _J the area of each rectangle. The sum of the I areas gives the total amount of surface to be j painted arid dividing by 600 gives the number s of gallons of paint needed for one coat. I Number of Coats. Three coats are recom- 5 merded for interior plaster which has never 1 before been painted--a priming coat, a second j or body coat, and a third or finishing coat. If j the plaster has been painted before, two coats _ 5 are sufficient, and the priming coat may be omi.ted. The old pairit, if in good condition, serves as a priming coat. ,:r ? If a two-coat job on new work is desired, use the priming and finishing coats given in the - formulas which follow7, omitting the second coat. j To make twJo coats hide better, mix the first .: coat a little darker thanlhe second coat. Two coats cannot!be {expected to hide as well as three nor to give as fine a finish. In fact, it is not considered the best practice to use only two coats on new work. Experience has shown that three coats are necessary for entirely satisfactory results, and it is best therefore to . play safe always by; using three coats. Preparing, the Surface. It is best always to allow plaster at least six months to dry out - thoroughly or "set" 'before attempting to paint Interior Wall Painting 29 it. Fresh plaster contains a certain amount of free alkali which has a tendency to keep paint from drying properly and to cause colors to bleach out. A good many people do not care to let their walls go unpainted for six months. In such cases, painters oftentimes artificially "age" the new plaster by treating the surface with a solu tion made by dissolving two pounds of zinc sulphate in one gallon of water. After this solution is applied, sufficient time is allowed for the plaster to dry before priming. Plaster often shows fine, -hairlike cracks due simply to the shrinkage of the plaster as it dries out. These cracks are called "fire-cracks." Sometimes fire-cracks in bare plaster are in visible but become noticeable after the first coat of paint has been applied. This is due to the fact that they absorb oil from the paint, leaving a "flat" line on the surface. To correct this condition, painters oftentimes resort to the use of sizes, which seal the pores of the plaster. Two particular classes of sizes In more or less general use are glue sizes and varnish sizes. Both have given good and bad results according to whether they have been used properly or not. The safest thing to do is to purchase a size made by a manufacturer known to be reliable and to use it in accordance with the directions on the package. Glue sizes are usually applied over the prim ing coat of paint. The reason for this practice is that glue sizes give much better results between coats of paint than when applied to the bare plaster. Varnish sizes are applied to the plaster and usually' take the place of the priming coat. Sometimes the second coat will hide the fire- 0007-SWP-0053201 30 Interior Wall Painting cracks but occasionally a proper size over the priming coat is required to seal them. If fire-cracks are evident before the priming coat is applied, the size is sometimes rubbed on the plaster with a cloth to seal the cracks. Before applying any paint, be sure that the plaster or old paint is clean and smooth. Go over the wall very lightly with fine sandpaper or a wide putty knife to remove grit and any loose plaster or paint, taking care no) to scratch the surface** Fill all cracks and holes with plaster of paris or approved patching plaster. In the case of large cracks, open them up clear down to the lath, soak the edges writh water, and then fill the openings with plaster of paris or approved patching plaster. Be sure to level off the plaster of paris' properly so that the, filled places will not form ridges in the wall. When the plaster of paris has dried thoroughly* sandpaper down to a smooth, even surface. Walls that have been calcimined should be washed clean before applying white-lead paint. Mixing the Paint. To mix white-lead paint for interior work, follow the mixing directions appearing ,on page 9 under the heading "Mix ing the Paint." The only difference is that for ajll but the priming coat, flatting oil or turpentine is used in place of linseed oil. The following formulas are for white paint. See pagesi 34 and 35 for tinted paint. Formula No. 12--Priming Coat {Plaster Walls--Interior) 100 pounds Dutch Boy white-lead +7 gallons pure boiled linseed oil 1 gallon pure turpentine t If boiled linseed oil cannot be obtained, 7 gallons Interior Wall Painting 31 The preceding formula makes 11 gallons of paint which should cover 5,500 square feet, one coat, . Formula No. 13--Second Coat {Plaster Walls--Interior) (a) 100 pounds Dutch Bay white-lead 2 to 3 gallons Dutch Boy flatting oil --or-- (b) *100 pounds Dutch Boy white-lead T/z gallon pure raw linseed oil. 2 gallons pure turpentine 1 pint pure drier The above formula (a) makes 5 to 6 gallons of paint which should cover about 3,500 to 4,200 square feet, one coat. Formula (b) makes sJA gallons of paint, which should cover about 3,300 square feet, one coat. Formula No. 14--Third Coat, Flat Finish {Plaster Walls--Interior) (a) 100 pounds Dutch Boy white-lead 2 to 3 gallons Dutch Boy flatting oil ---or-- (b) *100 pounds Dutch Boy white-lead 2 gallons pure turpentine 1 pint pale varnish (suitable for enamel) Yz pint pure drier The above formula (a) makes 5 to 6 gallons of paint which should cover about 3,500 to 4,200 raw linseed oil with 3 i pints drier may be used instead and will 1 in most ; cases give satisfactory re sults. Boiled oil 1 is' much: superior, however, and will often obviate trouble when conditions are difficult. It seals pores in the plaster jand prevents suction. Con trary to the belief of many, boiled oil can be had. * All formulas for the painting of plaster, which are marked with an asterisk, are alternates to be followed only if turpentine is to be used instead of Dutch Boy flatting oil. 0007-SWP-00532Q2 32 Interior Wall Painting Interior Wall Painting 33 square feet, one coat. Formula (b) makes 5 gallons of paint, which should cover about 3,000 square feet, one coat. Formula No. 15--Third Goat* Eggshell Gloss Finish {Plaster Walls--Interior) (a) 100 pounds Dutch Boy white-lead lYz to 3 gallons Dutch Boy flatting oil Yx gallon pale varnish (suitable for : enamel) , v --or-- (b) *100 pounds Dutch Boy white-lead 1^2 to 2 gallons pure turpentine 24 gallon pale varnish (suitable for enamel) )4 pint pure drier The formulas above make 5 to 5)4 gallons of paint which, should cover about 3,000 to 3,300 square feet, one coat. Formula No. 16--Third Goat, Oil Gloss Finish {Plaster Walls--Interior) Note: The following formula should be used only for dark colors, as light-colored paint con taining considerable1 raw linseed oil will yellow badly when used on interiors. Where a light- colored gloss finish is required, follow formula No. 17. I'b.iri.Mr : (a) 100 pounds Dutch Boy white-lead 3 gallons pure raw linseed oil Y\ gallon Dutth Boy flatting oil 1 pint pure drier : Mut,;5.-HOr-- * All formulas fori the painting of plaster, which are marked with an asterisk, are alternates to be followed only if turpentine is to be used instead of Dutch Boy flatting oil. (b) *100 pounds Dutch Boy white-lead 3 to 3)4 gallons pure raw linseed oil 1 pint pure turpentine 1 pint pure drier The preceding formula (a) makes 6)4 gallons of paint which should cover about 3,750 square feet, one coat. Formula (b) makes 6 to 6)4 gallons of paint, which should cover about 3,600 to 3,900 square feet, one coat. Formula No. 17--Third Coat, Enamel Finish ;| {Plaster Walls--Interior) | 3 pounds Dutch Boy white-lead (mixed :j| and drawn as explained below) 1 gallon pale varnish (suitable for enamel) This formula makes one gallon of paint which should cover 500 square feet, one coat. To mix and draw white-lead as required for varnish gloss finish, mix the white-lead with turpentine, 3 pounds to 1 gill, and let the mix ture stand overnight or longer to settle. Then draw off the thinners from the'top and add 1 , the pale varnish. 1 Colored Interior Paint. The preceding forj mulas for interior painting produce white paint. | If colored paint is desired, the white paint can 1 be tinted by the addition of proper tinting colors I before all the thinners are added, as explained . j on page 9 under "Mixing the Paint." See also - 1 section on "Colored Exterior Paint" on page 17, I which gives some valuable pointers on the selecI tion and use of colors-in-oil, and formulas, on 1 ] next page. - j * All formulas for the painting of plaster, which ~j are marked with an asterisk, are alternates to be followed only if turpentine is to be used instead of Dutch Boy flatting oil. wJ 0007-SWP-0053203 / :T 4o Interior Wall Painting % times called, the silk finish, offers quite a unique forte of Side Wall treatment, particularly for use m panels: Contrary to the preceding effect, the finishing coat, tinted to the desired color, should be pre pared on formula No. 15, page 33, to produce an eggshell gloss instead of a fiat When brushed out and allowed to dry, a light stencil color of paste consistency, thinned slightly with Dutch Boy flatting oil, should be applied through the openings of a stencil previously selected. The stencil design should as closely as possible approximate the general character of pattern commonly associated with satin and' silk fabrics. The fiat color applied through this stencil should be tinted on a light order to properly harmonize with the eggshell gloss ground color. After the stencil lias been removed and the work is dry, it will be noted that a changeable effect has been secured of exceptionally interest. To the observer standing immediately in front of a panel carried out in this manner, it would seem as though a plain stencil treatment in delicate colors had been employed. When viewed, however, from such an angle as to receive the light directly reflected from the finish, it will lie observed that the ground color, which when previously noted appeared dark and the stencil light, now appears in just the reverse manner. This change is, of course, due to the ability of the eggshell gloss ground to more perfectly reflee: the light which it receives than does the flat stencil. In consequence, the former will appear quite light and the latter dark. To obtain the-best results, the eggshell gloss coat should always be tinted on a slightly darker and stronger order than the light flat stencil color. '" ...... """ " Interior Wall Painting 41 Stencil Finish. Whether a decorative note of color is required over an entire side wall or simply in small spots here and there in the panels, the stencil offers a ready means of sup plying it. It is invaluable as a quick method with which to secure a frieze or panel border where moldings are missing. Although it can be applied with comparative ease, there are two points which should not be overlooked in connection with its application. First, care should be taken to avoid the use of a thin paint as a stencil color. The paint should be of practically* paste consistency, thinned slightly with Dutch Boy flatting oil, and should be applied with a fairly dry' brush. Second, care should be taken to actually compare the stencil color directly against the ground over which it is to be applied, since those colors in the immediate vicinity of the stencil -will in fluence and seem to change its color' charac teristic to a surprising degree. Lace Stencil Finish. The lace stencil finish lends itself very readily for use in panels where a treatment is wanted that mayr be rendered in such minute detail as to still hold the observer's interest under closest inspection. The flat ground, prepared on formula No. 14, page 31, overwhich the stencil is placed, may be a one-tone treatment or a blended or shaded effect as described on this and the opposite page. When the ground is dry, a strip of lace of selected pattern should be coated with thinned shellac in order to make the fabric non-ab sorbent and protect it for future use. The lace should be placed firmly against the side wall in the particular area designated to receive it and the color should be stenciled through the openings with a comparatively dry brush. * 0007-SWP-0053207 42 Interior Wall Painting In this type of treatment, a -word of caution should be introduced against the use of too fine a lace pattern, as difficulty will be encountered unless the openings are sufficiently large to properly enable the bristles of the brush to pene trate to the ground beneath. In rendering this lace effect, a light finishing coat may be used for a ground over which a dark stencil color is applied; or, in the reverse manner, a light stencil color may be worked over a dark ground. Tiffany Finish. 'This finish was originally developed by the famous Tiffany Studios of New York City. To produce the tiffany or, as it is sometimes called, a blended or glazed finish, the surface should first be brought up to ground color selected by adding the required amount of tinting materials to formula No. 14, page 31. This finishing coat when applied should be allowed to thoroughly dry. Over this should be brushed a coat of straight Dutch Boy flatting oil, taking care to cover no larger area than can be, conveniently worked. While the flatting oil is still wet, the glazing colors selected should be applied here and there. With a ball of cheesecloth, the colors should be blended one into another with a circular or figure 8 motion. High lights should then be wiped out here -and there to permit the ground color to show through and the work finished by tamping with a ball of cheesecloth. The methdd as outlined above applies of course to smobth finish plaster, but equally inter esting effects bh this same order may be obtained on rough finish plaster, provided the glazing colors when applied] a're blended into one an other by tamping with a stippling brush. Shaded Tiffany Finish, The shaded tiffany consists of deeper colors blended near the base Interior Wall Painting 43 and graduated into a lighter ground color as the ceiling line is approached. Besides giving an interesting decorative effect, it has many advantages. It is often employed as a treat ment for the cove; side wall panel or for the vaulted ceiling to give the appearance of in creased height. . An appropriate flat ground color, prepared on formula No. 14, page 31, tinted for example on a cream order, is selected, applied and allowed to dry. Over this a coat of straight Dutch Bov flatting oil is brushed to cover such a section of the surface as can be easily worked at one time. While the flatting oil is still wet, the glazing colors selected should be applied near the top of the surface in small spots, considerably re moved from one another, and as the application of these spots continues down the wall, they should be made larger and more closely spaced as the base line is approached. As outlined under "Tiffany Finish," the colors should be blended into one another with' a ball of cheesecloth with a faint suggestion of wiped high lights, through which the ground color would be just discernible. The work should then be finished by tamp ing with a ball of cheesecloth, but care should be taken to see that the tamping is commenced with a clean cloth at the top of the wall. The plain shaded effect is carried out in a similar manner save that the color gradation should be as even as possible: with no attempt being made to suggest high lights by wiping through to the ground colojr beneath. The ground should only be permitted to show at the top of the wall surface and into which the glazing color is gradually blended. Polychrome Finish. The polychrome or multi- 0007-SWP-0053208 44 Interior Wall Painting colored finish is interesting for use where spots of color are required to accentuate certain mold ings composed of individual units such as the egg and dart, bead, floral motifs, etc., that may be present in the interior. This finish is, as a general rule, most satisfactory for use as an added touch of decoration in a room wherein a plain one-tone treatment has been employed on the side wall and ceiling. This finish is best obtained by employing on the various units composing the molding several different colors which have been extended into tints by the addition of Dutch Boy white-lead. These tints should be quite light and nearly equal in value. To pick out parts of the mold ings in certain of these light colors offers a remarkably effective treatment for large rooms, since it lends a colorful touch to an interior that might otherwise appear cold and uninter esting. Two-tone Glaze or Antique Finish. This method of finishing the plain one-tone wall; or some more elaborate decorative treatment, is indispensable where the colors that have been