Document ZBdexLdJ5NLBx4MME84Raq8a0

chemical properties of our materials, and the still greater need..' Tj I. unaeSatAnding tfl&ir physical qualities* This, is the ABc.or- the alphabet of paint language, UiKl it"1 lb only in:this way, .mat- we aan reason and understand the construction of the high quality'- . >' Devoe products, and their proper application* -SV .... - They teadi ue the results of intelligently using and of ignorantlyy " abusing good materials* -- . - 'r ... - We hare studied the Vehicles .Dryers and Volatile Thinneri; heard - a-few introductory remarks on. Pigments, and saw a test made, which". . . -i showed conclusively the; hiding qualities of our Lead b Zinc and Albalith; and the extreme weakness in this respect .of 3arytes .China Clay, ,5e'lica and Whiting* It is our task to-nighi, .to. make a brief study of the principal white pigments* Volumes have been written on , .: . these,and many conflicting ideas have been spread about* We willon- . :. endeavor to let you see and reason for yourselves on the properties of "these various pigments and extenders and doubt not that you will . ; . voluntarily agree with our judgment and conclusions* '. .' . .` " *r" However-'as paint men,in the employ of the Devoe house. and actings , as their representatives it is incumbent upon you (though you may at * times hold differing personal opinions )to preach the De.voe paint gospel, as the Devoe house believes, and to do this with earnestness and with convincing enthusiasm* It is. only with this full measure of' conviction and 1 unbounded enthusiasm,that you can get- the;Ddvoe jsaint- message across. With a long, strong pull, and all together, the goal must be, and will be won. We shall study first the two pigments* :that enter into the composition of Devos lead and Zinc Paint* In-doing this, we will sketch but briefly the manufacture of the pigments, and pay more attention to their qualities as component parte of our paint* White. lead"--or Basic Carbonate of Dead is regarded as* consisting- of about 10% of lead carbonate and. Z0% of lead hydroxide* There are a 3 * 'number of. processes of making it, but the one most in use, known as the "Old Dutch Process* is of greatest interest to us. The lead.is . melted and run into molls,then recast into ''buckles* six to-eight. inches in diameter and about 1/41nch thick as shown in this exhibit* , -These buckles are then packed in earthen jars,which vary in size from, 4 to'8-&-. inches in-disaster, and 6 to l6 inches high* ' '-1 " ; . . In. the'bottom of the jars ia a well.into which is; put about aipint ;/T of diluted^-cetic acid. Above the acidfbut not in contact with i*t, axe . - placed the lead buckles r about eleven of the 6 in.buckles to a jax*The .. filled'pots which have been placed side by side in~a shack,the floor of which i3 covered with about.2^ feet of .fermenting tan bark, are^now cover sd-'pVerr with a flooring-.of: rough boards. Upon this" 4 *m~ .... other layer of~iran bark about one foot"tbick,followed by of .pots'* 0007-SWP-000007039 ry**^>s^y 1. i/l?i _|ii^i;i|- *% . DnmklhxRoasCtMw* : ;-.:.vv^vi^'f'>**'i*s-' -'2* - ' ...- :* S0 the building of the stack continues ,alternafir.g between tan bark* '.. pots and boards. A stack is usually eight tis.s h;gh,,sacik tier con-; . taining 1,800 pots,making a total of 14,600 pets, if stack of this size- would, contain 1325 gallons of acid,and a little over 30 tons of: lead. The tan bark'ferments,producing heat which vo;?o:;izes the acetic .acid.. The tan bark itself'generates carbonic acid g-is^ The acetic acid oon- verts the lead to lead acetate,and/the carbonic arid as converts the* Idad acetate into basic carbonate of lead, known formercially as white': lead. The heat in the stack readies about '.jUOoIT.aifri the proce33 con- ; tinues from ninety to 130 days .The stack is then ojAeaed and the-tan ' . bark and boards removed. The buckles are found in tneix original forms in. the pots,but snow white and swollen and very brittle. The corroded- , lead is then ground, washed free from acetic acid.phased into settling tanks, and finally pumped into drying pans ,whea the* -dry powder isjrsm- . x. oved,and ground usually in the proportion of 92 chQk'Xy lsad in 8 lbs. - . of linseed oil.to a paste from,in which shape it in feold as White Lead in Oil, and measures a bulk'of about 265rallon3 of"paste lead. .. -------------- Z , PROygEvTl^S Q-? q^orrATi? 0?' IF.> v . The- C'SxbOiie.te of Lead .produced by the Dutch Procesti,i3 composed of . -both fins and coarse particlss,dees not absorb very rttrch oil,and is - very opaque. Its great virtue is this opacity or exceiLloat hiding . .. quality* Its low oil absorption makes its'spreading caj.*-city small. It is'not as white, as Zinc Oad.de, and discolorsrapidly und.tr the attacks* of-sulphur gases which, are present in cities,and near mttnuf-acturing plants,and railroads. Sulphide of Lead.which is black,!$ '-bus formed, and causes the darken-ing or graying off of white houses* -Although. a. iesirable pigment on account of its good hiding- qualities .and ease of application,it cannot be used successfully as tha sole Loj|y pigment in a paint. It sets up a rapid and progressive crumbli:.^-* or dusting, referred to as "chalking" off,and seldom, lasts more than '"-iS'xea years. This necessitates frequant rapaintiiig,with the attendant .cest of more materials and high prices labor Let us sum up its merits and its faults. Its merits are j . .' ' It hides ws 11 =, . .. Works easily under the brush -. > When it perishes ,it goes by a chalking off process ;which leaves the old surface in'good condition for repaintings * , ,, liis faults are- .. #1 It is poisonous - - - -(Prohibited in Prance}, \ 2 Darkens by the action of sulphur gases. . _ 3 Does not spread far-which means mere gallons on * ^ . * 4 Leaves a soft filqi,which chalks off too rapidly,which. : means painting ofteuez,and a higher cost per year* } -- . \ ' v In our Lead and Zinc Paint,we retain the virtues of the Lead, and 'orxect its faults by the admixt ure of Zinc Oxide,which we will now xamins* " OXIP'R! OP ZISC : -.x-.l-r. . ,'-" ;--:i Oxide of Zinc is a discovery or invention of latex date than Caxonate of-Lead, as it came into use in Prance in about 1840. Two pro- 0007-SWP-000007040 Ew*m *RiSMats C&4n `3 - osesep ar?. Used la its manufacture* . . ^- American process ' )both mala in-.the*-* .. Stench, process* 1 S. A. . . ''..'; _ : .. the' Ameri oan. pro cess; the pure zinc ores are pulverized,'mixed 'U'AB oA.85-; Wit& powdered coal-and charged', into closed -furnaces with perforated g?3tee THe charge is fixed, and a blast'of air is forced through gf.%fce# The zinc volatilizes -in the heat, and' is oxidised by. the blast & The resulting fumes are carried through- longt cooling caambers, con-V^-X ^T ' **dfensed,and' solidify - and fall, like- sriow.'tb*C. v#u i h em^.f ,'V,; fz "THe Stencil processes made by- heating the metallic zinc or spelter - ' ;" ia*,a .current' of- air., and colle oting. the oxide thus formed { as des crab- , .-.. ed; fat the.American'pro csss* The finest particles are carried farthest " '.-before being deposited, and the product, ia graded accordingly into%-- - white sefial-green seal, and red seal* The white seal is the finsst^and whitest,and' is. used extensive ly^as^ the- sole pigment in high grade 3. - enamel paints*' .. - ; : " " * For mixing-with-white lead in the making bf hotxse paints S'. J73CT3CT American pnooess zinc,will do as Well as French Process Zinc, as it ' has the sama physical, qualities When ground in oil,zinc oxides usua lly contain- about* 8G$''oxide and Z5% oil, and 100 lbs..bulk about 4*05 gallons.* ! V> 'SRCPBKTrSS 0? zurc CXEDTSS ; ' :V Vi'1 7-^-:.:-/ {,r!.<Nbh Poisonous * ; :' . '" . . t*(It ie whiter than, carbonate of lead ` Herits ijfilt is extreme lyfine. in-its part ides.has strong ** - .-'l! ttColl absorption,and its'spreading capacity is large* (t is not darkened by-sulphur gases* fKleaves a smooth hard surface,that does not readily njihold dirt* J~ \ \ Faults (On account of its great-oil.abscrption,it :does not - *- (hide $uite as-well as Carbonate--of lead* ......... . (Used as a sole pigment,mixed- in linseed oil for . - - (outdoor use ,it forme too hard .a surface, and .eventually tcraek3,and comes off- in'patches. This necessitates ek-*_ .(pensive burning, off. of bid coats.to prepare the proper- (holding.surface far the new paint* .' BASIC SULPHATE OF USAD - '.-7 called Sublimed Vhite. lead*' - " '* ' ' fc. -This is-smother,farm1 of White lead,which has come into use., morsrecent.3jjr,and' concerning its merits and faults,there is considerable controversy* We do not use it in Davoe Lead and Zinc .................. . .. . pigment Tilrh-t iit Is . vapp--t r aA into white fumes rwhibn are carriea by a ourx- it of air through coo ling Tines after condensing it bo^lleo- ted in large bags, the air and gases escaping through the meshes of the fabris* f .VJ ~ - -krii 1. This pigment varies in compos iti on .but consists usually 0^ -Sulphate^ - u-. ,, ^- ' ' -Oxide V 5% Zinc Oxide V ^ - "v . .. - . '. - . .. 0007 -SWP- 000007041 PROFSF.TISS ~ OF 'BASIC' SULT^H/T^ 0? X5Jg? li is very fine and unifornl-.in..its particle^*'Sc is Zinc gxideitt absorbs-mgre oil than carbonate of lead doesVZinc absorbs-more^ItiijB^ not discolored easily by sulphur ga8.es3I)oe3 not darken Zino^^It;stays, in suspension better than carbonate of leadJZjlnc dces-it rbetter->5*?i_- -W:. chalks more freely than, carbonate of. leaeLv^Zinc^corre cts chalking* It hB a tendency to liver . or stiffeh up-the^jpaint' (Zinc doeS ^noth do this Jaakin? ; it; more d iffi cult' t os pre ad lit isjnot as shite asscasir- bonateof lead* Zinc Oxide is whiter thaa2ether* \ ITOTTSI, / - "v . . . ...' -Vi*" - Our tests and study of.this pigment have proven to us conclusire-ly that carbonate of Vari^ ,j-r ri Tirttcr Tfhitn 1Anf,/ i* ... v,-l'*^abgj{JgILjand. chalks. off lees 'fgaslifc* Vffsi have found also th ati Zinc ;r_ . C?; le nas. ail.tha goodTqualities of,,Leaa .Sulphate^ and 'none. of. itsigi^'55'^ faults. '.Furthermore. Zinc Oxide wrrs ts-JfeV cheif fault, .off carbonate! of lead, (its ran?_A _ST5?nmiTra,m h"bB ViAf^ -Tl ~ T^^ UI Mi" Mfif,1' Hliile'BUJUg Qualities than^. either- I'm, pi o'l'.MiJH,Lfe' laad-this means Id&asr'WaaiLPiewey . \- .gabions-' rn-rlio 1)11mFiI 'l.ii T>~J. frmiii nrrry li'i ij , I'mill1* ^ In oiljand is not found in paint `stores.,except', asJah'ihgfediecit - : '"U. - some makers of house paints* i?,-- -f T.' ^i?1-V - :\ . *' : .. e b a d -s s ?'zmc >: .'\ ' .-.This:.too is a sublimed pigment ,prc&used" ftcm sine ores containing a proportion of Mead sulphide ora* The process is similar to that used in making American ZihO;Pxile,and-results-in a product composed .off ' Zinc oxide aad; Lead Sulphate jihe-relative proportions- varyinsv.acocjrd?ing to tha .ocnrpo3iti'0a oi* the ore ofte+i containing about 50> of..each/ - - "IPt ' *i!s' *`very fiJnt ' e graine_ Jdtnott_ _as' -w- a h. ^ite. _amsm ' TZfliin. c OxXi*d9 Ae .Manms4d .*1lar* cmUkws 4t*^h1 Ae opaoitv of carbonate of lead gr o uni with .Zinc oxide * It is. used- very, largely in cheaper house paints* . . - V- -- -" ..M UTKCPCSTB This-whitepigment is also a Zinc-pisreixt'; containing in intimate ^ chemical .union (not mechanical grinding ) .about/fc)^ Zino 3n|-nhTdp>- and;. ` - : Srkuie- Bbarium osulipohhaate - - . ..... . It.is .of comparativ modern origin,and has in.recent years,peU-. Vary much^improfed. It is."used chiefly in manufacturiiM; flat W^Llsr W* >' -*--** .. Paints- and ^in Enamels.` The -highest -quaHty- of Xitliopone. so far 'petor-- . ducedy known as-. AibalitH is the-pigpient. in- our.'taautif ul .Velourr Pdii**, ieh.... V '> - - __' _____iv.'i.. Briefly^irt ia- made by ^precipj.tating. tcseti'iar a solution^jof' *-* : ~Baciunr Sulphide- .and Zdh<r Sulprpait a a- react on. earh. other .and;.form ah-jnrimare.(^ or ^Zirre gulxhide andrSari ^ Su.Tvbhth.After flitering!,it^fS'-heatea tc-redneBS4,thrown into cold water,whi<h- ' crease3 its. opacity7X is'= then.ground,washed.settle^ffiltered,dried, and powderedi":It is 'fine.