Document XOOzpnqvd2YG7N5KbqZw9dj4g

N11863 Its Dq coratiOTi ^ Its Protectioit A Practical Guide for the Property Owner Treating in a Clear Manner the Three Essentials of Surface Saving and Decoration--SThe Color Scheme, The Paint and the Painter. PRICE FIFTY CENTS JOHN T. LEWIS & BROS. COMPANY VIDENER BUILDING Chestnut and Juniper Streets PHILADELPHIA. PA. THE COLOR SCHEME - Selecting Exterior Colors *~y-sHE selection of a color treatment for JL . the exterior of the house should be an agree ment between personal preference and the require ments of the particular house and its location. The fact that a certain color or combination of colors looks attractive on one house does not argue that it \yill be pleasing on a house Of an entirely dif ferent type in an entirely different location. The size and shape of a house, its natural surroundings and the coldrs of neighboring buildings are important factors to be considered. This does not mean that Tor any one house there is only one ideal color com bination! As a matter of fact there are usu ally several alternate arrangements of color thkt conform with good taste and at the same time allow for the satisfaction of persoiial likes. There is actually so much to be gained in added] pride and satisfaction through a color selection in accordance wuth the simple, fundamental rules of color har mony as qgainst the haphazard method of "I like green and buff, let's paint it that way" that the slight extra effort of careful choosing is well worth while. The fundamentals of decoration as ap plied to tjhe exterior of the house may be classified under three heads, eath of which is a controlling factor in the selection of a color treat ment. These are the size of the house, the type of house and the setting or surroundings which points are taken up in the para graphs that follow. INFLUENCE . OF SIZE On small houses it is generally a good plan to use a . light color. This does not necessarily mean. white. There is a wide range of light grays, greens, yellows and tans that are suitable for exterior use under proper conditions and from which you can select a distinctive color scheme. Light colors make a small house appear larger. On the other hand, dark colors make a house appear smaller and there are times when their use on a large house is desirable to bring its apparent size into proportion with surroundings. Tali narrow houses look shorter and more in proportion when accorded a twocolor body treatment. Occasionally the architectural lines will not permit this treatment, in which case a light color should be applied for the bodv with a dark contrasting trim. In carrying out a two-color treatment for the body of a house it should be remembered that fieht :> ? 0007-SWP-000001640 m 'mm rf*` rtt-i BffliHMisigmi \4 Oj mm. IW JfHITK 35 * time-honored treatment}* tbe New England Colonial bouse and its modern adaptations. I he possessor of such a house, however, may to to ivory, light green er warm gray with harmonising, trim colors, without violating any of the principles of rood decoration. In the above illustration, color has been used to excellent advantage in bringing out the good points of this early type of architecture. colors and dark colors are greatly accen tuated when used together, and for this reason the two colors used should not contrast too strongly. The upper portion may be painted the darker color, prefer ably one blending with the roof. A me dium color for the trim will help bring the two body colors together. COLORS FOR DISTINCT TYPES Custom has associated certain colors with some of the more widely known types of houses. While these are nearly always in good taste it is possible to use other colors with equally good results. For instance, yellow or white is usually *4} ----- - . .--t ; > 0 3 G 7 - S <' P - 0 0 0 0 C 1f- 2 i 1 i thought of as the proper color for Colo nial houses, yet grays and light greens can tint or shade of a green-blue, which is the complementary color to orange formed bv be employed to good advantage on houses the red-and the yellow. of this type and; those closely resembling the Colonial. OTHER CONSIDERATIONS It is a mistaken notion that bungalows Tw'O additional points may well be kept look well only in-dark colors. Most pleas in mind in choosing colors. Houses in 1 ing, effects, especially on bungalows built localities where there is an unusual amount partly of clapboards, may be secured by of smoke or dirt in the air should be the use of white and light colors such as painted with grayed or somewhat darker buff, gray,; light brown, etc. The roofs of shades to postpone or avoid any objection bungalows are nearly always in strong, able discoloration. dark colors--Venetian red and olive green Attention should also be given to the for instance. relative permanency of the colors selected. RELATION TO SURROUNDINGS The natural surroundings of a house necessarily influence the choice of