employed need to be softened and a rich depth of tone added to the work. The effect is simply oblained by first prepar ing a thin semi-transparent glaze composed of Dutch Boy flatting oil to which has been added the desired arnbun]t of tinting material to pro duce the depth of tone required. In the case of a one-tone wall, this glaze should be applied over the dry finishing coat, prepared on formula No. 14, page 31, ;and while the glaze is still wet it: should be wiped lightly over with a ball of clean cheesecloth. This operation will re move a certain ampu nt of the glaze, permitting a sufficient portion to remain on the surface to present an antique effect. Interior Wall Painting 45 Wiped Stencil Finish. Starting with a dry one-tone flat ground, prepared on formula No. 14, page 31, and tinted to the desired color, a coat of straight Dutch Boy flatting oil is ap plied. On this wet surface' the glazing colors selected are spotted in an uneven manner. The colors are then blended one into another until a tiffany finish is produced. While the tiffany is still wet the stencil selected for use should be placed firmly against the surface and the glaze appearing through the openings of the stencil should be removed by wiping with a ball of cheesecloth. This will permit the ground color to show' through. The ease with which an error can be cor rected by simply glazing over the spot and re wiping through the stencil can be readily ap preciated. The ability of the painter to actually complete his stencil work without having to wait until the ground is dry before the usual stencil work can be applied is also obvious. There are many Interesting possibilties with this finish. When the stencil is placed against the wall, the glaze may be. wiped out in a clean manner to show a clear-cut pattern, or may be wiped lightly to show a faint and some what indistinct outline. When the latter is done, care should be taken to wipe clean the edge of the area appearing through the stencil opening. This operation. permits a small amount of the glazing color to remain in the center of each motif, harmonizing with the remainder of the glazing color used on the side wall. Another interesting method* of treatment is to wipe clean the areas appearing through the j stencil openings and then apply, in the regular ! stencil manner, some of the clear glazing Colors t which were used in originally spotting the wall 0007-SWP-0053209 46 Interior Wall Painting for the glazed effect. This will naturally \ produce a stencil In complete harmony with the 3 remainder of the side wall since identically the \ same colors were employed. .1 The wiped stencil is, of course, appropriate - \ for use only on smooth finish plaster, since ob- vious difficulties would be encountered in en deavoring to wipe clear the surface of a rough- . : finished ground. ' Striping,. Where a simple method of treat- ment is required to lend a distinctive air to an interior which has been treated in a plain one- tone effect, striping lines may be used with - excellent results. Striping consists of nothing more than a narrow banding line of some har monizing color of greater strength than that applied on the side wall. : For general use this line should perhaps be ^three-quarters of an inch in width, completely outlining all window frames, door frames, and running parallel with such other interior trim as may be present The striping line should be applied direct to the; side wall a few inches out from the wood trim, the distance depending largely on the width of the stripe which is, in turn, invariably determined by the size of the room. The usual distance in the normal room is about three to four inches for a three-quarter stripe. Striping is also employed where imitation stone effects are required as a method of mark ing their outline. Pandled Effects with Paint. Large interior surfaces are1 often encountered that would ap pear far more interesting if treated in a paneled effect than if they were permitted to remain in large unhrqked areas. Striping or stenciling with paint to produce panels offers a simple solution of the problem. Interior Wall Painting 47 In laying off the side wall in panels, consider able discretion should be exercised in order that the panels may be interesting in shape. As a general, rule, panels should be taller than they are wide in order to lend an atmosphere of height to the interior. When panels have been outlined and the decorative panel treatment carried out, a solid striping line of color or a stencil border should be applied to properly frame each panel. The width of the border selected for use is dependent on the panel size. Sponge Mottle Finish. In the sponge mottle finish the colprs chosen for the ground and mottling coats should differ sufficiently to show the desired degree of contrast in the finished effect. The flat ground, prepared on formula No. 14, page 31, over which the sponge mottle is to be applied, should be tinted to some light color and should be allowed to thoroughly dry. A coarse fibre sponge should be cut in halves in order to present a flat surface. The sponge should then be immersed in water to properly soften the fibres, after which it should be care fully wrung out. The flat surface, dipped into the finishing coat previously prepared and of a color differing from the ground, should be pressed against the side wall here and there over the entire surface. Care should be taken to dip the sponge into the finishing color often enough to leave a uniform sponge print. Where three or more colors are required in the finished effect, these may be prepared and applied as previously ^escribed. Combed Stencil Finish. This type of finish is a most ingenious and; useful adaptation of the stencil idea. While it has an extensive use as a finish for formal rooms, it can be used in such a manner that it presents a charming finish for 0007-SWP-0053210 48 Interior Wall Painting many of the more intimate rooms in the average home. One of the most interesting effects of the latter type is obtained by using a tiffany treatment in panels and then finishing with the combed stencil within the panel borders. Or instead of using the stencil over the entire panel, employ only a strip as a border effect inside the panel mold ings. Either of these two treatments will result in a most charming and unusual effect. The combed stencil effect is produced over a tiffany glaze background, described on page 42. The stencil is placed against the wall while the glaze is still wet and the glaze appear ing through the openings of the stencil re moved slightly here and there by wiping with a ball of lintless cloth. When this has been done an ordinary steel graining comb is drawn vertically and then horizontally across the sur face of the stencil. In this simple operation the teeth of the comb penetrate through the openings of the stencil removing a little of the glam coat. This permits the ground color to show through the delicate line tracery established by th'e combing process. Combination' Effects. All the special wall finishes described on the foregoing pages are subject to 'interesting variations arid many may bei used with Excellent results in combinations one with another. A little experimenting will disclose innumerable possibilities. For example, the two-tone crumpled roll finish serves as an excellent background over which to apply a sponge mottle or stencil, giving an elaborate and highly decorative treatment. In the same way a lace effect cah be vvorked out with exceptional success over a tiffany or shaded ground. Whitehead and Oil Plastic Paint Effects. The trend is away from excessively rough sur j ] 4 j 1 * Interior Wall Painting 49 faces as wall finishes but . modified textures are gaining in popularity. This latter type of tex tural effect can be produced readily with a white-lead and oil plastic paint. Such a paint is made with materials that the painter always has in his shop, is relatively low in cost and gives a finish that is durable and can be kept clean by washing. For a wall effect of modified texture, apply a coat of paint mixed as follows: Formula No. 17a--Plastic Paintxoo lbs. Dutch Boy white-lead 22 lbs. dry whiting gals. Dutch Boy flatting oil 1 gill drier This formula makes about 5^ gallons of paint which should cover about 350 square feet, one coat. Break up or thin the white-lead with threequarters of a gallon or half the flatting oil specified. Do the same with the whiting. Then combine both mixtures and add the drier. The resulting paint, although heavy, will brush out with comparative ease, after which it may be manipulated with a brush, whiskbroom, sponge or any other means, to conform with the ideas of the decorator. A plastic paint prepared as described may be tinted prior to its application, or may have colors-in-oil worked into it while it is still wet. Such a paint sets up overnight and can easily be glazed to lend additional color interest to the surface, if such a procedure is desired. When the plastic paint is to be applied to new plaster walls, it is recommended that the walls first receive a priming coat prepared according to formula No. 12, page 30 of this booklet. If the walls have been previously painted, and are in satisfactory condition for repainting, the plas tic finish may be applied direct. 0007-SWP-0053211 50 Interior Wall Painting Interior Wood Finishing 51 Painting Fabric Coverings. To overcome de fects in plaster walls or to anticipate others which it is feared may develop, plaster walls are sometimes covered with muslin or a specially prepared fabric of some kind which is then painted. No difficulties are encountered in painting such fabric coverings. The painting is done in the regular way just as if plaster were being painted, nnd the finished job is prac tically indistinguishable from ordinary painted plaster. If the fabric has been prepared with size no priming coat it necessary. Painting Wall Board. Composition, wall board, which is used on many; interiors to take the place of plaster, can be painted with satis factory results. Such surfaces may be treated in the same way as new plaster walls and the painting should be done as directed under "Preparing the Surface," page 28, and "Mixing the Paint," page 30. If the wall board has been prepared with a size no priming coat is necessary. Washing Painted Walls. The side walls should first be sponged upward with clear water, after which they should be washed down wit! water and a pure neutral soap such as castile. Hie work should then be thoroughly rinsed. Departments of Technical Paint Service and Decoration. If you have some special problem of a technical nature that is not covered in this book, address your inquiry to us and our De partments of Technical Paint Service and Dec oration will give it prompt attention. Tf you wish color scheme suggestions for the interior decoration of a house, please give us the information requested on page 103, so that we can more satisfactorily help you with your problems. { CHAPTER III i Interior Wood Finishing rJj The same general principles which apply to | the painting of exterior wood may be laid 4 down for the painting of interior wood. The | paint is applied in the same way and the same 1 number of coats are used, but the formulas for | mixing differ due to the fact that paint on | interior wood is not exposed to the sun and rain | and the finish may be a full gloss, a dead flat, | or any intermediate finish. Before mixing the paint, refer to mixing di rections on page 7 under the heading "Mixing the Paint." Also see "Helpful Hints in Mix- ing and Applying Paint" on page 22. Also see discussion of raw and boiled linseed oil on page 8. Estimating Quantity of Paint. Treat all doors as if they were plain rectangular shapes, multiplying height by width to arrive at area. Divide the result by 6bo, which is approxi mately the number of square feet of surface one gallon of paint will cover. The answer is the number of gallons of paint needed for one coat. For other woodwork, such as window frames, baseboards, molding, etc., simply figure about 3/5 gallon of paint for every 100 running feet Painting New Inside Wood. The following formulas are for white paint See pages 34 and 35 for tinted paint. 0007-SWP-0053212 52 Interior Wood Finishing Formula No. 18--Priming Coat {New Inside Wood) . (a) ioo pounds Dutch Boy white-lead 3 gallons pure raw linseed oil 3 gallons Dutch Boy flatting oil r pint pure drier --or-- (b) *ioo pounds Dutch Boy white-lead 3 gallons pure raw linseed oil 3 gallons pure turpentine ito z pints pure drier The preceding formulas make ro gallons of paint which should cover about 5,750 square feet, one coat. As on outside wood, the painter may exercise his discretion in the use of the thinners pre scribed--thus on white pine, poplar and bass wood, which more readily absorb oil, increase the quantity of linseed oil. On yellow pine, cypress, spruce and hemlock, use less linseed oil and more flatting oil or turpentine and drier. Formula No, 19--Second Goat (New Inside Wood) (a) 100 pounds Dutch Bey white-lead z to 3 gallons Dutch Boy flatting oil --or-- (b) *100 pounds Dutch Boy white-lead x/z gallon pure raw linseed oil z gallons pure turpentine 1 pint pure drier The preceding formula (a) makes 5 to 6 gal lons of paint which should cover about 3,500 to 4,200 square feet, one coat. Formula (b) makes * Formulas marked with asterisks are alternates to be followed only if turpentine is to be used in place of Dutch Boy flatting oil. Interior Wood Finishing 53 5/4 gallons of paint, which should cover about 3,300 square feet, one coat Tormula No. 20--Third Goat, Flat Finish {New Inside Wood) (a) 100 pounds Dutch Boy white-lead z to 3 gallons Dutch Boy flatting oil --or-- (b) *100 pounds Dutch Boy white-lead 2 gallons pure turpentine 1 pint pale varnish (suitable for enamel) J4 pint pure drier The preceding formula (a) makes 5 to 6 gal lons of paint 'which should cover about 3,500 to 4,200 square feet, one coat. Formula (b) makes 5 "gallons of paint, which should cover about 3,600 square feet, one coat. Formula No. 21--Third Coat, Eggshell Gloss Finish {New Inside Wood) (a) 100 pounds Dutch Boy white-lead 1 )4 to 2 gallons Dutch Boy flatting oil 24 gallon pale varnish (suitable for enamel) ... or-- (b) *100 pounds Dutch Boy white-lead ij4 to 2 gallons pure turpentine 24 gallon pale varnish (suitable for enamel) pint pure drier The above formulas make 5 to gallons of paint which should ;cover about 3,000 to 3,300 square feet, one coat. * Formulas marked with asterisks are alternates to be followed only if turpentine is to be used in place of Dutch Boy flatting oiL J 0007-SWP-0053213 / 54 Interior Wood Finishing gr-_ "< Formula'No-.22--Third Coat, Oil Gloss Finish (New Inside IVcod) * .....i J Note.