-white .amorphous .and proof, against the action- - of. sulphur g'aaes * -Unlike' Cacrbohate ofrllead it'- is rjon^g^gmy^whish ip 8. -very* ireat merit in indoor fiat' paint-, as we^Widl see-wnen;we study the.great .superigec..ity\Of Devbe Tfeloix over "pointsr*_s f lii^oppuae generally has the-great fault of. turning ^ay posed-to strong li-nt,but out tests of the ndhaJLi&i_brand.prove_tSas^- -*^e: one to-be .light proof * It-is not*a-good, pigment for outdoor. expodars.j^ as ............. ' .^ V---iS$2S^:'.."'>'-sSooo^2 r. - - -- =;.. "4&-' -- NATURAL. QE INEPT WHITE PltNIENTG Db VOB tk RXSKQIDS C6h &k s* ALSO CALLED -nj^tTP-HlrS . . These are natural earth products,used quits largely by most of the makers of prepared paints,ostensibly to improve thair product* These paint makers all advance ingenious arguments far their indiv idual preferences in the selection of the particular extenders found in their- formulas* The facts are however .that these extenders are so much ..cheaper in cost, than Carbonate of Lead and Oxide of Sine, that the use of even a small percentage relative to the entire con tent of pigment in a gallon of paint .will double and even treble thair profits on each gallon* You see the temptation to avail our selves toorof this opportunity for increased profits,is very great indeed,when we see so many large concerns indulging in this practice*. ' 3ut-remember that strong and final sentence of the Devoe fcrmulaAnd nothing else* It give3 us an absolutely unassailable position* 1st us study these inert pigments for a few minutes, at cur last . meeting, we rubbed v.p:(xn Oil* the Carbonate of lead and Oxide cf Zinc,and compared their excellent hiding quality and whiteness, with the total lack of these important paint qualifications ,in Barytes, China Clay, Silica and Whiting* let us see now .what thsse extenders are. - ^ABYTES.CK 7tAF.Itfff SULPHATE ' barytes is made from heavy spar, an ore found largely in Missouri, Virginia and ITorth Carolina. The pigment is prepared by grinding and washing. It does not act chemically on other pigments cr on the veh icles, and is not affected by sulphur gases* It absorbs about the same amount of oil,as dees Carbonate of lead, and weighs about the-1 same, Its hiding quality however is so poor,that it detracts too much from'the opacity cf lead and Zinc and so often necessitates the put ting on cf an extra coat of paint,or the application cf heavier coat ings* 'This a ..n;airn and mere labor o r the job,and heavy coatings cause blistering ..peeling and alllgatSringTif the paint coat ing* There is manufactured also an artificial barytes, known as Blanc Ejbcs, which we will mention later, in connection wruh the making of ' serne color pigments* CHINA CLAY OF. KAO~-J.IT OB trvTVP .-*/? AT-Gf'T iNn>T~6i.LrJATT5 "PyU^ h Vound in this country, chiefly in Albabma and South Carolina.The finer quality is found in-Cornwall.Srigland. The pigment is soft and works "greasy" under the brush* It remains well in suspension,and is of value in the manufacture of dipping paints,and seme special colors* It has no whiteness or hiding qualityt and like Barytes it re duces the value of lead and. Zinc* SILICA or SHF.3T . . / j, U&fc Lj UXa Is an oxide of the'metal sili con, and occurs in its natural form, as quartz, rock crystal, and sand* It is bard ^.r.srr. sVisfirhs consider able linseed i like Barytes and China Clay it has no hiding power WHITINS CP. CALCIUM CARROWS This pigment occurs naturally,and is known to us as chalk* These deposits of chalk,axe the shell remains of minute marine life which, inhabited prehistoric seas. The best chalk is that which comes from the chalk cliffs of the English Channel* To make -whiting, the chalk .is ground under water,and floated through a series of tanks,which, grade the material-- That which floats,the farthest,is lightest and purest (and is sold as Paris White * The better qualities ,make a pure 0 0 0 7-SWP-000007043 -7- You may ask,and the question is justified,what right has*he Devoe house to set itself up as an arbitrary judge of what constitutes the best house painty announce as their decision.their formula of 50J Basic Carbonate of Lead'50# Oxide of Zino ' Pure Linseed VOil Pure Tinting CBlors Turpenting Japan Lryer and that strong declaration, and nothing el3e How can Ddvoe offer the most liberal and binding guarantee of quality,and results,if properly applied,and openly assart that any formula, containing material other than those, in our own formula, can mean only one of two things,that the manufacturer laltks the knowledge we possess of good paint making,or he has deliberately added these, various substitutes, to make a greater profit,atr the expense of the unknowing consumer Our position-as judge is justified by our reputat- - ion as makers of high grade paints and fine artistes ^colors. Establis hed in 1754-,with a succession to date of many of the ablest and most progressive paint makers in the - country, who while they have passed away, have la ft' us the wealth of their experience ,whi ch their succes sors of the present- administration use with a spirit that is safely conservative,yet daringly progressive,gives us the highest authority to judge of paint values. The unbroken continuation in business, from a time before the establishment of our republic,dating from the- days when we were still a British colony down to the present hyear of 1922,finds us l6s years old in accumulated paint knowledge, and. loo years young in initiative and acceptance of what is best in modern invention, progress, and mer chandizing - W have tried to show you, and impress upon you the properties of the various white pigments, and extenders. We.have detailed their merits and their faults, in an absolutely impartial manner, so that you can be self-convinced,that our position is impregnable. We have shewn you, that we could add considerably to the profits of our immediate sales, by the adoption of some of the practices of our esteemed competitors. But LEVOE is not in business for this day only. Devos is not maki- ing new agencies, far the purpose of replacing dissatisfied former- agents who have left us Our predecessors, of the earlier days, and their line of able successors .down to the present time, have with ' honesty laid an enduring foundation, upon whi i we must in decency, loyalty, and respect far their high ideals and purpose, erect a busin ess structure that must endure. Then when our work i3 done, into the- hands of you younger men, who are now preparing, will be entrusted the good name of Devoe to still further advance the high commercial ideals, and to preserve the solid reputation of our. house. 0007-SWP-000007045 DEVOE s c RAYNOLDS CO., In c . COLOR PIGMENTS w- At our last meeting, we devoted our entire time to a "brief study of the white pigments, and the so-called extenders. We also touched upon the conflicting opinions among pigment producers and makers of prepared paints, as to the relative merit of their respective products, We were convinced hy our study of paint ingredients that the Devoe iormuxa represents a.s high a quality of prepared house paint as present scientific knowledge of pig ments; the most modern and powerful machinery that can be in stalled, and honest intent and honest performance can produce. . We will go on now with the study of the color pigments; but remember that the bulk of house painting is either pure white, or in those light tints which are composed almost entirely of pure white, with a relatively small percentage of color, I urge you not to nggleet the thorough study of the physical properties of the white pigments, namely the hiding quality, the oil absorption, and the wearing quality. Study especially the Devoe position, so clearly and decidedly set forth in our formula and guarantee. Make yourselves proficient in arguing the ideal combination of Garbonate of lead and oxide of Zinc as the two pigments which con tain ih themselves, the best that has as yet been attained in the making of white pigments, and show that the proper balancing of these two gives us the hiding capacity of lead carbonate. the spreading capacity of zinc oxide, and the lengthened wearing quality of their intimate combination. As we proceed in our development of these paint lessons, we shall hqve occasion to speak again and again, of these white pigments and extenders, in their relation to practical paint application. COLORS For most of us it is some time since we left our old school benches, and we retain at best perhaps, only a slight re collection of our study of color, A few minutes devoted to fresh ening up our memory, will aid us in understanding the physical properties of color pigments. Color is a term which needs to be defined, WHen a beam of white light is passed through an angle of a triangular prism in a certain manner, the direction of its course is altered, that is it becomes refracted, and the beam of light is separated into a divergent band of several differently colored light rays. 0007-SWP-000007046 N12897.01 d e v o e at Ra y n o l d s Co ., in c . -2- COLORS - Cont"d. When, these are received upon a screen, we have a. _ the sun* s light during its passage through the drops of water in a shower'of rain* In this ca3e, however, the spectrum is seen in front of the drops, not behind them, as it is formed by the rays, which, falling on the drops, pass to the back, and are then reflected so as to emerge again on the side nearest the sun. We see these colors by the effect or sensation of the retina of the ejrp* WB cannot handle them, and, therefore, these colors have an abstract existence only. On the other hand, we often speak of colored bodies, (that is such as give the sensation of being colored when we look at them), as being "colors", especially when we refer to . the materials which we call pigments, which have the power of im porting color to other bodies. In this way color is used in a concrete sense* When light falls upon a substance, the light may be affeoted in one or two ways, it may be reflected, that is it may be thrown back from the body; or it may be transmitted, that is it may pass through, or in some cases, be absorbed by the <&oby on which it has fallen* Bodies never reflect or absorb the whole of the light which falls upon them, some of it is absorbed, the most perfectly polished plate of silver does not reflect the whole of the light which falls upon it, while a piece of black cloth ab sorbs almost all the light, reflecting but little. It is assumed that colored bodies, have a selective action on the light, which falls upon them, reflecting or trans mitting as the case may he, those colored rays to which they owe their color, while they absorb the other rays. This is probably due to the molecular construction of the pigments. If all the nays of light are reflected, the body appears white, if all the rays are absorbed the body appears black. If some of the rays are absorbed, and the rest reflected, then the body appears to be colored, the color as called by us, depending upon the composition of the rays reflected or thoown back to the eye. Color pigments, are produced as white pigments are, in a dry form; and then ground in various vehicles according to the purposes for which they are intended. For the use of the .house painter, they are ground to a paste form, in pure raw lin seed oil. For the coach painter in coach painter's japan, as a vehicle; for the .fresco painter in water, and for the consumer 0007-SWP-000007047 DEVOE SC RAYNOLDS CO., INC. -3- COLOHB - ContfA of prepared paints, enamels, motor car finishes etc,, in the oils or varnishes that each purpose calls for,. Yellow, s 5>Yi and Blue are the primary colors * In combination with white they will theoretically make every shade. It is necessary, however, to use black and white fre quently. As with the white pigments, many are of artificial derivation, while qthers come to us from nature*s laboratory. These natural earth pigments are of great value not only in producing tints with white, but as with umbers and siennas in the production of transparent wood stains. The test of good colors is not wholly in their strength, but also in the values of clear characteristic color, which will retain the same tone from the deepest to the lightest tint. The richness of the color is im portant, Some colors should excell in their hiding quality, as they are sometimes used as sole pigments without a white base, while others must be tested for transparency, for