color. When a small house is surrounded by trees, for instance,, it needs light colors to pro vide a contrast; otherwise it will not make any showing at all, due to the shadows thrown upon it. Even a large house sur rounded by dense foliage which throw's it into shadow' looks better in such colors as, Some desirable tinting colors particularly among the blues and greens are prone to fade rather quickly in strong sunlight. The more conservative tints such as light ivory or light gray are usually more permanent and at the same time pleasing and in good taste.. A skilled painter is the best judge of colors that will stand long exposure with out appreciable change in tone. FURTHER COLOR SUGGESTIONS w'arm grays and tans than in very dark A study of the various colored illustra colors. tions of exteriors throughout this booklet An excellent general rule to follow when w'ill repay you with ideas as to color there is considerable foliage around the treatment that can be adapted to your own house is to choose a color that offers suf house. We have attempted to show a num ficient contrast to offset the effect of the ber of the common architectural; types. 'shadows present. Probably no one illustration will duplicate Neighboring houses should be kept in your house exactly but, if the type is mind as wbll in deciding upon a color there, it is fairly certain that your house scheme. Unless houses are a considerable will look equally well in a similar color distance apart their colors have a very scheme if conditions are much the same. decided influence upon each other. One We are also glad to offer von the services color treatment may ruin the good points of our Department of Decoration. Simply of the other. write to us for a blank which you can fill A house situated between two others out wdth the necessary data and return. should be in;harmony with both of them. Color schemes will then be made up to fit Suppose there is a yellow' house on one your particular case. There is no cost or side and a fed house on the other. The obligation attached to rhe use of'this house in the. iniddle might be painted some service. - _____________ - 0 00*7- S * P -00 0 001 64 3 MM It is in surroundings of this nature that the more delicate colors have a very definite -place in decorating stucco bungalows. Tainting stucco buildings has proved to be a most useful method of securing these delicate colors and waterproofing the surface as well. <6> - : y? - A-2 *'rf-V r-yj.*-V^ ' ooo7-s>i p-Gcoooi6yy x. Selecting Interior Colors Interior decoration is the art of bringing into pleasing harmony the room and its contents. While the; working out.of this function is not as simple; as the definition it Can be reduced to a few fundamental rules of color. Color is the all-important tool of the decorator. With it rooms are made to appear smaller or larger, warm or cold, bright or subdued. Skilfully employed, color converts a blank space and four walls into a delight to the eye. With the great number of colors at com mand it is well to. consider first, before making, a selection for a given room, which tint ..iot tints are most appropriate for'the particular room being decorated. Is it a living room, a dining room, a sleeping room, a hall, or kitchen?. Each room servesj a different purpose and the use to which a room is put determines to a considerable extent the wall colors that are most suitable. COLOR INFLUENCES ! SIZE OF ROOM Light colors on the walls make small rooms appear larger. The light and grayed colors are excellent for use on the walls of a' smal l'room when it is desired to make it appear as foomy as possible. Light blues and greens, br colors tinged with blue or green, are particularly good for this pur pose because they are what is known as receding colors. In other words, they make surfaces appear more distant than they actually are. If the ceiling of a room is high, the use of a color fyut a little lighter than the wall color will- bring it down apparently and make it appear lower. Carrying the ceiling color down On the side walls as far as the molding also helps to accom plish the same effect. It is often a good plan in long narrow, rooms, where the ceiling is unusually high, to bring the ceiling color down in this manner two or three;feet below the ceiling cove, using a wide molding to cover the line where the two colors meet. A treatment of this kind reduces the appearance of .height and in effect brings the ends of the room closer together. USING COLOR TO CONTROL LIGHT Dark, depressing rooms can be wonder fully improved by using light colors on the walls. Light gray, buff, cream or ivory are good for use in rooms of this character as well as in small rooms. Yellow is a good light reflector and in extremely -dark rooms, where artificial illumination has to be resorted to in the daytime, yel low will be found a most economical and decorative color to use. Glaring and unshaded rooms