--The following formula should be used only for dark colors, as light-colored paint containing considerable raw linseed oil will yellow badly when used pn interiors. Where a lightcolored, oil-gloss finish is required, follow j -i - - j formula No. 17, page 33. (a) 100 pounds Dutch Boy white-lead 3 gallons pure raw linseed oil % gallon Dutch Boy flatting oil 1 pint pure drier ----or---- (b) *100 pounds Dutch Boy white-lead 3 to 3J4 gallons pure raw linseed oil 1 pint pure turpentine 1 pint pure drier The first formula (a) above makes 6*4 gal lons of paint which" should cover about 3,750 square feet, one coat; the second formula makes 6 to 6}4 gallons of paint which should cover about 3,600 to 3,900 square feet, one coat. ' Enamel Finish. When a prepared enamel is to be used as the finishing coat, the priming and body coats should be mixed according to For mulas No. 18 and No. 19. A sufficient number of coats of Formula No. 19 should be applied to give a satisfactory,body,for the enamel finish. Repainting In&idh Wood. Two coats are enough for old work, for the old paint serves as a priming coat . Formula No. 23--First Coat (Repainting Inside IVood) (a) 100 pounds Dutch Boy white-lead 2 to 3 gallons Dutch Boy flatting oil -W-OF-- * Interior Wood Finishing 55 (b) *100 pounds Dutch Boy white-lead gallon pure raw linseed oil 2 gallons pure turpentine 1 pint pure drier The preceding formula (a) makes 5 to 6 gal lons of paint'which should cover about 3,500 to 4,2oo` square feet, one coat. Formula (b) makes 5^4 gallons of paint, which should cover about 3,300 square feet, one coat. Formula No. 24--"Second Coat, Flat .Finish (Repainting Inside Wood) (a) 100 pounds Dutch Boy white-lead 2 to 3 gallons Dutch Boy flatting oil --yor--- (b) *100 pounds Dutch Boy white-lead 2 gallons pure turpentine 1 pint pale varnish (suitable for enamel) J4 pint pure drier The preceding formula (a) makes 5 to 6 gal lons of paint which should cover about 3,500 to 4,200 square feet, one coat; the second formula makes 5 gallons of paint wThich should cover about 3,000 square feet, one coat. Formula No. 25--Second Coat, Eggshell Gloss Finish (Repainting Inside Wood) (a) 100 pounds Dutch Boy white-lead 1 *4 to 2 gallons Dutch Boy flatting oil A gallon pale varnish (suitable for enamel) * Formulas marked with asterisks are alternates to be followed only if turpentine is to be used in place of Dutch Boy flatting oil. 0007-SWP-0053214 56 Interior Wood Finishing (b) *ioo pounds Dutch Boy white-lead 11/2 to 2 gallons pure turpentine 34 gallon pale varnish (suitable for enamel) Yi pint pure drier The preceding formulas make 5 to 5gal lons of paint which should cover about 3,000 to 3,600 square feet, one coat. * Formula No. 26--Second Goat, Oil Gloss Finishf . (Repainting Inside Wood) (a) 100 pounds Dutch Boy white-lead 3 gallons pure raw linseed oil ' Y\ gallon Dutch Boy flatting oil 1 pint pure drier ---or--- (b) *100 pounds Dutch Boy white-lead 3 to 3]/$ gallons pure raw linseed oil 1 pint pure turpentine 1 pint pure drier The preceding formula (a) makes 6Yi gal lons of paint which should cover about 3,750 square feet, one coat; the formula (b) makes 6 to 6j4 gallons of paint,which should cover about 3,600 lo 3,5100 square feet, one coat. Enamel Finish. When a prepared enamel is to be used as the finishing coat, the body coats should be mixed according to Formula No. 19, page 52. A sufficient number of coats of For mula No. 19 should be applied to give a satis factory body for the enamel finish. Special, Interior "yVood Finish. Sometimes an especially fine finish, unnecessary for ordinary * Formula marked with an asterisk is an alternate to be followed only if turpentine is to be usedin place of Dutch Boy flatting oil. f See note under Formula No. 22, page 54. j 1 "} Interior Wood Finishing 57 conditions, is called for. Where this is the case the following steps should be taken: if The woodwork should be smooth, dry | and cleaned of all dust before painting. Apply 1 first a. coat of orange shellac, thinned with good' * quality denatured alcohol. Let the shellac ; harden twenty-four hours and then sandpaper. down. Apply a coat of paint mixed according : to the following formula. (To insure whiteness, j mix the lead with turpentine, 100 pounds to 2 I gallons, and let it stand overnight or longer to j settle. Then draw off the thinners from the top j and bring to brushing consistency by adding ! flatting oil or turpentine and pale varnish.) Formula No. 27--Body or First Goat Over Shellac {New Inside Wood) (a) 100 pounds Dutch Boy white-lead 1 (drawing the oil, as in preceding paragraph) 2 to 3 gallons Dutch Boy flatting oil --or--- (b) *100 pounds Dutch Boy white-lead (drawing the oil as in preceding paragraph) 1J4 gallons turpentine Y gallon pale vhrnish (suitable for enamel) Y pint pure drier The preceding formula (a) makes 6 gallons of paint and should cover about 3,600 square feet, one coat; the second formula (b) makes 4J/2 gallons of paint hud should cover about 2,700 square feet, one coat. * Formula marked with an asterisk is an alternate to be followed only if turpentine is to be used in place of Dutch Boy flatting oil. 0007-SWP-0053215 -1 58 Interior Wood Finishing I Interior Wood Finishing : 59 2. Old woodwork should be rubbed smooth with sandpaper, steel shavings or steel wool !J until all gloss has disappeared. Then apply 1 one coat of paint mixed according to Formula I No. 27. | When the first coat on either new or old work ; is dry and hard, putty all defects such as knot- holes, dents, cracks, etc., with a white-lead putty j composed of equal parts of white-lead and whitings. j 3.. From this point, new and old work should > be treated alike. When first coat is dry, rub 'i down with No. O sandpaper. Repeat coats of Formula No. 27 as many times as is' necessary to bring the surface to clear white with no dark j places showing through. 4. Next make an enamel by adding Dutch j Boy white-ilead to pale varnish in the propor- j tion of three pounds of w'hite-Iead to one gal- j Ion of varnish. Break up the white-lead with I a little turpenline to a thick paste and mix well | with the varnish. Apply as paint. After the 3 er.amel is dry, rub down with pumice in water . J and apply a second coat of the same enamel. 1 This completes full-gloss finish. For silk finish rub down the last coat with fine pumice and water, clean off and finish with rctten stone and sweet oil. Polish finally with 1 a chamois. (Or, expense and trouble of nib bing down last coat may be avoided by apply ing one coat of dull varnish.) ^ To obtain ivory effect, tint last coat with just enough raw7 sie.hna to turn it off the white, before applying, enamel. The enamel Coats m,ust be tinted in like manner. Antique or Old Ivory Finish for Interior Wood'Trim. Tills effect is produced by brush- | ing over an ivory colored ground a thin glaze composed of: ..................... 1 1 gal. Dutch Boy Hating oil 12 oz. burnt umber Before this glaze has set up, it should be removed from the raised parts of the trim by wiping with a clean rag. The small amount of glaze remaining in the depressed portions gives the antique effect required. Colored Interior Paint. The preceding for mulas for interior painting on wood produce w7hite paint. If colored paint is desired, the white paint can be tinted by the addition of proper tinting colors before all the thinners are added, as explained on page 7 under "Mixing the Paint." See also section on "Colored Ex terior Paint" on page 17, which gives some valuable pointers on the selection and use of colors-in-oil, and formulas on pages 34 and 35. Staining Interior Wood. In staining new in terior wood a very thin coat of shellac, par ticularly if the wood is soft, should first be applied to make an even foundation for the stain. If this precaution is not taken, the stain will strike in here and there, appearing d^rk in some spots and light in others. When the shellac is dry, the stain selected can be applied oyer it. Stain Formulas (Natural Wood) (a) 2 quarts Dutch Boy flatting oil 2 quarts pure raw7 linseed oil 1 quart pure drier --- ?OT--- (b) 2 quarts pure raw7 linseed oil 2 quarts pure turpentine 1 quart pure drier To this stain may be added colors-in-oil, in the approximate proportions outlined below, to ob tain the required color. 0007-SWP-0053216 60 Interior Wood Finishing Cherry 2 lbs. burnt sienna i lb. raw sienna If the burnt sienna has more of a brown than a fiery red tone, omit the raw sienna but use three pounds of burnt sienna instead of two. Mahogany 2 lbs. burnt sienna 1 lb; rose lake Ya lb. dropblack Vary the proportion of dropblack to the depth desired for this stain. Light Oak 2 lbs. raw sienna J4 lb. raw umber If the raw sienna is inferior in staining power, omit the raw umber and Use three pounds raw sienna. Dark Oak 2 lbs. raw sienna ^ lb. raw7 umber Sinall amount burnt sienna Walnut 2 lbs. burnt umber or a mixture of burnt sienna and dropblack. If the burnt umber is very dark, add one-half pound burnt sienna. If, how7ever, the color of black wralnut is desired, add instead one-half pound Vandyke brcwn. Graining. A ground should first be prepared in the usual way, applying three coats of paint prepared on formulas: Nos. 18, 19 and 20, pages 52 and 53. If the Work has previously been painted, the printing coat (formula No. 18) l Interior Wood Finishing 61 may be omitted. The last two coats should be tinted, according to the wood to be imitated, as given below7, by adding the colors-in-oil in ap proximately the amounts indicated: Ground Colors Cherry 6J4 lbs. Venetian red Mahogany 10 lbs. french ochre 16 lbs. Venetian red Light Oak 1 lb. french ochre J4 lb. medium chrome yellow Dark Oak Y/2 oz. medium chrome yellow or. Venetian red 1/20 oz. lampblack Walnut 6 lbs. french ochre x oz. Venetian red 1 oz. lampblack For graining colors the tinting materials given under "Staining," for the particular wood to be imitated, should be thinned to brushing consistency with 3 parts pure turpentine 2 parts pure raw linseed oil 1 part pure drier This paint should be applied over the dry ground, and while it is still wet should be dragged, combed, or otherwise figured, in imi tation of natural wood graining. Painting Interior Floors. There are two kinds of floors that require painting--new floors laid with soft wood such as hemlock or white * 0007-S WP-0053217 62 Interior Wood Finishing pine; old floors that have become worn, scratched, stained or otherwise marred. New floors of hard wood, such as oak, ash, maple or yellow pine may be painted, if desired, but waxing or varnishing or staining makes a handsomer finish. Success with newly painted floors depends chiefly upon the choice of right materials and knowing how to use them. In fact, the only important particular in which the film of floor painc needs to differ from that on a window frame, door or the side of a house is the finish. The priming coat must anchor firmly into the wood, it must dry thoroughly and the outer coat must become hard before the floor is used. Note: For the procedure in preparing the surface and painting interior floors, both hard and soft wood, follow the directions given on pages 35 to 17, beginning with "Preparing the Surface." 1 Other Finishes for Hard Wood Floors. For hard wood floors that are not to be painted, four kinds of treatment may be named--oiling, shellacking, varnishing and waxing. The proc esses overlap more or less and vary according to the kind of wood. The treatment selected shou'd also depend upon the way the floor is to be used. A few fundamentals may be stated. Open-grained hard woods, such as oak, birch, ash or walnut, should be treated first with a good silex paste filler. Close-grained hard woods, like maple or cherry, require no filler. Yellow pine, owing to the pitch it is likely to contain, should first have a thin coat of shellac to prevent! the pitch from blistering later coats. Good silex' paste fillers ma:y be purchased read/ to apply. Or an excellent one may be made, by mixing the finest silex, or silica, with equal parts of pure linseed oil, ptire turpentine j j j j > 5 j ! ! j I j ! Interior Wood Finishing 63 and best japan .drier, so as to form a medium paste. Reduce this paste to a fairly thin mix ture with turpentine only, allowing the `filler to stand for a time. Brush across the grain of" the wood with a stiff, stubby brush that will work the paste well into the pores. O'ne coat makes a fair job, but two coats make a better one, filling up the checks which the first coat did not fill. After drying for an *hour or somewhat less, rub the wood briskly across the grain with coarse burlap or excelsior to remove surplus filler left on the surface. The purpose in using fillers is to fill the pores of open-grained wood, and to prevent darken ing by the excessive absorption of varnish or other material used for the finish. Oil Finish. Oiling, no doubt, is the most durable finish for a floor, though it requires fre quent going over. One effect of oil is to darken considerably the natural color of the wood. For a floor oil use three parts of pure boiled lin seed oil to one part of turpentine. When boiled oil cannot be obtained take four parts raw oil, one part turpentine and one part drier. Stir frequently while using; apply with a strong, stiff brush; rub well into the wood. Clean off all surplus oil not taken up by the wood. An oiled floor should be wiped frequently with an oiled cloth. Oily rags are liable to take fire spontaneously and should be burned. Shellac Finish. This treatment gives a fairly lasting finish if the floor is not to have very rough usage. Three or four coats of shellac, thinned down withJ good quality denatured alcohol, are recommended for either soft or hard wood floors. Sandpaper between coats. Riib down with oil an& pumice stone on the last coat if a dull finish1 is desired. 0007-SWP-0053218 V' . 64 Interior Wood Finishing .H Varnishing Floors. When a floor is to be varnished it is poor policy to try to save money on the varnish. A high-grade floor varnish, like kauri varnish, containing ioo pounds of -:i hard ` resin to 20 gallons of oil, is none too good. Assuming that the wood has been suit i ..3 ably prepared as suggested above, and then : -:1 I sandpapered smooth, two or three coats of var nish should be applied, allowing ample time between coats for drying. If the film is thin it wears array' too soon. A white shellac varnish, which dries quickly', is sometimes used. Var nish .s the cleanesl and most satisfactory finish if properly dbne, and it looks well so long as it does not become marred. Wax Finish. Get from any paint store a floor wax of good quality and spread the wax on the floor in a thin coat. If wax is too hard to spread easily reduce it byr mixing with tur pentine. A good method of application is to place a srriall quantity of wax between two or three thicknesses of cheesecloth, forming a sort of bag. The 'wax will work through the meshes of the cloth as it passer over the floor, thus insur ing a thin, even coat. Allow' 15 minutes for drying, llie:i rub to a polish with a clean, soft cloth, n weighted bru'sh, or similar device. In an hour or t-vo a second coat of w'ax should be applied the same as the first. To keep such a floor in prime condition requires frequent brushing or rubbing w'ith a soft cloth, and a thin coat of -.-ax about once a month. Waxing gives a beautiful finish, scratches on it are easily repairt-c and it tends least of all treat ments to dru-lpn the wood or hide the grain. Waxed firms are smooth and likely to be slip pery. Aside from this objection, and the con stant care they require W'ax is recommended as ihr handsomest1 of all finishes. Interior Wood Finishing Departments of Technical Paint Service and Decoration. If you have some special problem of a technical nature that is not covered in this book address your inquiry to us and bur De partments of Technical Paint Service and Dec oration w'ill give it prompt attention. If you w'ish decorative color suggestions for one or more rooms, follow instructions given on page 103. * 0007-S WP-0053219 s 66 Stucco, Concrete, Brick and Stone Painting | CHAPTER IV ? Stucco, Concrete, Brick and Stone Painting rS \J>*k: Preparing Brick and Stone Surfaces. If any mortar hafe become loose and washed out, re- |: point all such damaged places with mortar or * Portland cement before applying any paint. After priming, correct small defects in the sur face with putty. \t New brick should not be primed until dry. ^At least two or three days of dry weather should precede painting. No painting should be done in cold weather. Preparing Stucco or Concrete. Stucco,-con i' crete work and the mortar in brick or stone work should be allowed to stand ana dry at least a year before paint is applied. If painted within a year, it may be aged artificially by washing with a- solution, made by dissolving two pounds of zinc sulphate in one gallon of water or with ordinary1 carbonic acid water. Boiled linseed oil should be used as specified wherever possible, especially on stucco land con crete. If boiled oil is not available, raw oil and a drier should be used. Formulas for Stucco and Brick. For painting stucco or brick, apply three coats of paint mixed according tc the following formulas: Formula No. 28--Priming Coat (Stucco and Brick) io o pounds Dutch Boy white-lead 7 gallons pure boiled linseed oil (or 7 gallons pure i raw linseed oil and i Yz pints pure I drier) :i gallon pure turpentine Stucco, Concrete, Brick and Stone Painting 67 The preceding formula makes ioJ4 gallons of paint and should cover about 5,37s square feet, one coat. Formula No. 29--Second Goat (Stucco and Brick) . 100 pounds Butch Boy white-lead 4 gallons pure linseed oil (1/3 boiled, 2/3 raw) (or 4 gallons pure raw linseed oil and 1 pint pure drier) 1 gallon pure turpentine This formula makes 7^4 gallons of paint and should cover about 4,650 square feet, one coat. Formula No. 30--Third Coat, Gloss Finish (Stucco and Brick) 100 pounds Dutch Boy white-lead ' 3/4 gallons pure linseed oil (1/3 boiled, 2/3 raw) * (or 3*4 gallons pure raw linseed oil and 1 pint pure drier) 1 pint pure turpentine The preceding formula makes 6)4 gallons of paint and should cover about 3,900 square feet, ' one coat. Formula No. 31--Third Coat, Flat Finish (Stucco and Brick) 100 pounds Dutch Boy white-lead 2 gallons Dutch Bby flatting oil --or-- 100 pounds Dutch Boy white-lead 2 gallons pure turpentine 1 pint pure raw linseed oil )4 pint pure drier This formula makes 5 gallons of paint and should cover 3,060 square feet, one coat. 0007-SWP-0053220 68 Stucco, Concrete, Brick and Stone Painting Formulas for Concrete and Stone. Concrete and stone are not as porous as brick and stucco and should therefore be treated differently. Apply three coats of paint mixed according to the following formulas: Formula No. 32--Priming Coat {Concrete and Stone) ico pounds Dutch Boy white-lead 5 gallons pure boiled linseed oil (or 5 gallons pure raw linseed oil and i pint pure drier) i gallon pure turpentine This formula makes 8^4 gallons of paint and should cover about 4,375 square feet, one coat.