the use of the Stainer and grainer. Let us now take up one by one, the most important of the color pigments, and learn something of their derivation, their characteristics and uses* LAMP BLACK Lamp Black is one of the oldest pigments, and owes its name to the fact, that it is a soot such as will be produced by the imperfect combustion of oils in a lamp. Commercially it is now made, by burning petroleum and coal tar oils, fats or greases,under such conditions that they will produce a large volume of smoke. There are a number of methods of manufacture. It is sufficient for us to know, that this large volume of smoke, produced by burning the before mentioned materials in specially constructed furnaces, then is forced to take a circuitous route through chamb ers before it passes out, through the chimney. On its way through these chambers, the soot is deposited, the coarser particles in the first chambers, and on the floor of the others, while the finer particles collect on the ceiling of the middle compartments, and all over the end chambers. The portion collected in the first com partment may contain unburnt oil volatilised by the be/S$TSof the furnace, but condensed again. This oil is liable to cause spontaneous combustion in the lamp black, and this oily black must be calcined in a. closed furnace, to destroy the oil. . . PROPERTIES OF LAMP BLACK. Chemically, it must be considered as nearly uure carbon in a very fine state of division, insoluble and indsstn^tihip far as light and weather go. and not afiectea oy acids or alkalis. Vj*/**' -tw< fcv/-*- 0007-SWP-000007048 De v o b sc Ra y n o l d s Co ., in c . -4- PRDiERTIES OF LAMP BLACK - Gont d The pigment is very light in gravity, and does not mix : --- very easily with the vehicles of other pigments; Its oil absorp tion is very large, a 100 lbs. paste mixture requiring about 72 lbs. linseed oil to 28 lb, dry pigment, and, bulking about 11 gal- ? r' Ions * It is a slow dryer, especially an-.. if it n-nn+^ing any nn-h^ryf.*^ oil. For straight black painting it looks grayish black; not ~' '"nearly so intensive a black as the high grade Ivory Blacks; for mixing with white to produce tints however, it has far greater coloring strength, and gives us grays of a clear bfiaish or lead -* 1*r* +* color hue. Refined calcined lamp black, is the sole pigment in our Atrament Rust Preventing paihtT" ' IVORY OR DROP BLACX * Mrs---*`T> * ft' i_tl This pigment called also Coach 3!ack owes its coloring matter to carbon produced by charring bones in a retort from which the air is excluded. The bone charcoal, which is then ground finec._w contains 10 to. 20# of carbon to which owes its fine black color, c.r. The rest is largely calcium phosphate. Because of this its color strength may not be more than one-eighth as great as that of lamp black. The name Ivory Black is derived from the fact, that it was originally made by clacining ivory chips; and Coach Black* because the coach painter finds it a denser and blacker black for painting black carriages, etc. In former years, high grade dry colors for artists* use, were frequently mixed with a gum water, formed into drops and sold in that form. Hence the name Drop Black, as applied in this case. PROPERTIES OF IVORY OR DROP BLACK The tints with white are fast to light, and instead of producing the blussh grays of lamp black, it gives us ; brownish grays. It is desirable in producing pearl grays, and for"'' ' ^ the da?Rgr shades of olivw and bronze greens.^ Its oil absorption " is large, yet smaller than that of lamp black. 100 lbs. in paste ?o-za form, consists usually of about 50# pigment and 50# linseed oil, , _T making a bulk of about 8,7 gallons. It seems unbelievable but I have found in my selling experience, that many painters, who have been years at their business do not know the difference in the tinting strength and the grays produced by Lamp Black and Ivory Black. 0007-SWP-000007049 DEVOE & RAYNOLDS CO., In c . -5- BLUES Prussian Blue or Iron Blue since the war, called also American Blue, is known chemically as Fsrric Ferrocyanide, as the name frequently appears in the formula labels on cans. ' It is an intensely strong, precipitated blue. A specified amount of prussiate of potash or soda is dissolvsd in .water in a wooden tans, and the requisite amount of sulphate of iron or copper--^ is dissolved in another tank. These two solu tions are brought together in a third tank, 'where they form a pale bluish precipitate, which is oxidized to a dark shade of blue. ~ The blue is then washed in the tank repeatedly with fresh water and by frequent decaiitatiaiuuntil free from acids and soluble salts. It is then filtered, dried and pov/dered, __^ -- There are many closely related varities, such as \ Water Soluble Blue, Miicri, Chinese, Antwerp Blues and others, ) depending upon details of treatment in their production. J "-- . PROPERTIES OF PEESSuA!! BLUE . Prussian Blue is a transparent pigment of great strength, 1 lb, of color giving to a ton. or 2000 lbs, of white lead a decided sky - blue tint. With white pigments it should give clear greenish blue tints. It is fairly permanent, but will decolorize rapidly in contact with acid cr alkalies. It is very ' fine in texture, does not settl^-in the vehicle, and is. used by implement manufacturers as a dipping paint for polished s&fcfcl parts. . ^Its oil absorption is large as 100 lbs. paste ' form, contains about 43$ pigment and 57$ oil, making a bulk in q paste form, of over 10 gallons. ' ULTF-AtfARISE b l u e The original ultramarine blue, was obtained from the mineral lapis lazuli, a semi-precious stone. It is now made artificially in large quantities and at a low cost by heating to gether clay^ silica, sodium, carbonate, sodium .sulphate, charcoal. rosin and"Sulphur and tVfiatlhg tJie 'product, uy rstliei 'intricate processes of grinding, roasting and washing. It is not advisable at this short talk to go into the details of manufacture. EBOSgREIES OF ULTRAMAR IKE BLUE It is bright, but of low color strength as compared C*\ -s' with Prussian Blue. Itstints when mixed with white are of a violet or reddish blue hue. It is quite fast to light and weather, and proof against attacks from alkali or lime, but is affected by even '*** f * 0007-SWP-000007050 DEVOB SC RAYNOLDS CO., INC. -6- PROPERTIES OF ULTRAMARINE 3LUE - Cont'd. weak acids. It cannot be used in making bright greens, but makes very fine dark olive greens* It should not be used in ^ connection with white lead or chrome yellows (which are chromate of lead) as the sulphur in this blue forms the black sulphide ^'-p. of lead, when used in such mixture. Its oil absorption is fairly large, 100 lbs., in paste form, requiring about 65% pigment and 35% oil, making a bulk in paste form of about 7-4/5 gallons. COBALT 3LTJB Genuine Cobalt Blue, is a compound consisting of oxides of aluminum and cobalt. This blue can be had for Artist use, put up in collapsible' tubes. However, the Cobalt Blue, ground by paint manufacturers for house painters* use, is similar in composition and manufacture to Ultramarine Blue. Cobalt is the lightest and clearest blue. which it is possible to attain in this pigment. PROPERTIES OP COBALT BLUE It is very fast to light and weather, and proof against alkali and lime. With white it produces pure blue tints, and mixed with yellow gives u p rlr than Ultramarine does. Cobalt Blue, has not had thepalnters1 consideration as it deserves, and he hhould be urged to use it. Tints made with Cobalt or Ultramarine Blue are perfectly safe to use, on white washed walls. CHROME YELLOWS The Chrome Yellows in house painters use, are )--~ known chemically as chromate of lead. They are sold as ^ chemically pure, and commercial chrome yellows. Chrome Yel*low<jatt^tai Medium is generally made by dissolving nitrate or acetate of lead in one tank, and a specified amount of bichromate of pota^^^^^^X^^. or soda in another tank. These solutions are made in water, I/! and then run together in a third tank known as the striking tank?--2~-- which is set lower than the first two tanks. When the solutionsija**. ( come together a reaction sets in, and the lead and bichromate unite as bichromate of lead, which gradually settles to the bottom of the striking tank. It is then washed until free from.^ ' *^ . acid or soluble salts, filtered, dried and powdered. The light ^ shades are made so as to contain more or less lead sulphate or "X other insoluble lead salt, intimately mixed with the lead '*)." * y*~-****- chromate, ?- - '* 0007-SWP-000007051 DEVOB 8C RAYNOLDS CO., INC. -r;_ CHROtiE YELLOWS - Cont'd. The deep cr orange shades which are basic chromates, are precipitated from aikaline soiuxions, Commercial chrome ' yellows are not as strong in tinting rower as xhe chemically ^ pure, but have g"eater hiding power. The ccmaercla chrome yellows, such as Devoe Test '<1 tn it-Ml 6 Chrome Yellows. unrv-'er 'ret, a? ail rurr.cne color for house painters use. They have consiieiT.sle br i i Liana e. good coloring.'.. strsngth and opach-^. 1" n * m.* ^ hides"" turn them black, and Ultramarine or Cobalt Blue, should not be mixed;^'"*^" with them. They should not be mixed wixh silicate of soda, limevZv, or other alkaline substances, for these will turn the yellows to<^"*- orange or red, ^ T" ' ? ~' YELLOW CCHFE Yellow Ochre, is an earth pignrr.t which ov;es its coloring to oxide ox iron,. They are found xn all parts of theworld. Ochres contain from 10 to bGfc. of hydrated oxide, the..____~ ' A, c* * remainder being either silica or clay. The finest grades of i ochre," are obtained from France and are clear a.nd bright in -- color. The American ochres range from those that are fairly < . <JU'- good, though lacking in opacity, brightness, tinting power, ana.^T" d_0. freedom from grit, to those that are simply yellow mud. As a pigment it is inert and very durable. It_is prepared for use\ by grinding, washing and floating. PROPERTIES OF 0CKH5 Good ochre, produced, when mixed with white, beautiful-- clear cream tints, that do not fade out. As a sole pigment, ------rrv--. ' (without lead or zincT, ft-makes a durable protective coating for barns, freight cars, etc. It should be used wherever pos-r^"^ sible by the painter, for making yellow, buff or olive greens^ It is proof against alkali or lime. Ochre was formerly used very largely for priming or v_ first coat on new buildings. This practice has been practically, abandoned, because subsequent coats ox' paint did not adhere well.a^c^^, V7e will speak of this use of ochre again, v/hen^we study the proper application of Devoe Lead am Zinc Paint, G0I,DEN OCHRE Golden ochres, are ochres which have been brightened -- or enriched by the addition of Chrome Yellow, They do not, /I however, hold this rich tint very well. ' : "" 0007-SWP-000007052 De v o e s c Ra y n o l d s CO., INC. -8- . .//rr'>S v/ CHROMA GE5ENS . The genuine chrome green, known as Oxide of Chromium wj---- is an expensive color. It is fast to light, and is not affected hy lime. The painters chrome greens, as ground in oil, by r,-r. ^riu manufacturers are practically a combination of the several ingre-v/y dients used in the making of Chrome Yellow and Prussian 31ue. `' Chrome greens can be made by grinding these two pigments together by machinery, but in color works the necessary solution to produce Prussian Blue and Chrome Yellow are made up and then mixed together resulting in a far more intimate mixture Chemically pure Chrome greens, are too intense for use as colors i-"? in oil, and the price is ton high-- The usual method for making ' commercial chrome greens as v/ell as yellows is to precipitate them on-a colorless base, such as barytes, whiting or china clay, ,-j These bases do not impair the color, nor take from *- the hiding quality, but give them more body and better working'"'- qualities. Commercial chrome greens generally contain about 25^ of actual coloring matter, and for this reason are safer in theo^ , hands of the house painter, than would be the full intense - .T* yll strength . of chemically pure color. As solid body colors, they ^ " 'r wear far.-better than chemically pure color, providing they are properly made, on a good inert base, and we11 ground in pure **.;><,. ' linseed oil. Chrome Greens are genially sold in three shades, Light. Medium, and Deep andfEEe tints produced rnhPfrrvm flip ^ 0<-*\(*.