will be much more restful and pleasing with walls of green, gray or blue-gray, or colors on the green or blue order. Of course, in the very light tints, where a substantial amount of white is present, this effect is not so pronounced. The stronger the nat ural light of the room, the deeper may be the green or blue employed. t SOME COLORS INDUCE FEELING OF WARMTH Reds and yellows are warm colors and wherever these colors, or their derivatives, predominate a feeling of warmth is pro duced. This is true in varying degrees of the modifications of red and yellow rang ing from the palest straw tint down through orange and brown, and from the 17 W P~ C 0 v 0 most delicate rose to the deepest crimson and mahogany. In rooms with bleak northern exposure, warm colors are preferable to give the effect of warmth and cheer. In the cooler climates warm colors on the walls make pleasanter and more cheerful homes. The range of colors from green through blue-green, green-blue, blue and violetblue are cool colors, blue contain ing a suggestion of green being the. coolest. The use of these colors, .es pecially the blues and: greens, make a room appear cool and refreshing. For this reason they are particu larly valuable in rooms with a southern exposure or in homes in hot or warm climates. This func tion of color is an important con sideration in the proper selection of a color scheme. CHOOSING THE CEILING COLOR Ceilings should ahvays be of a lighter color than the walls even in the case of very high ones when a comparatively dark ceiling color is sometimes used. It is a mis take to make ceilings white, as then the eye comes to an abrupt stop when the ceiling line is reached and the impression WHAT COLOR FOR THE WOODWORK? There is no sound reason why interior woodwork should always be white or ivory. As a matter of fact there is a rapidly growing tendency to employ comparatively strong colors In the treatment of the trim. Many beautiful effects may be obtained by painting the woodwork a deeper tone of the side -wall color, wdth a striping line of a contrasting hue. Or, if the walls are fairly dark, the trim may be carried out in the wall color itself.For example, pale green walls are delightful wdth darker green woodwork and grayed violet strip ing, while deep ivory walls are exceedingly attractive wdth trim of the same color and a striping line in robin's egg blue. Th e t if f a n y has long held a place of respect in the decora tive field where its beauty and pleasing blend keep it always in good taste. It is produced by blending two or more placing colors over a painted ground that has been allowed to dry.. :9 vxo 1 is that:of four walls standing alone with portant part of the structure of a room out the necessary structure to hold them and its decoration should not be less care: in place. fully worked out than that of the othei A very slight tinge of the wall color in surfaces of the room. the ceiling carries the eye without' an abrupt break from the walls to the ceiling and gives the room a finished appearance. A WHOLE FLOOR AS A UNIT It also shows that all of the structural The mistake is sometimes made of in planes have been carefully considered in croducing a series of unrelated colo: tjhe decoration, for the ceiling is an im- schemes on a floorer in a suite. When the ' `i 10} 0 7_SV?_C( living room, dining room, library and hall, lor example, communicate by.wide openings, there should be a fairly close relation between the various color schemes so as to tie them 'together. It is not neces sary or even desirable to use the same tint or shade on the walls o all the rooms but it is often a good plan to use the same color throughout, relying Upon tints and shades of that color to provide the proper variation, If the openings between rooms are but single doors, greater freedom is permis sible, but it is always best to avoid too much contrast from one room to another. It goes without saying that the scheme of decoration, whether for a single room or a suite of rooms, should harmonize with the rugs, hangings, etc. Probably the sim plest way to assure this is to take the pre vailing color of the floor coverings and use a tint of it on the walls. Where this is not desired some other harmonizing color may be employed on the walls. 