- Formula No. 33--Second Coat (Concrete and Stone) ico pounds Dutch Boy white-lead 3 gallons pure linseed oil (1/3 boiled, 2/3 raw) (or 3 gallons pure raw linseed oil and 1 pint pure drier) J4 gallon pure turpentine This formula makes 6)4 gallons of paint and should cover about 3,900 square feet, one coat. Formula No. 34--Third Coat, Gloss Finish (Concrete valid Stone) 100 pounds Dutch Boy white-lead 354 gallons pure linseed oil (1/3 boiled,. 2/3 raw) (or 3^2 gallons pure raw linseed oil' and 1 pint pure drier) 1 pint pure turpentine This formula makes 654 gallons of paint and! should cover about 3,900 square feet, one coat. e* Stucco, Concrete, Brick and Stone Painting 69 Formula No. 35--Third Coat, Flat Finish - {Concrete and Stone) *ibo pounds Dutch Boy white-lead . 2 gallops Dutch Boy flatting oil mft- --or-- |; 100 pounds Dutch Boy white-lead 2 gallons pure turpentine tj pint pure raw linseed oil 54 pint pure drier This formula makes. 5 gallons of paint that should cover 3,000 square feet, one coat. Semi-Flat Finish. An excellent semi-flat finish on brick, stone, concrete and stucco can be secured by applying over the second coat one or two coats of paint made with i)4 to 2 gallons of flatting oil and $4 gallon of spar varnish to 100 pounds of white-lead. For brick-red. finish on outside brick, thin the color with Dutch Boy flatting oik > Painting Concrete Floors. The foregoing }\* priming coat for "Concrete and Stone"-- ^ formula No. 32--can-be used in priming con st crete floors, but the second and third coats * must be made to produce a harder finish than is necessary in the case of concrete and stone walls, as floors are subjected to much more severe usage than walls.. The following formu las will produce the hard finish needed: Formula No. 3:6---Second Coat (Concrete Floors) 100 pounds Dutch Boy white-lead .1 gallon pure raw linseed oil 2 gallons pure turpentine 1 pint pure drier This formula makes 6 gallons of paint and should cover about 3,60b square feet, one coat. 0007-SWP-0053221 V -J ' l \ 70 Stucco, Concrete, Brick and Stone Painting Metal Painting 71 Formula No. 37--Third Goat i (Concrete Floors) CHAPTER V ioo pounds Dutch Boy white-lead Metal Painting ;v -' *4 gallon pure ra\v linseed oil ^4 ^ gallon pure turpentine 'f Iron and steel will not rust at ordinary tem i gallon floor varnish |J peratures except in the presence of moisture. y2 pint pure drier Contact of water and moist air with the metal This formula makes $%. gallons of paint and is therefore the, thing to be feared and if possible should cover about 3,150 square feet, one coat. prevented. After the priming coat is dry all cracks and ~ Water and. air are known as the primary other defects in the floor should be filled with causes of corrosion. To these must be added a a good putty. The putty should be firmly ; number of secondary causes or accelerators of pressed into the cracks and smoothed over with corrosion, such as rust itself; when it is loose a putty knife. enough to absorb and hold moisture; carbonic Two things to keep in mind throughout the and other acids; neutral or acid salts in solu I : work, are: first, vigorous brushing to spread out each coat to the utmost; second, allowing tion ; roughness in the surface; foreign matter, such as scale on the surface; inequalities in each coat at least four days to dry. One cause surface conditions due to imperfectly . made of stickiness on floors is flowing the paint on so metal; stray electric currents. thick that it does not dry thoroughly underneath, Paint made of pure red-lead successfully com and then hurrying too much with the other coats. bats these causes of corrosion. It is insoluble The third coat should be tinted with a little in water, unaffected by ordinary atmospheric lampblack to match the natural color of con gases, adheres closely to metal, and is a true crete. rUst preventive. Pure red-lead has excelled Departments of Technical Paint Service and every other material in all kinds of tests, Decoration. If you have some special problem ancipnt and recent, both in the laboratory and of a technical nature or wish suggestions in re in the field. Nearly all the railroads of the gard to some particular phase of. decoration send country use it for the protection of bridges and your inquiry to us and our Departments of Technical Paint Service and Decoration will give it prompt attention. building skeletons. It is used on every vessel in the United States Navy, on gas holders and oil tanks, farming implements and machinery, tin roofs, pipes, water tanks and troughs; in fact, wherever metal needs protection against corrosion. Red-Lead in Paste Form. Dutch Boy red- lead-in-oil is pure red-lead, exceedingly fine, highly oxidized, and ground to a workable ; paste in pure linseed oil. It mixes and spreads 0007-SWP-0053222 72 Metal Painting easily. It makes an elastic and durable cover ing that spreads far and sticks tight to metal. It meets the specifications of the navy and other particular users. It should always be used straight (i. e. without tinting pigments) next to the metal. Later coats may be tinted for inspection purposes or to give a desired finish ing color. Dutch Boy red-lead can be readily tinted for second and finishing coats. We also manufacture pure dry red-lead of the highest quality, Dutch Boy red-lead-in-oil is sold in i2j^, 25 and 50 pound steel pails and in 100 pound steel drums. Our dry red-lead is sold in 12*/>, 25 and 50 pound steel pails; in 100 pound steel drums and in 250 and 500 pound wood casks. Area Red-Lead Paint Will Cover. In estimat ing the quantity of red-lead paint needed for a job, the spreading rate to allow is 600 square feet to the gallon, one coat, although paint made of Dutch Boy red-lead may be expected to cover a considerably greater area. This figure is approximate at best, as the covering capacity of any paint varies somewhat according to consist ency, how much "elbow grease" is put behind the brush and the condition of the surface being painted. For example, badly pitted and rough metal will take more paint than a perfectly smooth and clean surface. The variation in any case, however, will probably not be enough to throw ofi the calculations far. Preparing the Surface. To obtain the best results with red-lead, care should be exercised in applying as well as mixing the paint. A vital point is jto clean off all loose rust, dirt and foreign material before commencing to paint. Wire brushes and scrapers will be found to be effective in Removing rust and scale. Metal Painting 73 The sand blast will give good results and is strongly recommended, but thorough scraping and brushing will usually be satisfactory. Rust, the great enemy of iron and steel, is an accelera tor of further rusting when it is loose enough to retain moisture. If it is allowed to remain it will work disaster even after the paint has been applied. Besides, rust and dirt are Jikely to cause peeling of the paint. Have the surface as smooth as possible. It has been observed that highly polished steel, plates corrode slowly, except at scratches, where they rust rapidly. Number of Coats. Three coats of paint are necessary on all outside w'ork if best results are to be obtained. Two coats will do for metal indoors. In no case will one coat of paint completely cover bare metal. To the naked eye, the metal may appear to be covered but under the microscope it is another story. Many small pinholes and air bubbles will be found. Even a second coat will not absolutely cover all these pinholes. A third coat is really necessary. Of course, the more the paint is brushed out, the more the pinhoies and air bubbles are worked out. Plenty of good brushing effort is essential to a first-class job. Mixing the Paint. Paint is made with Dutch Boy red-lead exactly as white-lead paint is made with white-lead paste, by simply adding linseed oil to the paste a little at a time and stirring constantly with a wooden paddle. Dry redlead is mixed with oil in. the same manner, the only difference being that it is less easy to in corporate with the oil. If the 'paint is to be tinted, "break up" or softfen the red-lead first with just enough linseed oil to make a workable paste; then add the coloring material sind finally the remainder of 0007-SWP-0053223 74 Metal Painting Metal Painting 75 the oil} If drier is to be used, put it in after !jj the coloring material and before adding the J final oil. (See white-lead mixing directions on = page 7 which are similar.) Applying the Faint. Steel and iron should never be painted during wet weather nor when covered with dew or /frost. Early morning painting during the late summer months is not recommended as a usual thing. It is always ( better to wait until the sun has had time to dry everything out. It is bad practice to attempt ; painting in freezing weather. 5 Paint mixed from red-lead can best be ap- . plied with a pound or round brush. Be sure ; to use plenty of paint, covering the surface well and not attempting to make a gallon of | paint go too far. Pay particular attention to ? bolts, rivet heads, edges and corners, as they j; are more subject to destructive influences than * perfectly flat surfaces. t: The priming coat is the most important, t Extra care and precaution should be taken during its application. Allow plenty of time between coats for the previous coat' to dry thoroughly. A week is not too long, especially for the priming coat. Formula No. 38--Priming Coat (Exterior and Interior Metal) (a) xoo pounds Dutch Boy red-lead ; 2*4 gallons pure linseed oil (see note p. 76) ; --or-- (b) 100 pounds pure dry red-lead 1 354 gallons pure linseed oil (see note p. 76) j The first formula (a) makes 454 gallons of ; paint and the latter (b) 5 gallons of paint, ; which should cover respectively about 2,750 and ; 3,000 square feet, one coat. -j Formula No. 39--Second Goat (Light Brown) {Exterior and Interior Metal) (a) 100 pounds Dutch Boy red-lead 254 gallons pure linseed oil (see note p. 76) 12 ounces paste lampblack ' "Kxr--- (b) 100 pounds pure dry red-lead 3)4 gallons pure linseed oil (see note p. 76) 13 ounces paste lampblack The first formula (a) makes 454 gallons of paint and the latter (b) gallons of paint which should cover respectively about 2,850 and 3,150 square feet, one coat. The lampblack is added to the red-lead for the second coat to change the colbr of the paint to a light brown, which enables the painter to see readily if any places have not been cov ered properly. Moreover, a slightly shaded second coat facilitates the inspection of the final coat in the same way. Formula No. 40---Third Coat (Dark Brown) (Exterior and Interior Metal). (a) 100 pounds Dutch Boy red-lead 354 gallons purei linseed oil (see note p. 76) 6 pounds paste lampblack . -T-or--- . (b) 100 pounds pure dry red-lead 454 gallons pure linseed oil (see note p. 76) 6*4 pounds paste lampblack The first formula (a) makes 6J4 gallons of paint and the latter (b) 654 gallons of paint, which should cover respectively about 3,900 and 4,050 square feet, one coat. 0007-SWP-0053224 76 Metal Painting Dark Finishes. Where a dark color is de sired other than the browns secured by shading red-lead with lampblack, decorative, finishes, such as greens and black, are obtainable by simply adding tinting materials to Dutch Boy red-lead. Formulas for tinting Dutch Boy red-lead light and dark green and black follow: Formula No, 41--Third Goat (Light Green) (Exterior and Interior Metal) ioo pounds Dutch Boy red-lead 6 gallons pure linseed oil (see note below) 31 pounds paste medium chrome yellow 24 pound? paste Chinese blue The preceding formula makes 11Yz gallons of paint, which should cover about 6,900 square feet, one coat. Formula No. 42--Third Goat (Dark Green) (Exterior and Interior Metal) 100 pounds Dutch Boy red-lead 6]/2 gallons pure linseed oil (see note below) )4 gallon pure turpentine. 15 pounds paste medium chrome yellow 52 pounds paste Chinese blue This formula makes 1^/2 gallons of paint, j, which should cover about 8,700 square feet, '\ one coat. NOTE: (a) If genuine boiled linseed oil is avail- able, such as Dutch Boy boiled oil, we advise the use i of one-third boiled oil and two-thirds raw oil. If raw * oil only is used add one-half pint drier to every gal lon of paint, (b) One-half pint of turpentine may be added to each two gallons of paint whenever it is .1 deemed advisable to make the paint produced by any j formula work more easily, 1 .' Metal Painting 1 77 Formula No. 43--Third Coat (Black) (Exterior and Interior Metal) 100 pounds Dutch Boy red-lead 13 gallons pure linseed oil (see note p. 76) 1 gallon pure turpentine 52 pounds paste lampblack 16 pounds paste Chinese blue This formula makes 23 gallons of paint, and should cover 13,800 square feet, one coat. Intermediate shades of green and brown, may be secured by varying the amount of coloring matter used. Where the formulas given are altered to any great extent, however, be sure that the amount of linseed oil used is in creased or decreased accordingly. Light Finishes. In cases where decorative finishes are desired other than the dark ones obtainable by tinting Dutch Boy red-lead, use pure white-lead and linseed oil, tinted, for the last two coats on exterior work and for the last coat on interior work. White-lead and lin seed oil are especially adapted for use over redlead and linseed oil because linseed oil dries much the same with the two piginents, and therefore makes a homogeneous film. The following white-lead second and final coats will be found to give good results gen erally over a priming coat of red-lead: Formula No. 44--Second Coat (Exterior and Interior Metal) 100 pounds Dutch Boy white-lead ij4 gallons pure raw linseed oil i)4 gallons pure turpentine 1 pint pure drier This formula makes 6 gallons of paint, which should cover about 3,600 square feet, one coat. 0007-S WP-0053225 78 Metal Painting Formula No. 45--Third Coat {Exterior and Interior Metal) 100 pounds Dutch Boy white-lead 314 to 4 gallons pure raw linseed oil 1 pint pure turpentine 1 pint pure drier This formula makes 6)4 to 7 gallons of paint, which should cover about 3,900 to 4,200 square feet, one coat. The final coat can be adapted to any tint desired by putting in the proper tinting materials and, where considerable additional tinting material is required, adding linseed oil and turpentine equal to one-half the weight of the tinting material. Where white or an exceptionally light tint is desired, two coats of white-lead paint should also be used on interior work in order to ob scure totally the red-lead, undercoat. In such cases, apply: the second as well as the final coat given above, adding about one ounce of lamp black to the second coat to throw it off the pure white. The practice of adding lampblack should be followed also for the second coat on exterior work if the finish is to be light. . A very attractive light gray, which will in one coat (if applied fairly heavy) hide the redlead undercoatings, can be obtained with the following formula: Formula No. 46--Third Goat (Light Gray) {Exterior and Interior Metal) 100 pounds Dutch Boy white-lead 4 ounces paste lampblack 8 ounces paste french ochre 4 gallons pure raw linseed oil 1 pint pure turpentine 1 pint pure drier Metal Painting 79 The preceding formula makes about 6^4 gal lons of paint, which will cover about 4,050 square feet, one coat. Painting Metal Ceilings. The color of redlead may be objectionable for use on metal ceil ings which are to be finished in white or a very light tint. In such a case, a white-lead priming coat, mixed as follows will be satisfactory. Formula No. 47--Priming Coat {Metal Ceilings) 100 pounds Dutch Boy white-lead 2 gallons pure raw linseed oil 1 gallon pure turpentine 1 pint pure drier This formula makes about 6 gallons of paint, which should cover about 3,600 square feet, one coat. The second coat should be mixed as follows: Formula No. 48--Second Coat {Metal Ceilings) (a) 100 pounds Dutch Boy white-lead 2 to 3 gallons Dutch Boy flatting oil --or-- (b) *100 pounds Dutch Boy white-lead Yz gallon pure raw linseed oil 2 gallons pure turperitine 1 pint pure drier The above formula (a) makes 5 to 6 gallons of paint, which should cover about 3,500 to 4,200 square feet, one coat. Formula (b) makes 5/4 gallons of paint, which should cover 3,300 square feet, one coat: All formulas for the painting of metal ceilings which are marked with i an asterisk are alternates to be followed only if turpentine is to be used instead of Dutch Boy hatting oil. 0007-SWP-0053226 80 Metal Painting Metal Painting If a flat finish is desired, the third or final coat should be |rnade as follows: Formula No. 49--Third Coat, Flat Finish (Metal Ceilings) (a) ioo pounds Dutch Boy white-lead a to 3 gallons Dutch Boy flatting oil --or-- (b) *iooi pounds Dutch Boy white-lead 2 gallons pure turpentine !