[,, vftiinwiyiH +nnoP ^-e^-the light shade, to tbe blue tones of the~~ - darkershades^""" If we 11 uSu.6, The greens are rairiy permanent, but shouid^be used on new wood, or old porcus coats .of paints, . givEPg these surfaces a priming o:R.filling coat of a lead i / v'Z-T o . color or olive green, made on a lead and zinc base. Greens lose-;, Ch--, a.*;their oil too easily, on absorbent surfaces, and appear faded out, when it is really the loss of oil, that is at faulty/ v ,.,.i Commercial chrome greens absorb about 12^3j 11 to make a paste, and the 100 lbs. bulks about 4 gallons. VENETIAN RED. Venetian Reds formerly consisted of natural earths C-o-- which possessed a reddish color, due to oxide of iron, but they^-fc.*~*< are now produced almost exclusively by artificial means. The better grades are made by heating ferrous sulphate (green vitriol). This calcined product is mixed with calcium sulphate or gupsum v/hich has been found most suitable or in inferior grades- with barytes or whiting, Venetian reds vary^ t in their oxide of iron content from 20 to 40^. - * 0007-SWP-000007053 DBVOB & RAYNOLDS Co., In c . -9- 2R0PERTIES OP VENETIAN RED . Its color is tha characteristic brick color, and it r*.__ is used very largely as the sole pigment, where an inexpensive ^ r. ____. and durable paint is wanted, for brick buildings, barns, fences/ freight cars/ bridges, etc* High grade Venetian red, when used/""* `----v--.< for tinting purposes with a .lead or zinG base, must produce ^ clear reddish tones, even when reduced to a delicate pink. A -._J4 . good Venetian red, of about 40% oxide of iron, takes about 22% of oil to grind in a paste form, and bulks about 6 gallons. IMP IAN BED ^L- ^' * ^ M < * "V7 ,, v, {,, Indian Red was formerly obtained as a natural iron ore, but like the Venetian Reds, is now made artificially. It is produced by roasting ferrous sulphate, which yields colcothor_ or rouge of colors from bright scarlet to a purplish*^. redT~depending on the +i-< tment. Strictly pure Indian Redr,__ is of a daflT^itthnlish color and should contain at least 95% of ^ ferric oxide. ,a i*t* -~ !!. PROPERTIES OP INDIAN RED It is not affected by light or other pigments. It is very opaque, and even when extended by the addition of inert pigments, it covers well. When mixed with Vvhite, it affords clear red tints of a bluish or plum color tone. Indian Red in paste requires about 22% of oil, as Venetian red does, but bulks about 4-4/5 gallons. H C n ^ W,;A ** Olt- **} ``jfyU Tuscan Red,generally used as solid trim color, is practically Indian Red, enriched by the addition of an artificial lake. Permanency of color, depends upon this lake.7 SIENNAS Raw Sienna, resemble ochre in their general composition.-*^^ They are earth colors, that owe their coloring to i>* hydrated oxide of iron. The best siennas were originally obtained from Sienna, a town in Italy, and these best grades rc -i-. are known ds Italian Siennas, anna pockets or deposits *.. 8 were formed by the draining of water through beds of iron or ; manganese ores, brought to use, and precipitation in beds of clay. It is by excavating, `washing, floating, drying, 1*-^ and ^ *" O-4 ""l grinding through granite mills, m color, u is a trax'ia parent ' yellowish-brown. ... -> ., Burnt Sienna is produced by calcining raw sienna. ^ This drives off the combined water, and changes its color to a --,--. ... .... T subdued red-brown. Poor grades of burnt sienna are often "faked up bylhe aaai 1ion of-coal tar e.nlnra^ but this rich tone is fugitive, and as it fades out rapidly when exposed to sun-light,' - leaves a dingy looking paint on the building. . ...... ' wV 0007-SWP-000007054 De v o e SC RAYNOLDS CO., In c . -1CH PROIERTIES OP SIERRAS High grade siennas must be strong in -hinting- power, and be a3 transparent pnga-itiio. T`hia ir.ttar ~ ~;4' quality is very important, as both raw and burnt. a.re of the--- r*- utmost impoBtanfee to the *)+"* riP1* r'r'* crrF4r,OI*i io-Jjniiiting_on cheaper-wooduy the rich color effects of the more expensive hard woods* fluddjr'or opaque siennas, would obseure the figure or grain of the wood. Siennas are fairly permanent to light, and not affected by alkali. Haw Sienna in vhite^i^ ' should produce clear warm cream tints, while Burnt Sienna should produce a range of brownish red tints, down to & ^__.?r~ delicatfi_peaoh color. Haw Sienna and Burnt Sienna Absorb about-the same amount of oil, about 45$ oil to 55$ pigment ~ and bulk about 7-1/2 gallons in the 100 lb, paste color, UMBERS C-04y r . Raw Umbers are natural earth colors* belonging K-*- to the same class with ochres and siannaa. owing their color-- *-*-?. ing matter to ; oxide of irorH Umber takes its name from Umbria ' =$' I-LT^ a city in ItalyTJ"The prihClpal source, however, is Cypruss and it is commonly called Turkey Umber,Domestic Umber is not aa good as the Turkey grade. Umber is an oxides of iron in. ^ p. (<x combination with silica, and contains a considerable percentage^c^t *' of manganese dio5cISe7~which gives it good drying quality. It is preparet''on--use, by washing, floating, and drying atJLow - --r tanmeratiirjj. ' --------------- ' ~" . "In color, it is a transparent, greenigb brown. V ,i Burnt Umber is produced by calcining raw umber, ' This drives off the combined water, and changes its color to a_warm red-brown. ' PROPERTIES OP UMBERS As noted in our remarks on Siennas, the good umbers too, must be strong in tinting power, and be as transparent as pU- possible. Umbers are used considerably by painters and graihersj ^ to produce with siennas,Vandyke brown,.rose pink, and other --*-' transparent colorsiUittae* oil stains, which are used to stain ^-ft -'T cheaper woods, and bring out whatever beauty is inherent inr the wood, . Umbers are quite permanent to light, and proof against^ alkali. Raw Umber in white should produce c 1 ear ,^jqo.l&, ..drab - a-- tints, while Burnt Umber should produce rich~warm drabs and browns. Umbers absorb oil freely, taking about 46$ of oil, to *^o - 54$ pigment, and making a bulk of about 8 gallons in a 100 lb3. of paste color. VANDYKE BROWN Vandyke Brown, is also an earth color, containing CZs-cM \ oxide of iron and manganese, with_other ingredients of an organic, n nature. Should be transparent to make good. walnut stains. As a 0007-SWP-000007055 DEVOE SC RAYNOLDS CO., INC. -11* VANDYKE BROWN Confd pigment mixed with white, it is very weak, and fugitive. It should not be used outdoors for tinting house paints, or staining'^'' /*Vt BEDS ' American Vermilion or Chrome Red is a basic chromate of lead. It is a scarlet, coarsely crystalline powder, .. Grinding it fine destroys the color. by breaking the"' crystals, aricTturning; it tr> a. dull yellow. It-xs~fg*ly permanents,^ to light, but is blackened by suTphid.es. ' As a protective coating for iron or steel it is said r to excel red lead. It is still sometimes used as a color pigment^ '" but i3 being displaced by coal tar reds* ' English Vermilion is a sulphide of mercury.- OUl! It is very opaque of a beautiful scarlet color, and made in a number of shades. As a color pigment, it is being rapid?^'^ ly crowded out by the organic lakecolors. LAKES ' Lakes are formed by combining the coloring matter of certain dyes, with metallic bases. The organic coloring matter may be obtained from natural coloring matters, such as lac cochineal* quer-citron bark, etc. or from coal-tar colors, which are now generally used. We cannot in this brief study delve deeply into the manufacture of lakes, and will have to content ourselves with saying that they add to color makers line some of the most beautifulj richest, transparent colors for decorative purposes. Carmine made from cochineal insects with alumina and tin,is an interesting story in itself. Many lakes formerly made from madder-root, are now produced from coal tarl Rose Pink, Rose Lake, Dutch Pink or Yellow Lakes are the more common lakes in use by the house decorator, 5^)sin Vermilion also called artificial vermilion, are made from coal tar on a red lead or orange mineral base. Lithol Red is a coal tar color and quite permanent, Paranitraniline Reds are really aniline lakes. The coloring quality of these dyes are so strong that often only 5 to 10% is required to dye a transparent base, like bayrtes or china clay, to make a beautiful rich color. ,, . CONCLUSION ON COLOR PIGMENTS The paper for this evening although sketching each pigment but briefly has grown to quite a length, I have omitted the minor pigments entirely, and the following, which are of im portance but not spoken of in this paper, will be taken up in the future, when we study especially the protection of metal surfaces - viz. - . '`*7 0007-SWP-000007056 DEVOE SC RAYNOLDS CO., INC. -12- COMCLUSION PIT COLOR PIGMEHTS Cont.tfl | Graphite, .Metallic Red Oxidesy Red Lead, Oranp-e Mineral and Litharge* J Remember, the color pigments, we have studied toniKH are most times only a small percentage of the paint coating on a house, and are used in this case only as a decorative aid. But if the color is poor, the result is a faded dingy look, that discredits the job, and corapei3 an earlier re painting than the physical condition of the coating would otherwise demand. The colors we have studied are most of them of our own direct importation, or manufactured in our own dry color works. They are used in the unexcelled Devoe Best Colors in oil, in our fine lines of Japan Colors, arid Distemper water colors, and for-the coloring of Lead and Zinc Paints, .Velour Finish and our extensive variety of specialises and special purpose paints, / The details of color -manufacture with its many manip ulations and complex processes, which must be thoroughly under stood and carried out by the dry color chemist not only in his laboratory, but by his factory assistants at the vats, at the filtering presses, the drying rooms, and the powdering machines, would make an interesting story, I hope all of you will eventu ally (as some of us already have) go through our well equipped Brooklyn Color Works, and come back from your visit, feeling that the Color and Paint business of Devoe is built not alone on Capital, but on Scientific knowledge, industrial art, and thorough factory organization and management. 0007-SWP-000007057 t. i/ i, i' IV PAIITTIITG THE EXTERIOR OF A BZ7 T7QODEI-T BUHDIIIg T7ITH 5 COATS 0? PAIUT. v.re will begin today the practical application cf painting uatcrials to the exterior of a new wooden building, I quote from. a talk given by one of the nost practical and progressive master painters of Pennsylvania: " In regard to the proper application of paint on new wood, I rant to dwell particularly on the first or priming coat, which is of such vast importance to the success of subsequent coatings. Unless the master painter is a careful diagnosist. with ability to read and understand structural conditions of the different -woods, lie cannot pre scribe intelligently to meet and overcome the different dis positions. |The priming coat, must be modified by the vehicle and thinner, so that it may meet and master the varying con ditions in the different weeds"J Years ; 'HitA' WbA the only lui pft- an easy mat tnJL 4 mtu.- ` become exha' has done fo f white pine (j Aj . cl d^cujum^ and cypress and rosin f the South i (XC CA\ &JMpi which cause of the prim ^ f%0 worst spots Shellac wil the shellac and not lcc 4 ere practically ouse painting was g lumbers have (as the Southeast and Cypress The ile resinous pine a cur turpentine e lumber used in sin in the pine n oil "fingers" : pores. The l s streaks, it be sure to thin .t will strike in- A heai is will net hold the primin.' dees not strike in, but remains .'integrate rapidly, because it drieiveryhara ana.nxea, the ability tc expand and contract. Charring the resinous spots with a paint burner is oft times done. But rosin often permeates the entire wood, and turpentine dissolves rosin. It foilcws then, that on this lumber especially, we must use turpentine liberally in our first cca,,t and many Southern printers resort to the use cf a small quantity cf benzole (a coal tar benzine) on account cf its strong solvent qualities. Benzole, however,, should, never bo used in any coat except the priming coat, on unpainted wood only. 0007-SWP-000007060 g.