3. Distinctive Wall Finishes . There is no more versatile decorative medium than white-lead paint. First, be cause the painter mixes and colors whitelead paint to order, there is practically no limit to the number of shades and tints that you can secure. Then, in ad dition to color selection, there is a wide choice of wall effects or finishes. For those who prefer utter simplicity there is the one-tone smooth finish. For those who want something a bit more unusual there are figured effects--the sponge mottle, the crumpled roll and the various stencil finishes--or the glaze effects such as the tiffany. And for those who like rough finish walls there is the plastic finish with its many textures and its' infinite possibilities of combining color and pat tern. The interior illustrations in this book let show hoW sonje of these various effects can be used, and serve to give an idea of how they influence the appearance of a room in which they are employed. THE TIFFANY The tiffany, originallv developed by the famous Tiffany Studios of New York City, holds an undisputed place among painted wall finishes.. It may be rendered in deep tones, such as one resembling old leather, or it mav take the form of the more delicate blues, greens, grays and pinks. The deeper effects are generally' confined to panels but the lighter tiffany' may' be applied as an allover wall treatment, as a ceiling finish, or in panels. Another variation of the tiffany is sometimes used to assist in overcoming an architectural condition. For example, in a room with a too low ceiling the shaded tiffany may be employed, either in panels or as an all-over wall treatment, to in crease the apparent height of the room. Aside from this very' useful function, however, the shaded tiffany is one of the most pleasing and interesting wall fin ishes. Starting at baseboard or wainscot ing in deep, rich, carefully blended tones, it extends toward the ceiling line, gradu ally thinning out until at the top there is scarcely more than the undercoat color showing. It is this blending and gradual shading that creates the illusion of in creased height. The shaded tiffany can tions being the wiped stencil combed stencil. When the wiped stencil is used, the wet glaze is removed with a cloth through the stencil openings. The outline of the steficil pattern may be either sharply defined or left soft and indistinct. In another va riation the glazing colors are first wiped out through the openings and then one of the clear colors is applied through The combed finish in panels is entirely the stencil. appropriate for a drawing room or a fairly The wiped stencil usually may be em large living room, or it can be used to im ployed wherever the tiffany is suitable. In part a distinctly feminine touch to the such interiors as a large living room or boudoir. dining room, the library or entrance hall, a well selected tiffany and'wiped stencil CRUMPLED ROLL often provide a charming method of decoration. The illustration on page 9 shows this effect used in a Spanish interior. The combed stencil is actually a modi fication of the wiped stencil just described, since the gla-ze is. only partially removed through the openings. The stencil is placed against the wall while th^ glaze is still wet and a.graining The crumpled roll finish possesses many advantages. The soft, feathery design is distinctive and individual and- tends to conceal any fine cracks in old plaster. The finish may be employed.either in panels or as an all-over treatment- Usually a darker color rolled over a light-colored under coat gives the most satisfactory result. comb is dlrawn vertically and then horizon The kind of paper used and the method tally acrojss the surface. In this simple opera of crumpling it have a decided influence tion the t^ethofthecombpenetrate through on the finished effect. Medium .weight the openings of the stencil removing a lit paper or light wrapping paper, crumpled tle of the glaze coat. This permits the loosely, will produce widely spaced fig ground color to show through the delicate ures, while the same, paper crumpled more line tracery established by the combing. tightly will result in a smaller design. While |it has an extensive use as a finish for formal rooms, the combed stencil: can be treated in such a way that it presents a charming finish fot many of the more intimate rooms in the aver age home. One of the most interest ing effects of the latter type is obtained by using; a tif fany trea tment in panels and then finishing with the combed stencil within the panel borders. Or, instead of placing the stencil over the entire panel, employ only a strip as a border effect inside the pane|l moldings. Either of these two treatments will result in a most charming and unusual effect. 'Th is finish is produced simply by rolling a wad of crumpled paper down over a freshly painted wall, lifting some of the wet cotor and exposing the color underneath. Simply changing the color combination, the si~e and out line of the pattern or the method of employment adapts the crumpled roll finish to rooms of widely differing requirements. \i .0007-5wp-000001651 Simply changing the color combination, the size and outline of the pattern or the method of employment adapts this finish to rooms of widely differing require ments. Practically the only limitation to its use is the fact that it must be applied over! a smooth finish wall. It is obvious, of course, that on rough' finish plaster the rolled paper will not lift sufficient color out of the depressions to produce the desired effect. SPONGE MOTTLE