- n pint pale varnish (suitable for enamel) 1. pint pure drier The above formula (a) makes 5 to 6 gallons 1 , of paint, which should cover about ,3,500 to :-ifi 4,200 feet, one coat. Formula (b) makes 5 gal lons of paint, which should cover about 3,000 square feet, one coat. If an eggshell finish is preferred, use the This formula makes 5 to 5^2 gallons of paint, which should cover about 3,000 to 3,300 square feet, one coat. Painting Galvanized Iron. No paint can be recommended honestly to stand up satisfac torily on galvanized iron at all times because the coating left by the galvanizing process has a tendency to repel paint. Sometimes the paint takes hold properly right away; other times ;i' considerable difficulty is encountered in making 1 the paint adhere. It has been the experience of practical paint 1 ers that paint made of pure red-lead and lin seed oil gives good results most consistently. The best results are obtained after the galvan ized iron has been exposed to the weather at least six months. Apply three coats of paint mixed according to the following formulas: 1 following): Formula No. 50--Third Coat, Eggshell Gloss Finish -! (Metal Ceilings) (a) 1do pounds Dutch Boy white-lead iJ/z to i2 gallons Dutch Boy flatting oil i |4 gallon pale varnish (suitable for enamel) Formula No. 51--Priming Coat (Galvanized Iron) 100 pounds Dutch Boy red-lead 2y2 gallons pure linseed oil (see note page 76) 1 pint pure, turpentine This formula makes 454 gallons of paint, which should cover about 2,850! square feet, one coat. (b) *100 pounds Dutch Boy white-lead ' -i 1J4 to 2 gallons pure turpentine 54 gallon, pale varnish (suitable for enamel) j4 pint piure drier Do not merely spread the priming coat upon, \ the metal and expect it and succeeding coats to stick at all hazards. Brush the paint out well i and use enough pressure to force it into every microscopic irregularity in the surface. Many an otherwise good job of painting on galvan * AH formulas for the painting of metal ceilings 4 ized hop has gone-wrong simply because the i: ; which are marked with an asterisk are alternates to se followed only iifj turpentine is to be used instead I paint was not brushed on "close," as the paint ; . of Dutch Boy flatting oil. ers say. 1 0007-SWP-0053227 82 Metal Painting HANDY TABLE OF RED-LEAD DATA TABLE D--(U. S. Meas u r es ) Ba s e d o n Dr y Re d -Le a d Fo r mu l a s w it h Du t c h Bo y Pa s t e Re d -Le a d Eq u iv a l e n t s DRY RED-DEAD Fo r mu l as DRY RED-LEAD Bas ::d o n 100 Po u n d Keg DUTCH BOY Paste Red-Lead EQUIVALENT Fo r mu l a s Ba s e d o n 100 Po u n d Keg Metal Painting 83 HANDY TABLE OF RED-LEAD DATA TABLE D--(U. S. Meas u r es ) Ba s e d o n Dr y ft e d -Le a d Fo r mu l a s w it h Du t c h Bo y Pa s t e Re d -Le a d Eq u iv a l e n t s FOR A GALLON OF PAINT . Mad e w it h , Pas t e Red -Lead Us e COMPOSITION OF PAINT Mad e f r o m Eit h er De t Red Lead o r Du t c h Bo y Pas t e Red -Lead Pounds of D ry RedLead to One Gallon of Linseed Oil Gallons of Paint Resulting Gallons of Linseed O il to 10U iJounds of D ry Red-Lead Gallons of Paint Resulting Gallons of Linseed O il to 100 Pounds of D utch Boy Paste Red-Lead Gallons of Paint Resulting i Pounds of. Paste Red-Lead Fraction of a Gal lon of Linseed Oil Pounds D ry RedLead in Each Gal l_o_n Weight of Each Gallon (POUNDS) Q uantity of Linseed Oil in Each Gallon (GALLONS) t iAtpyproofxiLimnatseeeQduaOnil in Each Gallon (PINTS) 40 35 33 32 i-55 1.48 1.45 1.44 2.50 2.86 3 03 3 125 3-87 4.23 4.40 4-49 I.492 1.824 1.988 2.076 3.616 3 - 948 4-112 4.200 31 1.42 3-23 30 1.41 3 33 29 1.40 3-45 zS 1.38 3-57 4.60 4.70 4.82 4-94 2.171 '2!.;i7T 2-379 2.494 4-295 4-395 4-503 4^618 27 1-37 3-70 26 1.36 3-85 25 1-34 4.0Q 24 I - 33 4-17 5.07 5 - 22 5-37 5-54 2.617 2.750 2.894 3.050 4.741 41874 5018 5.174 23 I.32 4-35 22 1.30 4-55 21 1.29 4.76 20 1.27 5.00 5-72 5-92 6.13 6-37 3.219 3-404 3.606 3.829 5-343 5-528 5-730 5-953 Weight of one gallon of Dry Red-Lead, 73 pounds. '! Weight of one gallon of Dutch Boy Paste jRed* Lead, 47 pounds. 27-7 25-3 24.3 23.8 O.41 .46 .48 , -49 25-8 23.6 22.7 22.2 30-8 28.9 28.1 27.6 0.65 .6S .70 7o sA SA sa sA 23-3 22.8 22.2 21.7 -50 52 S3 i 54 21.2 21.3 20.8 20.3 27.2 26.8 26.3 25.9 70 sA -71 sA -71 5A 72. sA 21.1 20.5 19.9 19-3 55 19-7 25 -4 56 19.2 24.9 58 18.6 24.3 18.1 23.9 73 6 74 6 74 6 75 6 18.7 18.1 17-5 16.8 .60 17-5 23-4 .62 16.9 22.9 -63 16.3 22.3 .64 IS-7 21.8 .76 6 -77 6A .78 6A -79 6A Weight of one gallon of Dry Red-Lead, 73 pounds. Weight of one gallon of Dutch Boy Paste Red- Lead, 47 pounds. 0007-SWP-0053228 .a 84 Metal Painting Miscellaneous Painting 85 Formula No. 52--Second Goat (Galvanized Iron) 'i\ ioo pounds Dutch Boy red-lead 2j4 gallons pure raw linseed oil i pint pure turpentine i2 ounces pure paste lampblack This formula makes 5 gallons of paint, which should cover about 3,000 square feet, one coat. i Third Coat {Galvanized Iron) 4 Mix the third coat similar to the second coat except where a decorative finish is desired other than the slightly shaded red-lead color. In the latter case, substitute one of the tinted red-lead finishing coats on page 76, or use instead whitelead paint, tinted, mixed and applied in accordance with directions on pages 77 and 78. Departments of Technical Paint Service and Decoration. If you have some special problem of a technical nature or wish suggestions for decorating a metal structure of any kind send your inquiry to us and our Departments of Technical Paint Service and Decoration will give it prompt attention. | ij J '-*j 4 d J 'Sjt CHAPTER VI Miscellaneous Painting Painting Boats. The practice in painting boats is regulated largely by one thing--the type of craft. If a boat is a yacht or a launch, the owner aims to keep' it always clean and bright. Its. appearance is a matter of pride with him. Hence the handsomest job obtainable is none too fine, and coat upon coat of paint is often applied in order to get an unusually nice finish. A rowboat, on the other hand, is not a show boat. While the possessor of one or a fleet of them wants a job that looks well, only an or dinarily good finish is called for. When it comes to canoes an altogether dif ferent problem is presented, A high-class finish is wanted, but it is not obtained in the same way, because a canoe is usually built of canvas. Fpr present purposes, therefore, boats have been classified into three groups: Power and. Sail Boats; Row Boats; Canvas Canoes. In this order, directions for painting them are taken up. Power and Sail Boats. The outside of the hull, deck-house and some parts of the in terior are proper subjects for the paint brush. Some of these parts should receive attention at least every year. Preparing the Surface. If the wood is new, dust it off carefully and cover all knots and sappy streaks with orange shellac. The shellac can be made by thihning dry orange gum shellac with good quality denatured alcohol, propor tioned on the basis of four pounds of shellac to 0007-SWP-0053229 - 86 Miscellaneous Painting Miscellaneous Painting 87 one gallon of alcohol. Brush the shellac on thin., If it is put on too thick the paint will alligator, leaving the knots bare. Painting the Hull. Prime the new wood with a thin coat of paint mixed as follows: Formula No. 53--Priming Coat {Boat Exterior) ioo pounds Dutch Boy white-lead 4 gallons pure raw linseed oil 2 gallons pure turpentine i pint pure drier This formula makes 9 gallons of paint which should cover about 5,175 square feet, one coat. Where less paint is required than the quan tity which the foregoing formula and those fol lowing make, divide the number of gallons given by the number of gallons wanted; then divide the quantities of ingredients by the re sult. For example: When only qj4 gallons of paint, mixed according to the preceding formula, are needed, divider 9 by, 4^4 and the resultant 2 into the quantities of ingredients. This changes the formula to fifty pounds of white-lead, two gallons of linseed oil, one gallon of turpentine and one-half pint of drier. If more paint than a formula makes is re quired, divide the number of gallons needed by the number given; then multiply the quantities Of ingredients by the result. After the priming coat has dried thoroughly, fill all cracks, nail-holes, dents and other defects in the surface carefully with putty. The hard est and most serviceable! putty is that based on white-lead. It should consist , of equal parts of Dutch Boy white-lead and whiting, mixed to the proper consistency with linseed oil. Use sandpaper to smooth down the rough places. Then apply a second coat of paint, mixed as follows: Formula No. 54--Second Coat (Boat Exterior) 100 pounds Dutch Boy white-lead ij4 gallons pure raw linseed oil 134 gallons Dutch Boy flatting oil or pure turpentine 1 pint pure drier ' This formula makes sTA gallons of paint which should cover about 3,000 square feet, one coat. Repeat-the second coat as many times as de sired. Many, boatmen put on five or six coats very thin. Without question this is the best practice, as a number of thin coats produce much better results than the same thickness of film produced by putting on two or three thick coats. Finish with a coat of paint mixed as follows: X Formula No. 55--Finishing Coat (Boat Exterior) 100 pounds Dutch Boy white-lead gallon spar varnish 2 gallons Dutch Boy flatting oil or pure turpentine This formula makes 5^4 gallons of paint which should cover about 3,300 square feet, one J- coat. The preceding formulas give a "flat" or dull finish, which wears much better under exposure to the water than a glossy paint rich in oil. 1 Painting Deck, Spars and Outside of Cabin. Use the same formulas for the priming and I 0007-SWP-0053230 88 Miscellaneous Painting Miscellaneous Painting 89 body coats on the deck, spars and outside of x Formula No. 58--Second Coat the cabin as for painting the hull. Then apply S the following finishing coat. Be sure to allow f plenty of time between coats for the preceding ? coat to become drjr. t Formula No. 56--Gloss Finishing Goat (Boat Exterior) ? (Boat Interior) 100 pounds Dutch Boy white-lead 2Y2 gallons Dutch Boy flatting oil or pure turpentine (If turpentine is used add J4 pint pure drier) 1 pint pale varnish (suitable for enamel) This formula makes YA gallons of paint too pounds Dutch Boy white-lead 3^2 gallons pure raw linseed oil { which should cover about 3,300 square feet, one coat. i pint pure turpentine j J If an eggshell gloss is desired, apply a finish i pint pure drier | ing coat mixed as follows: : !'s This formula makes 6Y- gallons of paint ij ' -i which should cover about 5,900 square feet, | Formula No. 59--Finishing Coat Eggshell Gloss one coat |; Painting the Interior. New woodwork inside | (Boat Interior) of cabins, saloons, etc., should first receive a ij 100 pounds Dutch Boy white-lead thin coat of good orange shellac, thinned with | 2Y2 gallons Dutch Boy flatting oil or pure good quality denatured alcohol. Sandpaper the turpentine (If turpentine is used add 1 shellac when dry. Putty all nail-holes and ji Y2. pint pure drier) joints. Then apply a priming coat mixed as j Yz gallon pale varnish (suitable for enamel) follows: This formula makes 6 gallons of paint which should cover about 3,600 square feet, one coat. Formula No. 57--Priming Goat (Boat Interior) j If a gloss finish is desired, the finishing coat -'i' should consist of three pounds of Dutch Boy white-lead, made into a thick paste with tur 100 pounds Dutch Boy white-lead pentine, and thinned with one gallon of pale 2 gallons Dutch Boy flatting oil or pure ,.j varnish; Mix well and apply the same as any 1 turpentine other paint. j J/z gallon pure raw linseed oil :i Tints, The finishing coats specified for the i Yz pint pure drier (If turpentine is used hull, the deck, the spars and the outside and make it a pint of drier) o inside of the cabin make white paint. Where a. The preceding formula makes sY gallons a colored paint is desired, tint the final coat inof paint which should cover about 3,150 square : each case as directed on pages 17 and 33. feet, one coat .7 Painting Metal Partj . Iron and steel hulls,, Follow with a body coat, mixed as follows: s masts or other metal parts of a vessel should. 0007-SWP-0053231 I 90 Miscellaneous Painting be painted with .two coats of Dutch Boy redlead, thinned according to the following formula: Formula No. 60 (Metal Work on Boats) zoo pounds Dutch Boy red-lead 2j4 gallons linseed oil (see note below) This formula makes 4^2 gallons of paint which should cover about 2,700 square feet, one coat. On ornamental parts, finish with white-lead tinted to suit. (Refer to page 77, paragraph headed "Light Finishes.") Below the water line, finish with anti-fouling paint, if desired. Repainting. In repainting, use the same formulas given for painting new work, except that the priming or first coat can be omitted. Old coats should) be well smoothed down and the surface should be perfectly dry before hew coats are applied. Row Boats. Dei not attempt to paint imme diately after taking the boat from the water. Let it dry out thoroughly, for no matter how good a paint is it will not stick to a wet or damp surface. Neither will paint adhere properly to a boat's bottom that is covered with dirt, water plants, marine aniipals and other foreign matter. Clean off all such accumulation by scraping or scrubbing. Stpp up all leaks before applying any paint Cracks and seams can be filled up with caulk- NOTE: If genuine boiled linseed oil is available, such as Dutch Boy boiled oil, we advise the use of one-third fco|led oil to two-thirds raw oil. If raw oil alone is used, add one-half pint japan drier to every gallon of paint. Miscellaneous Painting 91 ing cotton soaked in thick white-lead, nail-holes with bits of pine, and very small leaks with white-lead paste. Paint applied over an uneven surface is bound to, present a bad appearance. Where the old paint is rough, sandpaper it down smooth and touch up all bare spots before applying the first coat. After heeding the foregoing directions, apply two coats of paint, inside and outside, mixed according to the following formula: Formula No. 61 (Row Boats--Exterior and Interior) 25 pounds Dutch Boy white-lead J4 gallon pure turpentine J4 pint spar varnish This formula makes gallon of paint which should cover about 750 square feet, one coat. If a colored paint is wanted, tint the last coat. The addition of a very little lampblack or drop-black will produce a gray. A little Chinese blue will make a light blue. (For other colors follow tinting directions on page 17, using only one-quarter of the quantity of ingredients called for, as formula No. 61 is based on 25 pounds of white-lead instead of 100 pounds.) The finish produced by two coats of paint mixed according to formula No. 61 will be "flat" or dull. If a gloss finish is desired, use for the last coat three pounds of white-lead made into a thick paste with turpentine and thinned to Spreading consistency with one gallon of pale spar varnish. Canvas Canoes. When the paint is so badly cracked and broke--n- tha--.t the vcmamnrvas CslihUoTwT os through in jp' s, it is best to remove the old 0007-SWP-0053232 92 Miscellaneous Painting ! . coat entirely by means of a paint remover and . start anew. After the old paint is off, sand- : paper the surface and apply a coat of paint ,composed of: Formula No. 62 (Canoes} r- -t ~ 4 pounds Dutch Boy white-lead 1 pint pure turpentine " 3 V 1/3 pint spar varnish 1/6 gill pure drier Tint as desired. The above formula should make enough f f. ; -j.:- paint for the first coat on one canoe. Put the paint on thick and work it well into the canvas ' i 'i' if.V by careful brushing. When dry*, sandpaper the surface and then apply two coats of japan color thinned with spar varnish and just enough tur pentine to make the paint brush out smooth. One pint of japan color and one pint of varnish should be sufficient to do the work. If the old paint on a canoe is in good condi tion, the white-lead paint need not be applied. Simply sandpaper the old coat down smooth and apply the two coats of japan color and varnish. To refinish the inside of a canoe, sandpaper the old varnish thoroughly and put on one coat of good spar varnish. One pint of varnish should be sufficient. Patching: To mend a hole in a canoe, insert a piece of canvas beneath the torn part, pasting the' patch on with a little white-lead, and clinch ing it to the rifps of the canoe with brass or copper tacks. Very' small holes can be fixed by plugging them with White-lead stiffened slightly with whiting. Miscellaneous Painting 93 Departments of Technical Paint Service and Decoration. If you have some special problem of a technical nature or wish suggestions in re gard to some particular phase of decoration, address your inquiry to us and our Departments of Technical Paint Service and Decoration will give it prompt attention. 