-- t' -2 Cypress, cur next most difficult wood, treatment ad Yellow Pine. '..lion wc~studied the action cf linseed oil, v;a learned that it oxidized, ana left an elastic film, which, would expand ana contract in unison with the surface to which it was attachedBut how docs it attach itself to the weed, and. what can we do tc secure tills safe anchorage cn weeds of various hinds? If we examine the surface of the wood, we will notice that it is full cf little pores, just as is. the shin cn our bodies when cur first coat of paint, if. properly mixed or modified, is thoroughly well brushed in .the fluid paint will be driven down into the wood, lilec millions of little fingers gripping from the under surface cf the first coat# into millions of tiny pores, and combined, offer a rcsisten.ce tc removal, equal to many pounds per square foot. \Jhon these little fingers let go, the entire paint coat peels or chips off. The priming coat,, is the foundation job- end its proper mix and application eannot bo too strongly urped upon the painter. The question of what is the proper mi;; depends upon the character cf the lumber tc viiich it is applied. Determine whether the lumber is hard open or hard close grain; soft open or soft close grain, soft and spongy or compact and solid; very resinous lihe hard yellow pine with poor absorption, or . soft close grain lihe white pine with good absorbing qualities. Tb sun up, the nc.ture of the wood, must determine the relation of liquid to pigment, and.the relation of oil to valatilc thinner. Remember, that turpentine, has a greater thinning power then linseed oil, one gallon of turpentine, being approxima.tely equal to two gallons of oil in this rcspoct. Turpentine helps to open the pores of the we eel, and thins the paint, and so gives better penetration fer the oil pigments, " -A. new building cannot be properly painted with less than three coats; each cf these coats being tempered fer its particular purpose, '.That are these-particular purposes, and how are the several coats designated? ~ The first, called the rrincr is really the suet-*TM + - <* fiprrrrii called the body c oat, is the real hiding coat-third, called the finishing coat, is the real uoatherirp --bli"'S'urii, to memorize those descriptive namesj and the purposes of the three consecutive coats, a.3 each plays its pert in the permanency cf a job. The suction coat, must penetrate end secure anchorage, and largely step the suction of the weed, sc that the oil from succeeding ccats, will not be drawn away# The body coat, is s o mixed that relation cf pigment to liquid is relatively large, and mustddo most of the hiding*, and dry with but little gloss, so as tc afford proper holding surface for the third: coat.. The weathering coat, must be rich in oil, as it is the coat which must resist the brunt cf exposure. 0007-SWP-000007058 N12897.02 3, If left poor in oil, it will loose its binding quality, have largely inpaircd res is tr.ncc to weather; and losing its gloss will cause the colors or tints to have a dingy, faded appearance* Of these three applications, the one of nc-st importance, fyet the one most often abused) is the priming cr suction ccat. It is the foundation of cur painting, and unless it is correctly nixed and properly applied ever a surface in condition to receive it, the whole job must fail. Bearing in mind the purpose of each cf these ccats, we will readily understand the necessity for nixing each cf then differently. let U3 examine first specifications cf the National lead Co., and compare the sevcral mixings. To the 100 pound keg of white lead in oil, paste form, which bulks about 2-3/4 gallons-they add as follows Priming Coat Body Coat Finishing Cor.t 4 Ge.1. raw oil. 14- Gal.raw oil 4 gal. raw Oil 2 11 turpentine It- " turpentine 1 pt.Turpentine 1 Ft. Drier 1 pt. Drier 1 Pt. drier Yielding about 9 gal* Yielding 6 gallons Yielding 7 gallons Paint. . and they say further in nixing the priding coat, the painter may exercise his own descretion in using a larger or smaller quantity cf oil, according to whether the wood is oil absorbent as xvhitc pine, poplar and basswood, or less permeable, as yellow pine, cypress, spruce, and hemlock. . Note that in priming, the 100 lbs. cf lead, are reduced with 6 gallons cf liquid, of which 2 gallons arc turpentine, to assist in penetration, by thinning the oil end pigment. Note also that in the body coat, wo have only three gallons cf added liquid, half of which is turpentine. This means a heavier paint with mere Riding quality, as the 100 pound lead is distributed through .6 gallons cf paint, instead cf 9 gallons, as in the primer. The relatively large quantity cf turpentine, prevents , this coat drying with a high gloss. 1. finishing coat, applied over a glossy middle coat, will crawl or run, asns-if you were , painting ever a greasy surface. The finishing or weathering ' coat, is reduced liberally with oil containing the same quantity as the primer, (4 gallons) but the two gallons cf penetrating turpentine in this primer id reduced to one pinl turpentine in the finishing coat, Ls we stated before this last cco.t bucks the 'weather attacks, and must have clo.3ticity, gloss and water repelling qualities cf ple-nty cf pure raw linseed oil, but weakened by the cutting cr thinning power of turpentine, . ' But, as we are progressive painters, we are not going to use lead in oil, but the modem scientifically constructed Dcvce Lead end Zinc Paint. T.hilc lead and zinc paint is a liquid paint, .it is not sold as ready for use. It is ma.de in sufficiently. thick consistency to permit of reduction according tc requirements. 0007-SWP-000007059 Following the instructions on our sample card for three coat work, we advise as follows: On soft absorbent woods, reduce our paint ior priming with one gallon raw oil to the gallon of paint, and on resinous woods with one quart of pure turpentine and half gallon of raw oil. (Personally I would advise the Southern nen especially, that on very resinousyellow pine, they would do well to reverse the latter directions and thin with one quart of raw oil and half gallon of turpentine) The second coat of our paint is to be reduced' with one quart of turpentine only, to partially flatten this middle coat and create a holding surface for our 3.ast or weathering coat. Our instructions are, to use the paint for last coat as it cones fron the can, thinning with raw oil if necessary, hy judgment, based on ny own U3e of the paint and the experience of custoncrs, prompts no to say that we are over modest. I believe that we can safely thin our last coat,, with one quart of raw oil to the gallon, which neans one . gallon raw oil tc four gallons of paint. This makes five gallons of ready to use paint at a lower cost per gallon,.as the extra gallon costs but the price of the raw oil. \7e hope that we have made clear the importance of reducing properly the several coats of paint, and will give briefly, a few cautious "dont's" which if followed faithfully give added assurance.of a good job. Don't use Yellow Ochre for prining. It is clo.ined by some painters that Yellow Ochre is a good oil carrier, easily applied, stops absorption and is cheap* Painters frequently buy dry American Ochre, soak it in cil over night and stir it up by hand. '.'/hen such a nixture is nade without grinding under pressure, the outside particles are only coated with cil, and when applied to an absorbent surface, the wood draws the oil away fron the pignent. Years ago painters obtained very satisfactory results by using the imported French Ochres, of a silica nature, ground in pure raw linaeed cil, and the white pine and poplar then in use held this priner very well. However, these woods have been displaced by the hard yellow pine and cypress, and the French Ochres which were comparatively cheap, have risen in price and the clayey American Ochres have tfrfcan their place in painters primers. T.'e ourselves, sene years age nade and sold for use in connection with cur Lead and Zinc naint, our #777 Lead and Ochre Priner, which was composed of the highest grade washed French Ochre and pure white lead ground in pure raw linseed oil and the necessary drier. V/e found however, that nany painters prompted by the desire to lessen their cost, frequently purchased from local dealers a cheap ochre ground in adulterated oil, and oven petroleum oil, and sub stituted this for the Dcvoe Products. 0007-SWP-000007061 * 5 -- 'H'heii trouble ensued our lead and sine got the blcae. Cheap finer lean Ochres are not fillers, but as they arc clayey, they nlascer over the wood, -without taking proper me ho rage and when the"elastic coats placed oyer then, contract in their continuous drying process, they break loose and peal or chip off in large patches. ( Do not forget that confined danpne3s, fighting for j its release, is the Chief cause of paint failure* Danpncss I in the pores of the wood, repels the penetration of the oil i and prevents the proper grip of the princr . ITcarly all >. aodem lumber is kiln? dried, the pores arc open and they \ will soak up noisturc' fron rains or dew like a sponge. This \ kiln dried luhber contains all the salts and the acids of \ the wood in concentrated foxu, and it is advisable to let 1 the building stand a nonth unpainted to let"the rain wash \ these out. Then too* nachine dressed lunber will hold paint : better, if the grain of the wood is raised by a few rains. But"do not proceed to prine until the wood is thoroughly ; dry. look out al3o, for noisturc which nay be confined ; back of the wood. Do not paint while plaster is drying out. i Renenber a 100 yards of plastering require fr<n 80 to 90 gallons of water-, nost of which, must gree itself in sone way. Often this noisturc is driven cut through the siding | causing the paint to blister and peel. The better the paint, the norc certain it is to peal I under such conditions* Only good elastic cil paiat will i offer resistance to the noisturc; and as the cohesive coating I resists it is pushed outward in a blister. A. -po-rcus hrmT-.-iqp or ennlsion paint will allow no is tier c to pass either way, 'and consequently hasuno protective 'valued Re'sufeg "the---------- < cellar of the building is dry, by having a free circulation t cf air-, or the dampness will go up through the liense, between l the plastered wall and siding and cause the paint to peel. Dock out for leaking house reef, porch reefs and water pipes. They are often the source cf trouble. In shellacing knots and resinous places before prining be sure to use pure shellac, well thinned, andbrushed thoroughly into the knots. Use White Shellac, when light tints are used., and Orange Shellac under dark colors. Putting up nail holes, cracks etc. should always be done with absolutely pure linseed cil and vk.it ing putty, after the prizing coat is hard, force the putty in wellr with a putty knife, end not with the fingers-. ' DOB^T USE BOILED LUTSBSL) OIL. l/hen we studied vehicles.