The sponge mottle is an interesting wall finish of wide adaptability. Not only may it be used in many different types of in teriors, but also with as many different colors as desired. Usually, however, one *4 } 0 0 0 7 - s w P _ c 0 0 0 01 6 c> or two in addition to the undercoat color will be found sufficient. This finish is suit able for, use either in panels or as an allover treatment. The sponge is usually tamped against the surface haphazardly with no attempt at a regular pattern, although a regular pattern -is occasionally used. As a rule, however, the haphazard mottling will prove more satisfactory for the reason that a great deal, of the charm of the sponge mottle finish lies in its irregularity. Due to its simplicity and the ease with which it can be produced, the sponge mot tle finish is one of the most practical . figured effects. Almost any room in the average home can be decorated successfully in the sponge mottle finish. Ordinarily it is suitable for such interiors as living room, dining room, entrance hall and bedroom. STRIPING Striping is a simple and inexpensive method of emphasizing the simplicity and beauty of a one-tone interior. It con sists of nothing more than a narrow band ing line of a deeper color than that applied on the side -wall. This banding line is applied directly to the side wall and out lines all window frames, door frames, and other interior trim. The strip may range from three-quarters of an inch to one and one-quarter inches in width, depending upon the size of the room. In some cases a double line is used, one wide and the other narrow, . All banding lines parallel the wood trim and ceiling line, the distance awav depending upon the wridth of the stripe. The usual distance in a normal size room is from jtlhree to four inches for a threequarter inch stripe. A wide stripe.would be placed a proportionately greater dis tance frotm the trim. The effect achieved depends upon the choice of color for the striping or banding line. A color very close to that of the wall color as, for instance, a buff wall and light brown stripe will result in a subdued effect . On the other-hand, an intensely contrast ing color will add. snap and brilliance. Such a combination would be a light yellow wall with dark green banding. Colors for the striping should be chosen, therefore, with this factor in mind. Striping may be applied on any one-tone interior and is particularly suitable for rooms such as kitchen and bedroom.. WHITE-LEAD AND OIL PLASTIC PAINT There is being displayed today an in creasing interest in the possibilities of plastic paints for producing textural fin ishes. The. advent of textural finishes, of course, does not. signify the abandonment of other types of wall treatment. The dignified one-tone wall which is always in good taste, as well as the other effects mentioned, will continue to occupy an important place in decoration. The in troduction of textural finishes, however, does mean a widening of the scope of white-lead paint as a decorative medium. As happens not infrequently when new ideas take hold, the first attempts at plastic paint wmrk were Overdone. Users of it went to the extreme. Color effects were garish, so much so in fact that they became known as ``jazz" effects. Textures were extremely rough, the deep recesses in the finish affording an excellent lodging place for dirt and dust. As was inevitable a reaction set in and a more conservative, more sanitarv type of textural finish is now becoming, popular. Such a finish is easijv obtainable with a white-lead and oil plastic paint. When -. 0 0 0 7-S W P-0 00 001633 r ^HE wallfinish of modified relief texture in white-lead and oil plastic paint is the principal charm of this.hallway. The color scheme, carefully worked out in studied contrast, adds to the general effect. { 16 > V\ , .7/ 0 7 -- S P--JGQ manipulated, this plastic paint gives a From a decorative standpoint the wide modified or low relief texture which is assortment of textures that are available quite in keeping with the demand im with white-lead and oil plastic paint are a posed for a textural finish midway be revelation to those who like things a little tween the smooth painted wall and: very different yet in perfectly good taste. No rough-textured effects. White-lead and: oil matter whether the texture selected is plastic paint actually is a paint---not a simple or complex in its execution the piaster--and effect is nev basically is I made from er extreme or bizarre as the same ma long as or terials that dinary care is the painter taken to fit uses to paint the size of a flat f|nish the design to on the tvall.; the room. Of course, Some of these materi the many tex als art com- tures are il bined in lustrated in some wjh a t color in this different pro booklet. portions and These effects one other as well as (whitinjg) is many others added, but can be pro with t| h i s duced by any single excep