0007-SWP-0053233 94 General Painting Facts General Painting Facts 95 CHAPTER VII General Painting Facts f Simplified Mixing Directions. There are 5 many jobs of painting for 'which only a com- Is paratively small amount of paint is needed. For jobs of this kind, mix your paint according | to the following simplified directions: | Gloss Faint. Paint which gives a gloss finish f; is used for practically all exterior painting. To | make gloss` paint, the wfute-lead is mixed with pure linseed oil, turpentine and drier. For f average purposes, the white-lead and liquid | portions of the- paint should be about equal in | bulk, the liquid portion, if any difference, being | slightly in excess. g The simplest way to mix the paint is as - follows: i. Take half as much white-lead as | the quantity of paint needed, completely filling f; the measure. 2. Empty the white-lead into a j pail or other suitable paint pot large enough to f hold three times the amount of the white-lead. ! 3. Fill vessel used to measure out the white-lead f one-fifth full with turpentine. 4. Fill up re- "f maining four-fifths of vessel with pure raw f linseed oil and stir. 5. Pour a little of the .} liquid (not more than a pint) into the W'hite- '] lead and stir it in well. When well mixed, g stir in a little more and so on until all the ^ liquid is mixed into the white-lead. 6. Stir in "] liquid turpentine drier to the amount of about 4f one tablespoonful (or one-eighth of a gill), to 1 each pint of oil used. 7. Strain through cheese- < cloth. You -now have good heavy paint which is i suitable for a gloss finishing coat. If for any reason a thinner paint is wanted/ pour some of ,4 the heavy paint into another paint pot and thin it with linseed oil and turpentine. Thus, for priming new unpainted wood increase the amount of paint by half with a mixture of lin seed oil and turpentine, using two parts linseed oil and one part turpentine. Flat Paint. Where a dull or so-called "flat" finish is desired, as for interior decoration on either woodwork or plaster walls, a flatting liquid instead of linseed oil should be mixed with the white-lead. The best material for this purpose is Dutch Boy flatting oil, but turpentine may be used if the other cannot be obtained. Dutch Boy flatting oil comes in quart and in one and five-gallon cans. It produces a flat finish which is remarkable for its beauty and washability. To make flat paint, just mix together equal parts of white-lead and flatting oil (or.turpen tine). Pour the flatting liquid into the whitelead a little at a time, stirring thoroughly be fore adding each additional quantity. If turpen tine is used, finally add one tablespoonfuj of drier for each pint of paint. If Dutch Boy flat ting oil is used, add no drier. . Flat paint, mixed as directed above, can be used for undercoats as well as the finishing coat on woodwork and for the second, and third coats on plaster. For the priming coat on plas ter, it is better to use boiled linseed oil with the white-lead because the plaster often has socalled "fire-cracks" in it which appear later as fine, dull lines to mar the beauty of the finished surface. Boiled linseed oil seals these bracks better than other thinners. If boiled linseed oil cannot be obtained, use raw linseed oil. It is just as good in a great many' cases, but it will not seal fire-cracks so well. In case raw oil must be used, put in some liquid drier, a _S 0007-SWP-0053234 96 General Painting Facts tablespoonful to every quart of oil, after the paint is all mixed. Stir it in well. Tinting One Gallon of Paint. One of the special, advantages of making paint from whitelead is that it can be colored to the exact tint you want simply by adding tinting colors ground-in-oil. The! more commonly used colors-in-oil may be purchased in one and five-pound cans dr in small tubes at most stores where white-lead is sold. Where there is only an ounce or so of tinting material needed, it may be found con venient to buy the tubes of color, but whenever considerable quantities are needed it is advisable to purchase the color in cans for these are, com pared to the1 tube colors, much lower in price. If difficulty is experienced in obtaining the Chinese blue called for in the formulas, pruissian blue may be substituted. . In buying colors-in-oil, specify exactly the color desired. It is not sufficient to say "chrome yellow." Medium chrome yellow, the most com monly used, is a deep yellow. Lemon chrome yellow is a lighter, more gieenish yellow. "Chrome green" might mean any one of the three chrome greens--light, medium or dark. Of these, medium chrome is most satisfactory for general use since it can, by the addition of a little Chinese blue and lampblack, be substituted for dark chrome green, or by the addition iof a little lemon chrome yellow will answer the pur pose for* light chrome green. If medium chrome green is not easily obtainable it can be made up by mixing, lemon chrome yellow and Chinese or Prussian blue. It is advisable, however, to use the straight jgreen when possible. Various, grays can be produced by adding lampblack tb white-lead. If no black tinting material is at hand, a gray can be produced by General Painting Facts 97 using a little Chinese blue and Venetian red. A gray produced by using lampblack and whitelead may be made warmer by the addition of small amounts of french ochre, Venetian red or medium chrome yellow* and may be made cooler by employing a little Chinese blue in the mix; Formulas for 'securing a number of popular colors are listed below. These formulas give the amount of color-in-cil required to tint one gal lon either of gloss paint or flat paint made with white-lead. A lesser or -greater quantity of paint; may be tinted to the desired color simply by decreasing or increasing proportion ately the amount of color-in-oil called for by the formula. Tint CoIors-in-Oil Paint Pink ...............Venetian Red ............ %% oz. Light Blue.. ..Chinese Blue; .A......... J4 oz. Light Green.. .Med. Chrome Green. 9J4 oz. Green .............Med. Chrome Green. 2 lbs. Cream............ Lemon Chr. Yellow.. Ls oz. Yellow ............ Lemon Chr. Yellow.. 4% oz. Buff .........Med. Chrome Yellow 2% oz. Light I)rab.. .Burnt Umber ......... . ij4 oz. Dark Drab; .. . Burnt Umber ........... 5 oz. Light Gray.. .Lampblack .................. oz. Dark Gray.. ..Lampblack .................. iJ4 oz. Flat Paint 1 yi oz. oz. 13 oz. 2^4 lbs. 176 oz. 5U oz. 3 H oz. ' 2 oz. 6$4 oz. % oz. i M OZ. A little Venetian red added to any of the above colors except the greens will giye a warmer tint. In the case of the greens, the warmer effects are secured by adding yellow. If a colder color is desired, add a little Chinese blue to the pink, greens, drabs and grays and a little chrome green with a touch of blue to the cream, yellow and buff. To soften or gray a color, add a little lampblack. Tb lighten a color, simply use less color-in-oil or more white-lead; to darken it, add more color-iri-oil. As colors-in-oil of different manufacturers vary in strength, the foregoing formulas are at 0007-SWP-0053235 98 General Painting Facts 'i m General Painting Facts 99 best only approximate. Therefore, add the color- $ in-oil gradually (stir in a drop or two at a time) ? and stop when the desired tint is reached, even V- if the formula calls for more. So also, if the 1 tint is too light, add more colors-in-oil until the l tint is exactly right. Before adding the tinting : colors thin them to about the same consistency ' as the white paint with linseed oil, flatting oil ' or turpentine, depending upon whether gloss or - fiat paint is being used. % How Much Paint to Make. One. pound of -i white-lead paste, thinned as directed under d "Gloss Paint" and "Flat Paint," will make about one-half pint of paint or enough to cover about forty square feet of surface, one coat. Other quantities will cover as follows: " * Pounds of White-Lead s: l'P/2 25 50 IOO How Much Paint It Makes 2}4 pints 3 quarts :i)4 gallons 3 gallons 6 gallons. Square Feet It Covers 185 450 900 1800 3600 Howi Many Coats. Three coats of white-lead / paint are recommended for unpainted W'ood, . inside as well as outside; Many try to make two coats do, but it is mistaken economy. The ; third coat adds only* one-third to the cost and tj makes twice as good a job. That is, it will -{ look better and last much longer. Two coats are sufficient in repainting wood if ' the old paint is in good condition as it serves as a priming coat. Sometimes one coat will be found 'sufficient. New plaster should not ordinarily be painted V until it has dried and set for six months. If necessary, however, the walls can be artificially;'l^itY;d aged by applying a coat of zinc sulphate solu tion made in the proportion of two pounds of zinc sulphate to a gallon of water. When painting new plaster walls, three coats should be used. Two coats should be used when old plaster walls are to be painted a different color from the old paint. Time Between Coats; Allow plenty of time between coats for the paint to dry. Exterior work should be allowed to dry from two to four days before the next coat is applied and interior work at least twenty-four hours. How to Make Putty. The best putty is made of equal parts of white-lead and whiting, soft ened with linseed oil. Good painters use no other kind. Making Joints Tight. White-lead or red-lead paste, just as it comes in the tin or keg, -is ex cellent for making pipe joints gas-tight, water tight and air-tight; Good plumbers and gasfitters white-lead or red-lead all joints. Linseed Oil in Sealed Cans. For those who like to buy a guaranteed product, in neat sealed packages, vTe recommend Dutch Boy pure lin seed oil In sealed cans. This oil is pure, well settled and superior in every way. It comes in one and five gallon cans, which are sealed at the spout to prevent tampering and bear the Dutch Boy Painter trademark as a guaranty of purity'. By buying linseed oil in this way' it is possible to be sure of best quality of pure lin seed oil at a cost not exceeding a few cents additional for every gallon of paint---a very small amount to pay for insurance that you are 'getting pure, high quality oil. The one-gallon cans are packed six to a wooden case. The five-gallon cans are packed one to a wooden lease. 0007-S WP-0053236 (</ 4 100 General Painting Facts ') General Painting Facts 101 Brushes and Their Care. The "pound" or ^ away such a brush than to attempt to round brush is considered the best brush for __T reclaim it. applying the paint on the body of the house or other plhtes where there is plenty of room to spread the paint. The smaller brushes--trimming or . sash brushes they are called--are used for painting sash corners, crevices and other parts too small to permit the use of the body brush. -7 . Brushes can be cleaned by steaming them, soaking them in turpentine or benzine and then Washing them out with ordinary soap and hot water. It is good practice also to straighten out the bristles with a comb and when dry to wrap brushes carefully in moisture-proof paper before putting them away. These brushes both come in round and flat The value of a brush depends to a large shapes. The choice between the two is a mat- ~ extent on the springiness of its bristles.. Once ter of personal opinion, although the old painters the bristles become soft and flabby, its useful use the round brush, claiming that with the flat ness is impaired. Putting a brush in water will brush one is likely to allow the paint to flow soon cause the bristles to lose their springiness. rather than brush it in. . j?.. For this reason, never keep a brush in water in In no case are cheap brushes economical. ; the hope of keeping it in good condition. When The best brushes are made of bristles, while the you want to use a brush succeeding days, \ cheaper brushes are made of horse-hair and suspend it in the paint which you have been lack the.toughness, strength, elasticity, or spring, : using or in linseed oil. Never stand al brush wearing quality and absorbing or paint-holding on its bristle ends but suspend it in the paint power of bristle. or oil. This may. be done by drilling a small There are grades, too, of bristle, and the . painter should be careful not to get a brush with soft and flabby bristles, as a brush of this ' kind will not spread the paint properly. When ; this happens one is likely to waste more paint ; hole in the handle of the brush near the top of the ferrule, putting a wire through the hole and laying the wire across the top of the paint or oil container. Some brushes come with the hole already in them. than the saving amounts to in the cost of the Keeping Pigment Soft. Unused portions of a brush, to say nothing of the bad results ob- : keg of Dutch Boy white-lead or Dutch Boy red- tained in the painting itself. lead may be kept soft and free from skins by The amount of wear that a brush will give pouring linseed oil over the surface to the depth depends as much upon its care as upon its use. '= of an inch or more, and keeping the lid on the A brush which receives proper care will out- ? keg. First of all, however, the lead should be last two that receive none. Under no circum- scraped down from the sides of the keg. When i ; stances allow the paint in a briish to dry and the material is to be used frequently it may be *i ! harden. When the paint in a brush is allowed ; to become hard, it is almost impbssible to dean V more convenient to cut a disk of paper to fit inside the keg and lay it on the lead. the brush and the bristles will never be the r- Departments of Technical Paint Service and same thereafter. Usually it is cheaper to throw A Decoration. If you have some special problem p. . "-r -S "if*1 0007-SWP-0053237 \ 102 General Painting Facts General Painting Facts 103 of a technical nature that is not covered in this book: address your inquiry to us and our Sy Departments of Technical Paint Service and , J Decoration will give it prompt attention. '<f If you have some special problem in decorat- v, ing or color selection to solve, please answer the questions and the requests for information that are listed below'. This will aid our color t? $ ists in selecting suitable schemes of treatment for jour specific problem which will be for- ? warded free of charge, together with samples ' -> of the colors recommended, and the formulas : { :i required to produce them. The more information given regarding any i. problem, the more complete will be the answer concerning it. If blue prints or photographs of the exterior or interior in question are available, these should be forwarded. ss 9. Are there window blinds? 10. If there are any gables or porches, state number and location. 11. If there is any foliage near the building is it plentiful or moderate? 12. What are the principal colors of neigh boring buildings ? 13. Have you any color preference? Interior If you desire color suggestions for the in terior of a building, please give us the infor mation requested below: 1. Name each room to be decorated--living room, dining room, bedroom, etc. I Exterior \ i- . ., j i If you desire a color scheme for the exterior :<; i ]:; of a building, please give us the information ;: requested below: j; i. What is the building? j : 2. In what direction does it face? I' 3. Give approximate size of building includ- j ing width, depth and number of stories. ; 4. Of what material are the outside walls constructed ? : 2. Give rough floor plan of rooms in build ing. State dimensions including height of ceiling. 3. Are the walls and ceilings of rough or smooth plaster? 4. What is the present color of the wood trim and wall it be painted, stained or left natural ? 5. Of what color and material is the floor and will it be painted, stained or left natural? 1 5. Are they painted, stained or natural and 6. Describe color, size and location of fire what is the present color? places, wminscot, beams, panels, columns or 6. Of what material is the roofcomposed? 1 other architectural details. 7. Is it painted, stained or natural and what is the present color? 