-, we were given the reasons fer preferring-raw oil, ue will only reiterate, that Boiled Oil lacks elasticity. It is too heavy and not fluid enough to penetrate the wood v;ell. It drys with a high glcss on j which succeeding coats cannot attach t liens el ves ; and drying 0007-SWP-000007062 DEVOE & RAYNOLDS CO. In c . OF MASS. -6 too quickly on the surfr.ce of the paint film, remains soft underneath, resulting in an uneven eoqpansicn and contraction, end an early cracking of the coat-. Do not paint during extreme \7eathcr. Extreme cold congeals the oil, and causesr.the paint to shrivel; extreme heat, makes the oil too limpid and the paint will run in drops or tears. * Do not paint ever dirt or ever greasy surfaces. Soft coal soot, is often blown quite seme distance from manufacturing plants and railroads, and depositing on buildings, leaves a. greasy surface, over which paint cannot adhere, or properly dry. Use a 3^- or 4 inch wall brush of Congo grade or better, or use a good round or oval brush like our Hindoo Tapered paint brushes. Brush the paint out thoroughly as thick applications will dry on the surface, remain soft underneath and will wrinkle and peel off. Do not permit, the painter to use any thinners, unless purchased from a responsible dealer. Adulterated linseed oil, turpentine substitutes, kerosene, benzine, and cheap rosin driers, nay be the ruination of a Devoe Lead and Zinc job. And remember, that the paint materials, arc but part of the finished job. The human factor behind the brush may make or break the job. The painter's knowledge of the directiens given and honest application are .essential, A good painter with poof paints, will often turn out better work, than an ignerent lazy painter will, with the highest quality of materials,, 0007-SWP-000007063 OmBsSonaasCftM ^ - *f / ly \>, | - Ha^n ^iDaa,- REPAINTIITCT y.JK ^-Xr^RIOR 0? A "SUIIDIiTU TTO COATS 0? PAINT* At our last meeting o.i I .'ay -4th, 1022,, we had a concise lesson on tha proper mixing axel appli cation of 3 coats of Lead and oil,and Lead and Zinc Paint to the exterior of a new vooder. building' V?e urged upon you the importance of studying the cha:actsristics of the lumbar, and tha nscsssity of proparly mincing and applying ths priming coat, in order to get a secure anchorage in the pores of the wood* To-night, we take up tha mors difficult task of painting wooden buildings, that hairs been previously painted* in repainting jobs,we mu3t examine and study carefully, the conditions of the old coatings that are on the building* Cur new paint instead of striking into the lumber as on unpainted work, must now attach itself to the old coats* Two coats are generally enough on old work, for the old paint becomes our priming coat* ` Kemember always in painting, that thorough preparation of the surface to be painted is compulsory if satisfactory work is expected* It is-here ? that tns good mechanic must show his knowledge .judgment, and pride in his skill as an artisan* Unless the house owners are willing to pay the expense of properly preparing the old surface,so that it will furnish a safe foundation for the new coating, the paint er in protection cf his own reputation and future business ,haci better have the courage to refuse the job* So far as the sale of Daves lead and Zinc i? concerned, unless the surface is properly prepared, we do not want our paint to go on* (food paint on a treacherous sur face, is a veritable wb comer ang" - it comes back at U3 Educate your. agents,and impress its importance upon painte-rs nnd h5usVrc.vnars ,men doing your mi ss i on ary ww xc 1 1` Kemember, that ail good linseed oil -paint fshrinks considerably in drying,and if'old coats a.-:3 loosely attached, they will pull off the^oId coat3,so causing them to peel* Kemember .that all dry porous coatings, absorb ceaseieraoly . and unless allowance is mads for this absorption, the o.'J. coat3 will suck the oil out of your new coatings, and leave them with insuffi cient binder ;little or no gioss .no 'water shedding qualities, and a faded cut, dirrjy appearance cf the colors* This condition is similar to painting new absorbent lumber * F.smember again,that where the old coat is hard and g lossy,and there is no absorption to speak'of,me have a condition somewhat similar to painting on hard yellow pine -oa: cypress. Our first coat^ needs thinning with turpentine in order to force psnetmaticn and ad* hesion, and to reduce the gloss* If ths final coat is applied over a glossy surface, it will fun,or as the painter t'esm3 it "crawl-1 be cause it cannot get a grip on that kind of surface* The National lead Company's specification for old exterior work, calls for 100 Ob* White lead in oil 2 gala Haw Oil 2 " Turpentine , . .1 Pint Dryer yielding a short 7 gallons cf paint* first coat on 0007-SWP-000007064 N12897.03 DBRSKBOIODKICMw -s- 2?or second coat. they specify .100 lb* 3'hite lead in oil 4 sal? Karr Oil 1 P-G, Turpentine * j Pt . > Dryer yielding a total of 7 gallons of paint . Compare the differences in the mixing of these two coats. The 2 gallons of oil in the first coat are doubled to 4 gallons in the second coat, and the 2 gallons or 36 pints of turpentine in the first coat is reduced to 1 pint only of turpentine in the second coat. "<7e see in this method of thinning that the Ofoject sought in the first coat, is the penetration through the eld coats, and creation of a partially dulled surface, to hold the second coat. In this final coat again, the reduction in turpentine and increase in oil. means gloss and water excluding qualities, and the retention of the full color values in the tints. As you four-d from the study of our valuable lead and Zinc book lets, "The House to be proud of", we lay great stress cn a thorough examination of the old surface* Kepetition of sons of the advice given there, will be beneficial* ''here the surface is thoroughly dried out and porous, thin lead and Zinc paint, us follows: First coat, 1 quart of raw oil and 1 pint of turpentine to each gallono V/here the old paint is still glossy" and hard, thin first coat, one pint to one quart of turpentine to each gallon* Do not add anv oil. In both of these cases, we dire ct that for second coat our paint should be used as it comes from the can, thinning slightly with raw linseed oil if necessary, liy experience has been that where no radic al change of color is being made, our paint will stand for one pint to one quart of .raw ail to the gallon, which addition considerably reduces the cost per gallon* Be surcs, to impress upon agents and have them instruct their customers, that the addition for instance of one gallon raw oil to 4 gallons of paint, yielding 5 gallons, will somewhat lighten the tints, because the coloring matter used by us, to produce the desired tint in 4 gallons, is thus distributed thrcugh 5 gallons of the thin paint* * You see, from the directions we have given for the respective priming coats, we add the oil thinned with turps.tb get penetration and stop absorption in the dried out, porous surfaces* On the hard glossy surfa<3e we use turpentine only, to get penetration, aha to give a dull holding surface for the succeeding coat* AS G B. He eke 1, s ays "Ho paint is ready for use.1 for all purposes* Conditions of surface vary and each condition requires Some variation in the consistency of the painti Each coat should also vary somewhat in consistency and composition. All manufacturers carefully indicate these differences in their "instructions for use". The intelligent painter understands the requirements and makes additions accordingly. But any paint, whether white lead in oil, prepared paint or enamel, can be and often is absolutely ruined by improper or excessive admixtures* Leaving out out of consideration the damage that a dishonest painter can do. by adding cheapening adulterants, the ignorant painters* bad judgment can cause equal injury" . 0007-SWP-000007065 DBw&RannMCajM -3- So 1st us remember , that if an excess of pure oil, pure turps or best Japan dryer will do harm in a paint. then certainly -will, the addition 6f poor turpentine substitutes, adulterated linseed oils, and the cheap benzine dryer, ruin a high quality paint4 tear in mind especially, the action of dryers, which oxidize the oil morerapidly and hasten its ultimate decay* Painters sometimes reason, that the more dryer they aid to a paint, the quicker it will dry. This is not true. After a certain limit has been reached, the addition of dryer, will actually retard drying* As we have said before: paint dries through the oxidation of the oil, and this oxidation is continuous even after hardening, resulting finally in a lo3s of elasticity and the perishing of the coat. If the old coats have been permitted to go for too long a time, thi3 inelastic coat, goes dead, refuses to expand and becomes alligatored or full of minute cracks. Moisture gets through these cracks and works under the paint, which soon rots out the priming coat, breaking its anchorage in the woods, and causing the paint to 1st loose* You should examine the peelings of paint, carefully and you will find that they have come off clear tc the wood. You will find the impression of the wood on the underside of the peeling, and you will also be able to eee che color of the old original paint, on the underside of the peeling* This proves conclusively, that the new paint has been firmly attached to the old paint. but in drying the new paint has pulled off the loosely attached old paint * You will often find that the South and West exposed sides of a building have peeled, while the North and "Bast sides have r:ct. T3ia is because the sun has burned' out the life of the oil in the old paint on the South and West sides, and in consequence this old paint was loosely attached to the wood* Then when the new paint was put on and shrunk in drying, the old- paint was pulled off. The shade and moisture caused by heayy foliage around a house, r rte out the oil in the paint , and causes peeling of new coats. Water running down the side of a house from a gutter leak will cause peeling* We estimate, based on long experien ce that 90% of the cases of peeling are due to the natural shrinkage,., of pure lTnse'ad orT'pSInL, tli'UU pUTlinz away the wcxn out coats. As advised in our color card, test the old coats, by slipping a pen knife under the paint in many places, and if it flakes off easily, remove it with the aid of a wire brush. In some cases, the paint, burner may become necessary. This burning off, had better be done by an experienced man, to reiuce the risk of fire* In many cases, fire insurance policies are made void if such fires result from the use of the painters burner. Paint removers are impracticable and too expen sive for large exterior house work* . Twenty years ago, our house issued a little booklet called ,rBad Paint" and I will quote some of its valuable advice* "Whenever you hear of a complaint of our paint "going wrong" on a house, we wish you to examine it personally, if -it be possible, and report all facts in detail to us. Please do not simply advise that John Smitp^, house 0007-SWP-000007066 Dzttos * K4XW0Z99 COJbw* , 4- has peeled and must bs repainted * There is always some cause for the paint acting badly.; and an intelligent ir.T3st.iff.arion will usually dis Close this cause? bre certainly do not a^atco lad paint one day and good paint another. As you well know, we make our paint in bat dies of 500 gallons at a time# We distribute 490 gallons of this batch and never hear from it again. The remaining 10 gallons are put on a house and "go wrong"# l`e are certainly justified in saying that there wase influences at work- outside of' the paint itself, which produce these unsatisfactory results; and it is. of course, very desirable that you should bs able to explain, both to the owner* of the building and to our agent, what these outside influences were# Please remember,that even if you are able to make these explanations, it does not preclude the possibilities of cur re-painting the building# This would be a question of policy which we would take up after we had considered all ths facts in the case* The point that we wi3h to impfess upon you is that you should be able to prove conclusively, both to our agent and the owner, that the paint is not at fault# If you rimply advise us that the house has peeled, and we say to our agent. "Paint it over again and charge the cost to us," then both nor agent and the house owner are impressed wit with the idea that the paint was really bad, and our reputation as paint makers is lowered in their estimation. They merely think that we were fairly liberal in correcting our fault of bad manufacturing, but their faith in us as makers of good paint has hot been increased or even renewed. Sims tsars ago we f igured that on the. basis of supplying paint for 29,9'j9 jobs, we had complaints on less than 49 jobs. Considering the opportunities for outside influences, we natur ally expect complaints from some jobs. , If we furnished satisfactory paint of 19,960 jobs out of 20;000, we surely did not furnish bad paint for 49 jobsi Ton't forget in in vestigating a poor job. to obtain answers to the following questions: "When was the house painted before our paint was used? 