up-to-date tion the|ingredients of white-lead and oil painter with "tools" that he uses every plastic jdkint are identical with those in a day. If the paiftter should be unfamiliar white-lejad flat paint. This is why a with the formula for mixing white-lead whixe-lekd and oil plastic finish wears and oil plastic paint or with the method well, dogs not chip off or become brittle, of producing any of the textures he can arid can jbe washed just as any white-lead obtain this information promptly from our r paint wijthout dainage to the paint film. Department of Decoration. I 3 0.007-Swp-poOQClb 55:' Th e s mal l cottage looks best in light colors. A darker roof and trim of a lighter or a contrasting color may be employed to afford the necessary color interest. f ^i8 > 0007-5P-000001656 - THE PAINT - i. What Paint Is AINTis a mixture of Psolidparticlesfcalled the pigment) and a liquid (called the vehicle) which dries solid when spread out in thin layers upon a surface, protecting and decorating the surface to which it clings. THE PIGMENT Since early Colonial times, pure white-lead has been used for painting. It was the standard paint pigment in those days and is still the standard today. Professional painters the country over mix their paint from pure white-lead. White-lead is hydrated basic carbonate of lead--a fine, white pigment obtained by chemical process from metallic lead. As sold in paint stores, it is in paste form --that is, mixed with a percentage of pure linseed oil. When more linseed oil is added to the paste, together with turpentine and drier, gloss paint for outside work is produced. If flatting oil is mixed into the paste white-lead, flat paint for interior use is made. White paint results in either case. This may be readily colored as desired by adding the proper colors-in-oil. In mixing paint to order, as described, the painter is able to control it absolutely. He can mix' it thick or thin and vary the propor tions of ingredients to meet any surface con dition. He is able to match exactly a wide range of de sirable colors. This is es pecially appreciated by home owners who are not satisfied with a tint which is only approximately what they have in mind. Finally, and very im portant, one is absolutely sure of the co??tposition of the paint because he can see its component parts. MERITS OF A WHITE-LEAD PAINT Pure 'white-lead paint is noted for its remarkable durability and unexcelled pro tective qualities. It gives a tough, highly weather-resistant coating w'hich retains its good appearance over a long period. The film, furthermore, remains elastic. This is important. Wood, for example, contracts and expands due to atmospheric changes. A paint film that is hard and un yielding, or becomes so, cannot follow this alternate shrinking and stretching of thc material to which it is applied. Con sequently it ruptures--cracks and scales off. A white-lead film, because of its elas ticity, is not subject to cracking and scaling. It stays unbroken, smooth and even. When repainting time comes around. 0 CO 7-3 V P- 0-0PC 01 5  White-lead, under both the Dutch Boy andirhe Carter Brand, is sold in two forms ---as a heavy paste and as a soft paste. The only difference between the two is that soft paste white-lead has mixed into it at the factory a little more linseed oil and, therefore, may be thinned to paint more quickly. Both products are pure "lead in oil," containing pure white-lead and pure linseed oil--nothing else. { zo ' ,-r r? *c &' -j-tWr- ;: S..-A fz lC,Vfc>v. iC7-SP-00000lS5 x. Some Facts on Painting Cost The price per gallon of white-lead paint For the three years then, the total-exalways compares favorably with the price penditure should not exceed $8.15. The per gallon of other paints, except those of labor of applying costs the same in either the very inferior class. Length of wear is so case, namely $8. This leaves only a 5 Cents r much more important, however, that it available for purchasing the gallon of really makes no difference whether the paint. The three-year paint at $2-2.5 no'v , k white-lead paint figures high or low per looks rather high, doesn't it? If the paint that is to be compared with "lead and qil" happens to be the higher per gallon, then the conclusion is simple; for there is; no paint which lasts longer than pure white-lead. If the other paint happens to cost less, a little example in arithmetic may help to prove how unsafe it would be to be tempted by its price. A LITTLE ARITHMETIC The wage scale of painters varies in different localities but, let us say that it takes $8 worth of labor to apply one gal lon of paint--good, bad or indifferent. If a good paint (one which will last say four years) costs !