8. Describe approximate amount of trim, large, normal of small. :it | I |S. 7. Describe materials of which floor cover ings and furniture are composed, stating domi nant color of each. 8. Have you any color preference? ; 3 1 'i - %. -- - 0007-S WP-0053238 104 General Painting Facts General Painting Facts 105 Painting Contract Form. For all ordinary jobs of exterior and interior painting the following contract between painter and property, owner will iill requirements : (Date) ............................................... We agree to paint the property located at (Address) ......................... ........................... . and owned by (Name of owner)........... ............ doing the work listed herein in accordance with the following specifications: 1. Paint is t0 be applied only when the sur face is thoroughly dry. 2. All surfaces shall be clean, smooth and free from dust, dirt, grease, mortar, loose paint, scale, etc. 3. AH paint shall be evenly spread and thor oughly brdshed out 4. On new work, before priming, knots and sappy streaks shall be shellacked .with one coat brushed out thin. 5. All pxterior work shall be allowed to dry from two to four days before the next coat is applied arid for interior work at least twentyfour hours for each coat. 6. All nail holes, dents, cracks, joints or other defects in the surface shall be puttied after the priming coat has been applied and is thoroughly dry. 7. Before any paint is applied, plaster sur faces, either new or old, must be made clean and smooth and all cracks and holes filled with plaster of paris or approved patching plaster, j 8. Walls that have been calcimined shall be washed until all calcimine is removed before applying any paint 9. All new plaster, stucco or concrete shall be aged before painting by washing with a solu tion made by dissolving two pounds. of zinc sulphate in one gallon of water. 10. All gloss paint used shall be pure whitelead of Dutch Boy brand, or its equal, mixed in proper proportions with pure settled linseed oil, pure turpentine and pure drier. Flat paint shall be pure white-lead of Dutch Boy brand, or its equal, mixed in proper proportion with Dutch Boy flatting oil. 11. All material and tools to be furnished by the painting contractor. (Here list and specify in detail all work ' to be done.) Price for all work specified above $........... ...... . Payable ............................................................ . (Signed) ........................................................ (Signature of Contracting Painter) Accepted ......................................................... (Signature of Owner of Property) A ii 0007-SWP-0053239 1 106 Useful Information i ... ..V, I Useful Information 107 i CHAPTER VIII 1 Useful Information A Watch as a Compass. Point the hour hand to the sun. The north and south line will pass through the center of the watch dial at a point midway between the hour hand and the figure .12 Capacity of Corn Cribs. The following table show;s capacities of corn cribs 7)4 feet in height. If not 7)4 feet high, multiply by the given height and cut off right-hand figure. If the crib were only 7 feet high, it would hold (8oox7)=56o (o . bu.* etc.). The same space will hold. 1 4/5 times as much grain as ear com. (Height, 7H feet) Finding Capacity of Tanks in Gallons. First step (all measurements to be in inches): Length A 1 12 . 14 16 18. 20 ; 5; For rectangular tanks, multiply the length by 6 13 27 320 373 427 480 533 the width by the depth. 6A 13 28 333 389 444 S 556 For cylindrical tanks, multiply the length by the square of the diameter, and the result by 1 6K 14 L) 29 347 404 472 520 578 30 360, 420 480 540 600 7854. >7' 16 31 373 436 498 560 622 For tanks with elliptical cross section, multi ^ 7A 16 32 387 431 516 580 644 ply the length by the short diameter by the long diameter, by .0339. 7A 17 33 400 467 333 600 667 Second step: Divide the result by 231, which is the num ber of cubic inches in one gallon. The answer Length 22 , 24 28 32 36 : 48 64 is the capacity of the tank in gallons. 6 387 640 747 853 960 1280 1707 i; Concrete Work. Concrete for walls or 6A 6it 667 778 889 1000 4333 1777 i: foundation work should be mixed 1 part Port land cement, 2 parts sharp sand and 6 parts washed gravel. Finish coat for pavements, steps and other such work should be mixed 1 part Portland * 636 3 6A 666 69 3 72o 809 840 9?4 1040 1387 1849 960 1080 1440 1920 g 7 684 747 871 996 1120 1493 1991 ^ 7#i 7<A 77 3 902 1031 1160 1547 2062 lA 73 i 800 933 1067 1200 1606 2133 cement and 2 parts sharp sand or rough run limestone dust. Mix cement and sand dry, then mix With gravel dry and afterwards wet with the least quantity of water possible to saturate Familiar Facts. Doubling the diameter of a pipe increases its capacity four times. the mixture. A tag of cement contains 94 pounds net. A gallon of water (U. S, standard) weighs 8 1/3 pounds and contains 231 cubic inches. Four bags of Portland cement=i barrel; 2 A cubic foot of water contains 7)4 gallons, bags natural cement--1 barrel. 1,728 cubic inches, and weighs 62)4 pounds. ( 0007-SWP-0053240 108 Useful Information To find the pressure in pounds per square inch of a column of water, multiply the height of the column in feet by .434. At sea-level water boils at 212 degrees Fahrenheit. For each degree (Fahr.) less at which water boils estimate the elevation at 550 feet, To find capacity of tanks any size: Given dimensions of a cylinder in inches, to find its capacity in IL S. gallons: Square the diameter, multiply by the length and by .0034. Number of Tons of Coal a Bin Will Hold. Multiply the length, breadth and height (all in feet) together, and this product by 56. for anthracite, or by 50 for bituminous coal. Divide by 2,000 and the result will be the number of tons. Square Box Measure (Approximate). A box 24 x 16 inches square and 14 inches deep will contain half a barrel. A box 16 x i(M inches square and 8 inches deep will contain, one bushel. A box 12 x inches square and 8 inches deep will, contain half a bushel. A box 8^4 x 8Y\ inches square and 8 inches deep will contain a peck. A box 4 x 4*4 inches square and 4 inches deep will contain one quart, dry measure. ^ j " _ ~ . Weights and Measures Troy IVeight 24 grains==i dwt. 20 dwts.=i ounce 12 ounces 1 pound Use for weighing gold, silver and jewels Apothecaries' Weight 20 grains==i scruple 3 scruples=i dram 8 drams=i ounce 12 qunces=i pound The ounce and pound in this are the same as in Troy weight ! r 4 Useful Information 109 Avoirdupois Weight 27 11.32 grains=i dram 25 pounds=i quarter 16 drams=i ounce 4 quarters=i cwt. 16 ounces=i pound 2,000 lbs.=i short ton , 2,240 lbs.=i long ton Dry Measure 2 pints=i quart 4 pecks=i bushel= 8 quarts=i peck cu. ft. 36 bushels=i chaldron Liquid Measure 2 teaspoons=i dessert spoon 2 dessert spoons==i tablespoon _8 tablespoons= 1 gill 4 gills= 1 pint '4 quarts=i gallon 2 pmts=i quart 3iJ4 gallons=i barrel 2 barrels=x hogshead 1 bbl. for oil or other liquid contains about 50 gallons Time Measure 60 seconds=i minute 60 minutes= 1 hour 24 hours=i day 7 days=i week 28, 29, 30 or 31 days= 1 calendar month (30 days=x month in computing interest) 52 weeks=i year 365 days=i year 366 days=i leap year Circular Measure 60 seconds=i minute 60 minutes=i degree 30 degrees=i sign 90 degrees=r quadrant 4 quad'ts=i2 signs, or 360 degrees=i circle Long Measure 12 inches=i foot 3 feet=i yard $y2 yards=i rod 40 rods=i furlong 8 furlongs=i stat. mile 3 miles=i league Cloth Measure 2% inches=i nail 4 nails=i quarter 4 quarters=i yard Mariners' Measure 6 feet=i fathom 120 fathoms--1 cable cable lengths= x mile length 5,280 feet=stat. mile 6,085 feet=i naut. mile 0007-SWP-0053241 Ii j> ii si il -j r^S J-S I'; 110 Useful Information Miscellaneous 3 inches--i palm 4 inches= i hand 9 inches--x span. 18 inches=i cubit ai.8 inches=i Bible cubit ft.=r military pace Square Measure 144 sq. inches=l sq. ft. 40 sq. rods=r rood 9 sq. ft.=i sq. yard 4 roods=i acre 3o J4 sq. yards=i sq. rod 640 aeres--1 sq. mile Surveyors' Measure 7.92 inches=i link 25 Iinks=i rod 4 rods=i chain 10 square chains or 160 square rods=i acre 640 acres--1 square mile ;; 36 square miles--(6 mi. ' . square)=i township Cubic Measure 1,728 cu. in.= i cu. ft. 1 cu. ft.=about four- 27 cu. ft.=i cu. yd. fifths of a bu. 2,150.42 cm in.==i stand- 12S cu- ft.--x cord aid bushel (wood) 40 cu. ft.=i ton (shpg.) Mensuration, Length, Area and Volume Length Circumference of Circle=diameterX3.i4i6 Diameter of Circle--circumferenceX-3183 Side of Square of equal periphery as Circle--diameter DiaXm.7e8te54r of Circle of equal periphery as Square=side X 1.2732 Side of an inscribed . Square=diameter of Circle X Len7g07th1 of arc--number of degreesXdiameterX:oo8727 Circumference of Circle whose diameter is 1= 3,1415926s English statute miles=linea! feetX.00019 English statute m:iles=lineal yardsX.00568 Area ParalIelogram=baseXperpendicular height Trapezoid=half the sum of the parallel sides X perpen dicular height .' Triangle=baseXhalf perpendicular height Circle=diameter square X-7854 or circumference squareX0795S Sector of a Circle=length of arcXhalf radius Useful Information 111 Segment of a Circle=area of sector of equal radiustriangle when segment is less, and^j-area of triangle when segment is greater than the semicircle Side of square of equal area as Circle=diameterX 8862 or circumference ,2821 Diameter of a Circle of equal area as Square=sideX 1.1284 Diameter of Circle of equal area=square foot or area X1.12837 Parabola--base X 2-3 height Ellipse--long diameterXshort diameterX-7854 Regular Polygon--sum: of sides Xhalf perpendicular distance from center to sides Cylinder=circumferenceX height+area of both ends Sphere=diameter squareX3.i4i6, or diameterXcir- cumference Segment of Spliere=height _ of segmentXcircumfer- ence_ of sphere of which it is a partXarea of base Pyramid of Cone=circumference of baseX slant heightXarea of base Frustrum of a Pyramid=sum of circumference at both endsXfS slant hbight-|-area of both ends Convex Surface=square of a diameter of a sphere X Square feet=square inchesX 0.00695 One square foot= 183.346 circular inches Volume Prism or cylinder=area of endXlength Sphere=cube of diameter X.5236 Side of an equal cube--diameter of jsphereX.806 Length of ah equal cylinder==diameter of sphere X .6667 Segment of sphere=(height squared-f-three times the square of radius of base) X (heightX.5236) Pyramid or cone=area of base X1/3 altitude Frustrum of cone=multipIy area !of two ends to gether, extract the square root, add to this root the two areas and X1/3 altitude Cubic feet=cubic inchesXo.00058 Cubic yards=cubic feetXo.03704 Cubjc feet==cyliijdrical inchesX0.0004546 Cubic _yards=cylindrical feetX 0.02969 Imperial gallons--cubic inchesXo.003607 Imperial gallons=cubic feetX0.6232 Imperial gallons--cylindrical inches X0.002S32 Imperial gallons--cylindrical feetX4-895 One cubic foot=22oo cylindrical inches ' Cwt=avoirdupois poundX.009 Toh=avOirdupois poundXo,ooo45 0007-SWP-0053242 112 Useful Information Metric Equivalents Linear Measure i centimeter=c.3937 in. l decim:ter=3.937 in.= 0.328 feet 1 meter==39,37 in.-- 1 dekameter= 1.5)884 rds. 1 ki!ometer=o.62T37 mi. I in.--2.54 centimeters 1 ft.--3.048 decimeters 1 yard=o-9i44 meter x rod=o.5029 dekameter 1 rai.==i.6093 kilometers Square Measure 1 sq. centimeter^ 0.15550 sq. in. x sq. decimeter=o;.i076 sq.` ft. 1 sq. meter=x.i96 sq. yd. x acre=3.9S4 sq. rd. 1 hektar==2.47 acres x sq. kilometer=o.386 sq. mile i sq. inch=6-452 square centimeters I sq. foot=9-2903 square decimeters x sq; yd.==o.S36i sq. m'r. 1 sq. rd.=o.2329 acre 1 acre=o.4047 hektar 1 sq. mile=2.59 sq. kilo meters Measure of Volume i cu. centimeter=o.o6x 1 cu. in.=x6-39 cu. cen cu. in. timeters 1 cu. decimeter=o.o353 1 cu. ft.=2S.3i7 cu. deci cu. ft. meters 1 cu.mr. 7 f x.'3o8cu.yd. 1 cu. yd^o.7646 cu. m'r. 1 stere j 1 o.27'S9cd. x cord=3.624 steres 1 liitteer-ra1l0j'9o0s8g7qqtt dH,7q_ 1 qt. dry=x.ioi liters r qt, liq.=o-9463 liter 1 dekaliter=2.64i7 gals. 1 gal.--0.3785 dekaliter 1 hekoliter=2.8375 bu. 1 peck==o.8Sx dekaliter I bu.=o.3S24 hektoliter Weights 1 gram==o*035:27 ounce 1 kilogram=2.2046 lbs. 1 metric ton=i.xo23 English tons 1 ounce=28-35 grams 1 lb.=o.4536 kilogram 1 English ton=o.9072 metric ton Approximate Metric Equivalents 1 decimeter=4 inches 1 meter--1.1 yards 1 kilometer=|6 of mile I hektar--2*4 acres 1 stere or cu. meter=}4 of a cord 1 liter _( .1 o01..0s 6qq_t.,jlriqyuid 1 hektoliter=24 bu. 1 kilogram=2 1/5 bu. 1 metric ton=2,200 lbs. Products, of National Lead Company 113 For Your Files--A List of Products Manufactured by National Lead Company White-Lead Products Coach and Car Lead First Coater Flake White Flat Paint Liquid Lead Pulp White-Lead Special Grinders White-Lead Wall Primer White-Lead Dry and in Oil Lead Oxides Liquid Red-Lead Red-Lead Dry and in Oil Litharge Orange Mineral Miscellaneous Pigments Barytes Basic Lead Chromate Basic Lead Sulphate, Blue and White Titanox Linseed Products Flatting Oil Linseed Oil (raw, boiled, double-boiled and blown) Linseed Cake and Meal Colors CoIors-in-Japan Colors, Dry and in Oil . 0007-SWP-0053243 % 114 Products of National Lead Company Solder Acid-Core Solder Capping Bars Dutch Boy Solders Fusible Wire Solders Ingot Solder Meter Bar Solder Pig Solder Pulverized Solder Radiator Bar Solder Ribbon or Tape Solder Rosin-Core Solder Segment (Cut Wire) Solder Sheet Solder Solder Drops Solder Slabs Tinners' Bar Solder Triangular Bar Solder Wire Solder 1 * Bearings Armature Bearings / Bronze-Backed Babbitt Lined Bearings Frary Meta! (Ulco Brand) Bearings & Bushings Journal Bearings Die-Cast Bearings Sheet Metals Sheet Le^d (common, chemical, antimonial) Britannia! Metal No. i Bytanic iMetal Crawl Proof Sheet Lead . Frary (Ulco Brand) Sheet Metal Hoyt Metal Hoyt Silver Impression Lead Music- Plates Organ Ifipe Metal Products of National Lead Company 115 Sheet Tin Stamping Metal Tint Plates White Copper Stamping Metal Tubes and Tubing Block Tin Tubing Combination Tubing Composition Tubing Lead Tubes and Tubing Hoyt Hardlead Products Cornices Elbows Flashings Goosenecks Gutters Leader Pipes Ornamental Pipe Heads Roofing Valleys Raw Metals and Alloys Antimonial Lead Babbitt Metal Bar Tin Battery Grid Metal Brass and Bronze Ingot Metal Casket Trimming Metal Casting Alloys Electrotype Metal Hammer Metal Hardening Lead Linotype Metal Magnus Metal Ingots Monotype Metal Needle Metal Nick el-Bronze 0007-SWP-0053244 v 116 Products of National Lead Company Phosphor Tin Pig Lead Pig Tin Pulverized Lead Solders Spelter Stereotype Metal Plumbing and Pipe Equipment Antimonial Lead Pipe Block Tin Pipe Brass Lined and Copper Lined Iron Pipe - fi Brass Trap Screws Chemical Lead Pipe (chemical, common, composition) Combination Ferrules Combination Lead and Brass Soldering Nipples Flanged Bends Frary Metal Pipe Hard Lead Bends and Tubing Hard Lead Flanged Fittings Hard Lea$ Plug Cocks Hard Lead Valves Leadarhant Pipe Lead Bends Lead Lined Fittings Lead Lined Iron and Soil Pipe Lead Lined Soil Fittings Lead Pipe 1:1 Lead Traps Pipe Joint Cement . r Tin Lined Fittings Tin Lined Brass, Copper, Iron & Lead Pipe Expansion Anchors Cinch Anchor Expansion Bolts Cinchette Double Expansion Anchors Products of National Lead Company 117 Other Products Acetate of Lead, Brown & White Acid Recovery Plants Barium Sulphate Blatchford Patented Base Carbide Castor Oil Die Cast Products Driers Flaxseed, Ground Flaxseed Meal Japan Lacquer Lead Hyposulphite Machinery & Locomotive Engine Castings Paint Putty Tin Bars Tin Wire Trolley Wheels Turpentine Varnish , Combination Products Lead Coated Steel Tubes and Sheets Lead-Copper Wire Lead Lined Acid Pails Lead and Tin Lined Acid Valves Lead Iron Wire Lead Lined or Lead Covered Copper Colls Lead Lined Tanks Pewter Special Lead Lined Chemical Apparatus Tin Coated Brass & Copper Tubes Tin Lined Hard Lead Acid Pumps Tin Lined & Tin Covered Brass, Copper and Steel Tubes 0007-SWP-0053245 118 Products of National Lead Company Miscellaneous Lead Products Babbit Hammers. Battery Straps Burning Lead and Calking Lead Car Seals Clock Weights Dress Weights Frary Metal Battery Parts Lead Bars Lead Carnes, Reinforced Lead Gaskets Lead Hammers, Nails and Tacks Lead Ornaments Lead Sash Weights Lead Shot Lead Tape . Lead Washers and Wedges Lead Wire Lead Wool Net Leads Piano Key Leads Pinking Blocks Sounding Leads f : ;f Wedge: Lead i. I INDEX PAGE Accurate Paint Calculations .................................... 5 Antique Finish for Interior- Wood Trim............ 58 Antique 'Finish, Two-Tone Glaze or ..................... 44 Applying Flat Paint .......................................... Applying Paint, Helpful Hints in ........................ 22 " for Metals ........................................ 74 Area. Red-Lead Paint Will Cover ......................... 72 Area of Room Surfaces ..................................... 27 Boats, Painting ..... 85 Brick Painting ....................................... 66 Brushes and Their Care ............................................100 Calculations, Accurate Paint .................................... 