'That paint was then, used? What were the corid.itions of the o?d. paint? Was it cracked or peeled, or both9 How much of this old paint was burned or s craped off before our paint was applied? He eke 1 says, "Too often the dealer accepts the complaint at its face value, without due investigation, and too often also the manuf acturer supplies the paint demanded, not because he believes the com plaint justified, but because he thinks it good poll on to satisfy the dealer and the consumer. But this course of procedure does not really satisfy the consumer. He js naturally glad to get the new paint,but unless he is-ifirst convinced that the original paint was not at fault, the ease with which the dealer "cones down" merely confirms his oad opinion of it. It must bs distinctly impressed upon the mind of the complaint, that he is a beneficiary and not a deceived or injured party" There axe five factors controlling the fate of a $:oo of painting:-- 1st. The paint itself* 2nd. Ths painter and his methods of procedure* 3rd. The character and condition of surface. 4th. The weather at the time of application. 5th. The additions mads by the painter in pre paring the several coats.. 0 0 0 7 -SWP-000007067 DBtQBkSa:nuCftM ---- 5 -- It wiii be evident from this, that while we make the very bast paint possible for us to produceTM there axe four factors not under our control, which may kill the job. In closing this talk on lead and-Zinc Paint t I wish to say again-Our formula as stated in the sample card, is expressed so clearly, and then padlocked with the concluding sentence, "and nothing else" that it cannot be questioned. Our offer and guarantee based upon proper application, is mofct liber al and more than fair to the dealer, painter, and consumer. The established reputation of the leraroe house f for high quality, uniform production, and honest commercial practice, compels faith in the truthfulness of these statements. A salesman thoroughly convinced of" the real value of the Davoe lead and Zinc product, and understanding the importance of all five factors necessary to produce a good johj should have no trouble in selling lead and.Zinc to the consumer, and should be able to explain satisfactorily; the abase of the paint,as - ' the cause of the jobngone wrong.** . The following example comparing the relative cost of lead and Oil. and lead and Zinc Paint; shows conclusively that quantity and wear consideredj Lead and Zinc Paint is the cheaper cost. The real cost of paint j is not the cost per gallon but - "How much annual premium, must I pay per square foot to put a Devoe weather insurance policy on my buildings . . otresTiow? Given a country house, painted before; and in fairly good condition Shall I paint it with 2 coats of lead and Oil;* of 2 coats of Lead and Zinc* . Which costs less, taking into consideration (Price, per gallon these 3 factors- (Spreading capacity {length of wear lead and oil-cost per gall- thinned according to directions of National lead Company 1st coat i 100 lb. Vh* lead 2 g l.raw Oil 1.02 2 " Turps 1.10 1 pt dryer 12*25-2-3/4 gal* paste 2.04-2 ** oil 2.20-2 ** tutrps .25-1/8 ** ' dryer 16 *-74 6/?/8say 7 g allons 7)16.74 - 2 .39 gal .lead & Oil 1st -. co at. 2nd coat* 100 lb. Wh.lead 4 gal. law Oil 1 pt. turps 1 pt. dryer 12.25 - 2-3/4 gal.paste 4.08 - 4 " oil .15 - 1/8 ** - turps .25 - 1/8 " Dryer 1^.73 - 7 gallons 7)16.73 2*39 gal.lead & Oil 2nd coat 0007-SWP-000007068 I DBm&BamnosCMN) ---7---- ** 6 - So Is ad and Oil, both oats, without mixing labor - 2.39 ga2 lst coat LI!AD AND ZINC 'PAINT'" 5 gal. L&Z at 3.90 - 19.50 - 5 gal* add 1 gal. F.aw Oil 1.02 - 1 " ' " Turp3 ,55 - -jr " 21.07 6.5 gal* 6.50 >21.07 324=gad. l&Z 1st coat: 2nd coat. an average 5 gal. l&Z @ 3.90 19.50 add gal. Kaw Oil .51 20.01 5.50 >20. 01 ' . 3*54 gal.L&ZL 2nd coat 3*24 on 2 coats 3*64 2)6>88 - 3.44 gal.average for I&Z Paint.' Comparison on spreading quality. Lead and Zinc takes fewer gallons. Lead and Oil claims to cover 300 sq. ftt 2 coats So 4200 sq. ft* require 300)4200 ,14 galls, lead and Oil Lead and Zinc covers easily 350 sq. ft* 2 coats So 4200 sq. ft.- require 350^4200 12 gall, lead and Zinc (On account of greater) (spreading capacity of) (Zinc Oxide) lead and Zinc therefore requires 2 gallons less than l&Oil , A painter spreads on the average outside job, about 1 gallon of paint per gay. Wages vary- in various localities, let us figure on 6.00 per day* lead and Oil rjob 14 gls @6*00 gal.labor - 84*00 leal and Zinc " 12 " @6.00 " . - 72.00 ... 12100 Note l You see we save 2 gall.paint and 2 gallons labor. Our assertion is that lead and Zinc we ars longer * How much longer? Whatever the life of lead' and Oil may be under varying" conditions, on sea-shore or inland. - our experience has proven that our addition of 50^ Zinc Oxide,and thorough machine grind ing,double the life of the paint. - 0007-SWP-000007069 Dimm&RXBauDS Co4 .7- Many thousands of La ad and Zinc jobs, throughout thecountry, prove this* What bearing has this on the cost? Cost of Lead and Oil 14 gls. @ 2*39 - 33*46 Labor-14 gls... 5*00 - 84.00 117.45 Cost of Lead and Zinc 12 gls. 3.44 - 41.28 Labor (12 Gls) - 72*00 113.28 Each time we paint Lead and Oil plus , labor - 117*46 * *" ' Lead and Zinc w " - 113.28 In 12 years we paint Lead and Oil 4 times (3 yrs)-11746X4-469.84< * 12 " " Lead and Zinc2 w (6 " )-113*28X2-226*56 Dividing this cost of 12 years of painting, we find Lead and Oil 469*84 divided by 12 - 39.15 yr JA saving of Leal and Zinc22S,56 " * 12 - 18*88 " J20.27 year . )Favor of Lead ' )and Zinc. This proves the Devoe slogan, fewer gallons - wears longer. 0007-SWP-000007070 b 'T'- _ Db v o e at Ra y n o l d s Co ., in c . * 'U ' } u , 'V3L0UR SHUSH Our two meetings preceding tonights nest ing, were devoted to a study of the proper application cf Lead in Oil, and Lead and Zi.-r ^aint, to the exterior painting cf a new and of a previous .j painted house. \/o discussed also the use and abuse of paint, the r.i jht method of handling the guarantee, and the proper adjustment of claims. The personality and the tact of the salesman arc the ;rcat factors in a staisfactory explanation cf the paint troubles. ITo arbitary rules can govern, but the paint knowledge, good sense, and judgment of the salesman must be applied in each individual case. This evening we will treat briefly cf the interior finishing of walls with Dcvcc Velour Finish, as contrasted with the time-honored method cf us in.-; Lead in Oil, flatted > with turps. Our interesting booklet "Haloing the House a ` Home'' which you have studied, disposes effectually cf the wallpaper question. The quotations from the becks cf famous interior decorators, jive U3 the unbiased opinion cf these exports in their art, and wo need not dwell on the many faults found with wallpaper decoration. Calcimine, whether cf the boiling water cr the cold water type, is being rapidly displaced, (In spite cf its lew . first cost) by the mere permanent flat paints. Calcimine is \ generally based on a whiting psignent and is bound with an / animal slue, which deteriorates injihe presence of any no is turd Calcimind7~ event rfiran diupuiSedriuider'a'fancjrpjropraetary name, offers no rcsistcnce tc hard usage, and when soiled cannot be washed. Water immediately dissolves the glue binder, and the calcimine ccne3 off. In rccoating calcimine surface, it is safest to wash off the old ccatlap. The water in the new coat is apt to soften the pine in the old coat,, and under the frictimi of brushing the old coa.t nay rub up. Good caiciming requires a practiced hand, a.s it is net easily applied, and the amateur will do bettor work with Vclcur Finish. Before the introduction cf liquid flat pa.ints, (and they are comparatively cf recent date)" most cf cur interior paintinp was dene in full oil picas, either with load in oil, cr prepared pa.ints. Phan a flat cr dull effect is wanted,it became compulsory tc engage an excellent painter, one nhe understood tlic ra.ther difficult and necessarily rapid application cf flatted lead in oil. Let us figuratively paint a plaster wall, in accordance with the specifications cf the iTaticna.l Lead Cc., with the three coats called for. ` 1st cr Frimin; cca,t:/ 100 lb. "./hite Lead / Ljf-,' - 7 Gal. Foiled Linseed oil h '' 1 Turpentine. >. llote the large quantity cf oil specified, and the font that bciled oil, not raw oil is used. Dry plaster -jailsare very pcrcus and absorbent, and the object is tc use this -primer direct on the walls, without a. preliminary sizing cf glue. 0007-SWP-000007071 N12897.04 DHVOB & RAYNOLDS Go ., In c , -2 - /Patent walls size or sizing varnish. Boiled oil is heavier 'in tody than raw oil, nore gunny or varnish like in character, ,-phd assisted ty the given amount of turpentine, penetrates 370II and stops r.';C-oion. The second or Body coat consists of -g 100 It. './hito Lead ?; l-g- Gal. Raw Linseed Oil 1-J Gel. Turpentine ^ 1 Pint Dryer This coat, is nixed with equal quantities cf raw oil and turps,and one pint dryer, in a-total quantity cf threeone cighth gallons cf tliinners, instead cf the 8 gallons cf -thinners-used in the priming coat. ITote, that while the 'priming coat carries cnly 12-1/2 pounds cf lead tc each gallon -of thinner, this tody coat carries about 32 pounds cf lead to ..each gallon of thinner. It is this body coat, which lays a good foundation fer the succeeding finishigg ccat. The third cr finishing ccat, is the flat finish, and is nixed as follows: 100 lb. Y/hite Load in Oil . ' Absolutely no oil ' . 2ii Galls. Turps. / 1 Pint Li.pit interior Varnish - . : *. 1/2 Pint Dryer / / // * -v ' - ' You note fren this 1 ojyiula, and-can reason fron your Tprcvicus study cn the-respective actions cf cil and turpentine, ?that the fla.t effect-, or lack, of gloss, is obtained by using . "a minimum of cil, and destreying That little cil there is, by "the excessive use cf turpentine. The addition of cne pint of i! varnish, does not renedy this defective binding quality. The ! 100 pounds cf paste.lead is ground in about one gallon of raw oil, and this cil is attacked by twe-one half ga " turpentine. . ' Yfe learn that turps relation to oil, has a. thinning power cf a.t least -two to one, sc that in reducing our lea.d, we are' opposing a. turpentine power cf five tc an cil power cf one. This excessive thinning destroys the binding quality cf the oil, disintergra.te-;rapidly under friction cf wc.shing. It also destroys the fluiding cf v;ha,,t little cil there is, and necessitates the employment cf expert painters. On large surfa.ces cr big stretches a. number cf men must work in unison in 'order tc meet and connect with each ether's wot edges. The paint through the quick evag.cra.ticn cf the large quantity of volatile turpentine, and the inefficient retarding a.cticn of so little cil, sets-, up or becomes fixed very rapidly, './hen a connection cf the second stretch with the first cne is na.de, after the first is set, wc get- gloss spots cr as the painter ca.lls then "shiners". 0007-SWP-000007072 De v o e s c Ra y n o l d s Co ., in c . ' -3- I think we have sufficiently proven, that a ninimm of ordinary linseed oil* reduced with an excessive amount of turpentine* does not Give a satisfactory vehicle for flat paint. How let vis determine whether or not, white lead, is the best available pigment for this purpose. \7e learn from our study of lead, many of its particles are very coarse, creating a rough surface, to which dust and dirt adhere very readily. Lead is easily darkened by gases from kitchens or gas burners, being converted into sulphide of lead. White Lead is poisonous, and where the oil binder has been so weakened, it becomes an unsanitary costing for interior work. Informer times, painters often resorted to part lead and zinc, and sometimes all zinc in their finishing coat. Pure Zinc has none cf the bad faults possessed by lead, but does not permit of perfect flatting* being however, the ideal pigment for high grade enamels. The national Lead Co., recognizing the great merit of well made flat paints, and feeling severely the growing demand for such finishes, with a consequent less of lead sales, have tried, to stem the current, but with small success. They have put on the market, a flatting oil with instructions to the painter, a3 to the proper method of using it, in connection v:ith their lead. They have tried to hold their store sales, by making a liquid flat lead paint, made cf their lead and flatting oil, in white only. However, thought flat ting oil may have many characteristics of the vehicle used in prepared fla.t finishes, the objections urged against the use of white lead for this purpose still hcld'gcod. Prominent retail dealers, testify that the demand for this lead pigment fiat paint is small, and not growing, the old fogy sticks tc his primitive method as described before, and the progressive decorator alive to what is best, goes all the way with us. Well, wc have condemned the use cf flatted lead and oil, and what do we offer in its place? I had the pleasurerecently cf reading a. phanpiet issued by the Hew Jersey Zinc Company containing an address by Prank G. Breyer, chief of the Research Division. I shall not hesitate to quote freely from this experts able presentation of the subject cf interior decoration. Speaking of the best coatings he says ".The man -who has a good tiling in his day sticks to it, aVoid3 the inevitable mistakes cf the early development cf new and better products, and does act as a stabilizing influence. When the development stage is passed, however, he wakes up to the fact that the world does move and that he is fighting a losing fight with the progressive younger generation and is intrenched only in the good will and prejudice cf the older men, who are indifferent to new practices." 