$3 per gallon, that will mean $11 per gallon applied. As it will last four years, the pointing job will Cost $1.75 per gallon, per year. ' Now "suppose we were tempted to buy an inferior paint because of its attractive price, figuring that even if it did not last so long it would be cheap. If such a paint should turn but to last only three years in stead of four, what should its price have bpen to make it an "even break" with the better paintli Would $2-2.5 per gallon (that is, three-fourths of $3) be right? It Would as some people consider it; but figure it out. We have seen that, by using the $3 paint, our total cost for both labor and paint will not exceed $2-75 per year. SAVING ON THE NEXT BILL The fact that white-lead paint wears down uniformly, leaving a perfect sur face for repainting, takes off a good por tion of the next painting bill. As stated before, oftentimes a painter has to charge about as much for burning and scraping off the old scaly paint as for applying the new paint. A preliminary dusting off is all that a properly white-leaded sur face needs when repainting time comes. Of all the points to consider w^hen choos ing paint this one is perhaps the most often overlooked by the property owner and is one which costs him money. SPREAD PLUS HIDING How far a paint will "spread" indicates nothing unless it hides the surface at the same time. White-lead is a very opaque pigment and as a paint possesses great hiding power. Under average conditions, a gallon of pure white-lead paint will cover about 600 square feet of surface, one coat, and hide it satisfactorily. In addition to covering exceedingly well, pure white-lead paint works easily under the brush. It has the quality of be coming apparently more fluid the more it is brushed. In other words, it takes less time to paint a given surface with whitelead. Great covering power and easy- : 2.1 0 007-5 * P- OQOCCi 6 5.9 1 Th e more or less modem -plastic finish is not generally associated with interiors on the Colonial order. Yet some textures can he employed to good advantage as this illustration evidences. This is known as the pan swirl, one of the many effects possible with lead-and-oil plastic paint. working qualities are two factors which reduce the comparative cost of pure whitelead paint. WEAR IS ANOTHER FACTOR Experienced painters say that for long wear, and consequent lower cost per year. mrt white-lead and oil should be used. A good job of white-leading may be expected to last four years on the average. Right along we receive letters from painters, describing buildings which were painted with white-lead from ten to fifteen years ago and are still well protected. These, of course, are exceptional cases but they serve to show the long wear which is in pure white-lead paint. 4 ZZ h V'' .,^*v 0007-5WP-000001660 - T HE PAINTER - GOOD painter should be employed. knows his business is also always pleased A It is not economy to set unskilled when reliable materials are specifically -labor at a job of painting just be named. It gives him a definite basis on cause anyone can spread paint on in sowmheich to estimate and enables him to sort of fashion. The skilled painter's feuxrnish a completed job which will add perience in diagnosing the needs of the to his reputation. Nothing is so unfair surface and his knowledge of just the to the honest, conscientious painter as to right proportions of lead, oil, turpentine make him bid blindly. "Best materials" and drier to fit the case make him a good mean one thing to him and an entirely investment. Like good materials, a good different thing to the unscrupulous man. painter pays for himself. The good painter Make them bid on the same materials by is partial to ''lead and oil" and because of brand. If you believe that Dutch Boy or his knowledge and training he can be Carter white-lead will give you the best depended upon to apply it with skill and results, make your specifications read that judgment. way. It is the only fair way both to you and the painter. PICKING A PAINTER An excellent way to choose a painter is to find out what class of work he is doing --who are his customers. If he works for particular people, if he can refer to satis factory jobs he has done, he is probably competent and reliable. Do not expect him, however, to compete in price with the fellow who sprang up a full-fledged painter overnight. SPECIFY DUTCH BOY OR CARTER O, ' ' . The real painter has nothing to hide and is anxious to work for property owners who know something about the relative merits of paints. The painter who GET THE PAINTER IN TIME Painting is one of the things that costs money to do without. Wear from weather is continually taking place and if there is insufficient paint protection, the house suffers. Just how much depends upon how long the needed painting is put off. Wait ing until spring or for another month or two sometimes .means a big repair bill in addition to the eventual painting cost. If your house needs painting now, there are three things to do:--select a good color scheme--specify good materials by name --choose a reliable painter (and be sure to get the painter in time).