5 Canoes, Painting ............... ......................................... 91 " Patching Canvas ........... .............................. 92 Ceilings, Painting Metal .............................................. 79 Ceiling, Square Feet in ............................................ 28 Coats, Numberof--Exterior ................................... 7 " " '"--Interior ...................................... 28 Colored Exterior Paint ...................................................17 Interior Paint ............................... -..33-59 Color Schemes and Suggestions ...................... 96 Colors, For Porch Floors ............. ........................ .... 17 Colors, Formulas for Interior .................................. 33 Combed Stencil Finish ................................... 47 Combination Effects ................................................. 48 Concrete, Painting ........................................... 66 " Flat Finish for ........................................ 69 " Floors, Painting........... ........................... 69 Contract, Form, Painting ................ 104 Crumple Roll Finish, Two-Tone ....................... 37 Department of Decoration ...................... 25-101 Enamel Finish ........................................................ -- 54 " " Flatting Oil Undercoat for......... 27 Estimating Quantity of Paint ....................... . 51 Exterior Colors, Formulas for .................................. 19 " Paint, Colored ............. 17 " Painting ................................................ .-... 3 " Paintings Number of Coats ........................... 7 Fabric Coverings, Painting ............................ 50 Finish, Oil . i................. ......................................... .. 63 Finish, Special Interior Wood.................. ............. .. 56 Finishes, for Metal, Dark ..................................... 76 " for Metal, Light ....................................... 77 " Sponge-Mottled ...................................... 47 II? 35 0007-SWP-0053246 INDEX--(Continued) PAGE Finishing Coats, Body and ............. ........................ Fire Cracks ........................................... .............. .. Flat. Finishes on Brick and Stucco ............. ... " Finishes on Concrete and Stone ....... " Finish on Interior Wood ......................... . . 17 .... 29 66 . 69 52 " Paint _________ _______________ 95 Flat Paint Applying ..,.................;.. Flatting Oil, Dutch Boy ...................................... Floors, Body Coat ......................... ............. " Finishing Coat .......................... . Floors, Oil Finish for .......................................... " Other Finishes for Hard Wood ............ " Painting Concrete ........... .. " Painting Porch ............................ .. " Painting Interior ............. ........................ " Preparing Surface .................................... " Priming Hard Wood .................................... 35 30 17 17 63 62 69 15 61 IS Id " Priming Soft Wood ....................................... 15 " Shellac Finish for ...................... 64 " Varnishing .................................... .................. 64 " Wax Finish for .............. ......................... 64 Form, Painting Contract ........................................ 1Q9 Formulas, for Stucco and Brick ................................ 66 " " Concrete and Stone .......................... 68 " " Exterior .Colors .................................... 19 Galvanized Iron, Painting k................................... 81 General Painting Facts ............................................. 94 Glaze, Two-Tone ............... ................. ........................ 44 Gloss Paint .................................................. 94 Graining, Interior Wood ......................... 60 Hard Wood Floors, Other Finishes for ............... 62 " " " Priming................. .................... 16 How Much Paint? Accurate Method ............. .. 5 " " Easy Method.......... ................... 4 Information, Useful ............................................ Ingredients for Paint in Tabular Form........... 106 12 Interior Paint, Colored ........................................33-59 " How to Mix ............. .................... 30 Wall Painting ......... Jj6 Walls, N umber ofCoats ............................ its Effects, With PlasticPaint...................... 4jjj Wood, Finishing .......................................... ||1 Wood, Staining ............ ................................ " Painting ........'.................................. |1 " Trim, Antiqueor Old Ivory ... " Finish, Special ............................. ||6 12Q INDEX--(Continued) PAGE Iron Painting, Galvanized ................... ................ 81 Joints, Making Tight ............... .............................. 99 Lace Stencil Finish ............................................. .. 41 Linseed Oil, Raw and Boiled ............... 8 " " in Sealed Cans ................ 99 Metal, Applying Paint for ....................................... 74 " Ceilings, Painting ............. . 79 " Dark Finishes for ............... 76 " Light Finishes for ................ 77 " Mixing Paint for ..................................... .. 73 " Number of Coats for ............. .. 73 " Painting .......................... 71 " Preparing the Surface ............................... 72 " Ked-Lead for ...........................................% ... 71 Mixing Flat Paint ......................... .......................... 95 u Gloss Paint ............................................... 94 " Interior Paint .......................................... 30 Mixing Directions, Simplified ................ 94 " Paint for Metal ....................... 73 " Paint, Helpful Hints in .............. 22 " White-Lead Paint ..................... 7 NewWood Inside, Painting ................ 51 " " Outside, Painting ................ 8 "" " Formulas for ................. 9 "" " Tabulated Formulas for.. .13-14 Number of Coats, Interior Plaster ....................... 28 Oil Finish for floors ......................... 63 " Raw and Boiled Linseed.................. 8 " in Sealed Cans, Linseed.... ................................. 99 Old Wood Inside, Painting ....;.......................... 54 " " Outside, Formulas for .................. 12 "" " Tabulated Formulas for .... 12 Other Finishes for Hard Wood Floors .................. 62 Paint, Applying Flat ................................ 35 " Applying to Metals .................... 74 " Area Covered by Red-Lead ........................ 72 " Colored, Interior .........................................33-59 " " Exterior ........................................... 17 " Estimating Quantity of ............... 51 " Flat ....................... 95 " Gloss .................................................. 94 . " for Metal Applying ...................... 74 " " " Mixing ........................................... 73 " Helpful Hints in Mixing andApplying -- 22 " How Much ............. 4-98 " " " (More Accurate Calculations) 5 121 0007-SWP-0053247 INDEX--(Continued) PAGE Paint, How many Coats of Exterior............... .. 7-98 " " " " of Interior ........... ..........28-98 " How to Mix Interior .................................... 30 " Ingredients in. Tabular Form ............... . 12 " Material Required for One Gallon of .... 14 " Paneled Effects with ........................................ 46 " Plastic .........,,.......... ........ ..................................... 49 " Steps to Be Taken in Mixing ..................... 7, 98 " Tinting One Gallon ............. .............. ........... 96 Painting, Boats ............................................................... 85 " Brick, Stone, Concrete, and Stucco.... 66 " Concrete .......... 66 " Concrete Floors .......... 69 " Contract Form ...................... 104 " in, Cold Weather........................................ 23 " Fabric Corerings ...................... SO " Floors, Interior .. ......................................... 61 " Facts, General................................................ 94 " Galvanized Iron ................ ........................... 81 " Interiors ........................................................... 26 " Interior Wood .............. 51 " Mel al ................................... 71 " " Ceilings...................................... -- 79 " Miscellaneous ................................................ 85 " New Wood, Inside........................................ 51 " `` "* Outside ................................ 8 " Old Wood,! Inside.......................................... 54 " " " Outside .................................. 12 " Plaster Walls ................................................ 28 " Porch Floors ............................ 15 " Sail Boats ........................................................ 85 " Stone ......................................... $6 " Stucco .............................................................. 66 " With Plastic Paint ....................................... 49 " Wood, Exterior ........................................... 3 " Wcod Shingles ............................................. 21 " Wall Board .................................................... SO Painted Walls, Washing ............................................. 50 Paneling ........................... 46 Paneled Effects with i Paint ........... .............. .............. 46 Plaster Walls, Painting ............................................... 28 Plastic Paint (Effects ....................................... 49 Polychrome Finish .............................................. 43 Porch Floors. Painting .................................. .............. 15 Power Boats, Painting ................................... 85 Priming Hard Wood Floors ...................................... 16 122 INDEX--(Continued) PAGE Priming Soft Wood Floors........................ ............. .. 15 Preparing Stucco or Concrete .................................. 66 " Brick and StoneSurfaces ...................... 66 " Surface of Plaster ................ 28 Products of National Lead Company ..................... 113 Putty, How to Make .................................................... 99 Quantity of Paint to Make ........................ 98 " " " Estimating .......... 51 " " " for Body of House .............. 4 Red-Lead, Covering Capacity of ........................... 72 Data, Handy Table of............................ 82-83 " For Metal ................................................. 71 " in Paste Form ............... 71 " Keeping Soft .................. ....................... 101 Repainting Inside Wood ......................................'... 54 " Outside Wood ......................... 12 Room Surfaces, Area of ................... ...................... .. 27 Row Boats, Painting ................................................... 90 Sail Boats, Painting ................ .................. ................ 85 Satin Finish ................................................... 39 Semi-Flat Finish ........................................... 69 Shaded Tiffany Finish .............................................. 42 Shellac for Priming Knots ....................... . 23 " Finish for Floors ....................... ................ 63 Shingles, Staining Wood ................... ..................... 22 " Painting Wood ........................... ................ Simplified Mixing Directions .................... Sizes, Use of ................ Soft-Tone Effects ......................................... Special Wall Finishes ........................ Sponge-Mottled Finish .................... Sq. Feet to a Gallon of Red-Lead Paint ............. 21 94 29 26 36 47 72 " " " " of White-Lead Paint .... 7 Stains .......................... 59 Staining Interior Wood .............. 59 " Wood Shingles ................................................ Stencil Finish ............ " Finish, Combed................................................ " Finish, Lace .................. Stenciling ...................... Stippling .............. 22 41 47 41 41 36 Striping ................ 46 Stucco, Flat Finishes for i.......................................... 66 " Painting ..................................... Surfaces, Area of Room ............ Surface, Preparing the ............................................. 66 27 28 123 0007-SWP-0053248 INDEX--(Continued) PAGE Tiftany Finish ................................ .................... . 42 Time Between Coats ........................................... .. 99 Tinting One Gallon of Paint..................................... 96 Two-Coat Work ..................... ....................................... 28 Two-Tone Glaze or Antique Finish ....................... 44 " Crumpled Roll Finish .............................. 37 Useful Information ....................................................... ids A Watch as a Compass ...................................... ids Capacity of Coal Bins ........................................ 108 Capacity of Tanks in Gallons ........... .............. 106 Capacity of Corn Cribs........................................ 107 Capacity of Coal Bins ........................................ 108 Concrete Wo rk ..................... ................................. 106 Familiar Facts ......................... ............................. 107 Finding Capacity of Tanks in Gallons ......... 106 Mensuration--Length, Area and Volume----- 110 Metric Equivalents ............. ................................. 112 Square Box Measure ....................... .................. 108 Table Showing Capacity of Corn Cribs --. 107 Weights and Measures ...................................... 10S Varnishing Floor' ......................................................... 64 Wall Board, Painting .................................................. 50 " Finishes, Special ................................................ 36 Washing Painted Walls ............................................. 50 Walls, Painting Plaster .............................................. 2S " Washing Painted ............................................ 50 " Preparing the Surface for Plaster ........... 28 " Square Feet in ................................................ 27 Wax Finish for Floors ............. .......................... ....... 64 Weights and Measures ................................................. 108 White-Lead,'Covering Capacity of ................. .-- 7 " and. Oil Plastic Paint Effects ......... 49 " Number of Coats................................. 98 " Paint, Mixing ........................................ 7 " for Wbod .............................................. 3 " Keeping Soft ......................... ................ 101 Wiped Stencil Finish ................... ............................... 45 Wood Finish, Special Interior........... .............. 56 " White-Lead for ......................... ...................... 3 Woodwork, Figuring Square Feet of ..................... 27 Wood, Painting New, Inside .................................... 51 " Repainting Inside ................................... . -- 54 " Painting New Outside .................................... 8 " Repainting Outside .......................................... 12 124 The Handbook on Painting MEMORANDA 125 0007-SWP-0053249 The Handbook on Painting me mo r a n d a > The Handbook on Painting MEMORANDA Si 126 :1 127 0007-SWP-0053250 4 A The Handbook on Painting MEMORANDA The Handbook on Painting MEMORANDA \ 'r 4 >-r. X r '4r 128 129 0 0007-SWP-0053251 The Handbook on Painting MEMORANDA, The Handbook on Painting MEMORANDA 130 131 0007-SWP-0053252 The Handbook on Painting MEMORANDA . I The Handbook on Painting MEMORANDA 132 133 0007-SWP-0053253 The Handbook on Painting MEMORANDA The Handbook on Painting MEMORANDA S 134 135 0007-SWP-0053254 The Handbook on Painting MEMORANDA The Handbook on Painting MEMORANDA -< 3.: -I 136 / 137 0007-SWP-0053255 The Handbook on Painting me mo r a n d a fJ^'HIS famous little char acter, our Dutch Boy Painter trademark, is put on our products as a means of identification and as a guard against substitution. He symbolizes purity of paint materials (white-lead, redlead, flatting oil, linseed oil) and signifies certain satis faction. i i You will find the Dutch Boy Painter on 1 and 5 pound tins and 12J4, 25, 90 and 100 pound kegs of Dutch Boy white-lead, 1 lYi, 25, 50 and 100 pound kegs of Dutch Boy red-lead, and 1 and 5 gallon sealed cans of Dutch Boy flatting oil and Dutch Boy linseed oil. Look at the Dutch Boy Painter again so you will remember him and remember to look for him when you need paint. # if When you have need of babbitt metal or solder, buy Dutch Boy babbitt metal and Dutch Boy solder. Both as * good as Dutch Boy paint materials. 138 0007-SWP-0053256