0007-SWP-000007073 Db v o e s c Ra y n o l d s Co ., in c . . -4 - Remember gentlemen, this older generation will pass away and our unprogressive ran will bo left high and dry, marooned on the rods cf prejudice and old fogyisn. The wide-awake decorator must co-operate with the go-ahead manufacturer, have the courape to try out the newer materials, and if their worth is proven, he should scrap his old methods and adopt the new. In daring yet conservative change only is progress possible. Breycr says, "Raw or boiled linseed cil yellows in intcriros to a remarkable degree, and if there is any quantity present in the paint film no light tint much less white, will maintain its purity and pleasant effect. Iluch of the stuff the old timers pull on you about the wonderful interiors they used to do or know albcut, arc concerned with strong hard colors.or with whites that turned dingy yellow." I will rcpea.t, that the objection to the use of \ raw cil as the vehicle in flat paints, Was the fact that it \ could not be used in any quantity, because of the gloss produced; and if used in such small proportion, the large \ \ amount of volatile thinner, cut out the fluidity or ec.se of \ application and destroy the binding and friction resisting I qualities, we could use, as most of our competitors a. Varnish j binder, but when this i3 reduced with sufficient volatile thinner to fla.t it, wo also get a vehicle that sets up too / ra-pidly and worst cf -all, dries hard but brittle, chipping / or flc-king off under slight knocks. Neither one of these / vehicles will ^permit of cane in application nor of success- ' ful nottlctoning.-------------------------------------------------- -------------- -------- In our Deyoo Velour Finish, wc use a specially treated blown linseed cil, of very heavy consistency and light in color. This oil permits reduction with a la.rgc amount of thinners and yet retains the flowing and binding quality of the oil/ It sets up slo\7ly, giving the inexperien-i ced painter reasonable time to apply it, without shewing : brush marks or laps. As thinners, we do net use the gum I ^turpentine used in cur Lead and Zinc paint, but what is known a^aigK~gratre"'j hnerm--g-pfrTts , derived-, from petrcIeumrVCfrxs--' is done deliberately, for a good purpose. Remember that the bulk cf our liquid is volatile and as the mineral spirits evaporate slower than turpentine, its use gives us greater case and tine fer application. A large stretch of surfa.ee, ordinarily requiring the co-cpcrrtivo work of three men, can be carried through successfully by cne nan. Now let us examine the pigment portion cf our Velour. In advocating the use cf our lead and zinc paint, wo ha.ve laid such stress on the good qualities of these twe pigments, when in correct combination, that it is only a fair question to ask us, why we do not employ there in Yolcur. \7c have already stated this evening, the faults cf lcr.d, and the difficulty cf producing a. good flit paint 0007-SWP-000007074 d e v o b ac Ra y n o l d s Co ., in c . -5- fron Zinc only. Our formula labels on the cans, show that wc use 86.67# of lithopone and. 13.33# of Asbestine or Ilagncsiun Silicate in the V;1iite Velour. lithopone is a zinc pigment uade chemically and analyzing about 30# Zinc Sulphide 70# Bariun Sulphate It i3 made by pouring together very pure solutions of Bariun Sulphide and zinc sulphate. Do not confuse this pigment, with- the mechanical grinding together of zinc Sulphide and Barytes* This latter mixture is deficient 'in opacity, \7hilT Lithopone of high grade, has a hiding quality superior to that of lead and Zinc, and is also whiter than either of these.. It is non- poisonous and shows no reaction when exposed to sulphur or sulphur gases. The high grade lithopone vSiich wc use, is almost as fine as Zinc Oxide. Up to eight or ten years ago,lithopone had rather an unsatisfactory reputation,because it quickly turned grey when exposed to strong light. This improved product is practically unaffected by light or moisture. And now, why do we U3e Asbestine or magnesium Silicate, ; which we condemn c.s an ingredient of prepared house paints .Bull ' linseed oil paint3, like our lead and Zine, carry less pigment then do the flat paints, where - the large quantity of thinner has such great thinning power. Furthermore,the volatiXe~T3Hnnor docs not carry the pigment , :^in suspension as well vs does the heavier oil liquid, but per- i mits it to settle out mere rapidly. In our lead and Zinc Paintt, the zinc white comparatively of light gravity, holds the lead up well,without he use of the non-hiding Asbestine. In Velour wc had to consider that lithopone was carried but pdnrly_in-susponsion-hy- the big endous hiding quality in a flat paint, (where the pigment content relative to liquid is large)and wo can held the solid matter in suspension with Ilagncsium Silicate,and yet not impair this hiding power. So far, wc have spoken only cf the opacity, durability and flowing quality, as dependent upon the pigments and vehicles employed. let us say a word on illumination. Brcyer says "Brightness is expressed in terms of percentage of the total light reflected. A bright white mixed to a clean tint, gives not only the most light, but the most pleasing effect. There is no disputing the fact, that a diffusediy reflecting . surface is the most pleasing and restful to the eye. The best grades of lithopone white, will reflect as much as 85# of light, while the best grade of white lead, will not dc better than 73#, A light cream drops the reflecting power to 70#,light buff to 65#,light green tb 47#, and red to 12# * So you see,-that the selection cf poor light reflectors, increases the expense of artificial iliunina.tion at night,- raid keeps the room gloomy by day if window openings r.re few. Interior c.ecejxitina-------------- 0007-SWP-000007075 d e v o e s c r a y n o l d s Co ., in c . -6- color harmony end tlie selection of appraprir-te colors, for the differently situated rooms, i3 a study in itself. Our Velour ' booklet, gives excellent suggestions on color selection. Head it again. Benenbcr, the most important tilings to consider arc. How strong is the light that enters the rocn? For what purpose is the re on to be vised ? Colors can make us cheerful or depressed colors can soothe or excite us no less surely than aounds. In fact, colors have a direct effect on health and disposition. Remember, that Velour colors can be intermixed, and can bo lightened with VThitc Velour, and tliat the white can be tinted for light tints, with our oil colors, erf or dark tints with our Japan colors; Bear in mind too, that.Velour of hi rnVnp- tho colors into cacii ether. mo otictoning system, meices possible rare color harmoniesunlimited in number. As you will see from the demonstration this evening, it can be worked as cne coat mottled over the undercocting, or applied in several applications over previous nottletonc3, canto perfectly blended, or worked with a number of harmonious colors, put on in haphazard blotches here and there, and blended together inmnost beautiful effects. Breyer says "The cause of probably 35# of paint failures lies in either the la,,ck of understanding of the principles of point adherence or the use of supposedly secret cr professional methods of due-kins these principles. -Jhy won't any paint stick to any surface, if you manage to brush a film .on it? Because in practically every case of failure to stick, the paint never touched the real surface cf the wood or plaster, but simply lay a.s a friction or suction cca.t ever the top cf a. film cf condensed water. If the wood cr plaster contains wr.tcr, and you raise the temperature of the building, that water generates vapor, the pressure of which, is dependent upon the amount cf water present a.nd the particular ca.pc.city of the wood or planter. Tha.t press ure must be relieved somewhere, a.nd often a.t the expense of the paint film. b " \7atcr,thc grca.t enemy,works in under window sills,and pulls the paint eff the sills,while the side of the frames is perfectly good. A slight look in the roof may pet down through a number of walls. A sweating pipe or a. leaky water connection, cause trouble sooner or later. Print nay have been ever so adherent originally, but if water has to evaporate through it rapidly,adherence is soon weakened and when the film becomes dry again, it curls off .Films always curl .outward because the outer coats of paint being more oxidized try to shrink more than the inner coats, and v/hen released from the wall,the .softer less oxidized underccat,stretches on the outside of the curl, and the tighter harder outer cca.ts from the inside. Hever paint below 40p Farenheit, (\7atcr condenses on wood and pla.ster rapidly below this tcmpcra.ture) nor on a. surfa.ee tha.t is too hot to bear the hand comfortably. Be sure, your wood and' pla.ster arc smooth, as paint films ---------------------------------;------------------- 0007-SWP-000007076 DHVOE 8i REYNOLDS Co., INC r> _ are only about three thousandths of an inch thick, and won't cover up cracks end irregular patches. Formal plaster in its green state is full of water soluble line, which cones to the surface, alone with the water and attacks the oil, especially if it is untreated linseed oil, conbincs with the oil, nukin'; a fluid soapy solution, which runs down the walls in ugly dark drops, carrying the tinting pigment with it, ar.d leaving seme of base piguent behind, decolorised. When such a job approaches dryness and the filn begins to shrink it sinply pulls off in flakes. If the paint had contained a harder, less easily attacked varnish, instead cf raw oil, the drx'-age would not be visible immediately by running down, but would exist all the sane right frou tno start; and a.s soon as the shrinkage stresses get strong enough it will peel off, perhaps a year later. The answer to the question "when dees gle.ster . cease to be green," is a. long cne. 77a.it as long as you can before painting, and if you have to paint in shert tine, wash the we.lls with a solution of four pounds cf zinc sulphate cyrstals to a gallon cf water. Brush this on with a wide brush and let it dry thoroughly, kenember, that your priming coat must stop the suction, and if this is not done, then the second and third coats will suffer and your finish will not be uniform. Don't start tlio second coat, until the primer cr undercoat shows a uniform slight gloss all over the surface. Very porcus surfaces, should have a second coat, of primer, or half undercoat and half velour. ___________.-- --------------------------------- / / Should the now wall bo very hard and nen-absorbent, you can reduce the varnish content cf your undercoat, by . nixing the straight velour with it rather than thinning . with turpentine. Be store not to overbrush Velour, as gloss is liable to result. Too high a gloss on the undercoat, will prevent # proper adlicrcr.ce cf the velour coatings, and often cause * a gloss to flash through the finishing coat of Velour. V/ashing Vclcur, with a mild soap (of the. type of ivery soap) and warm water, end rinsing thoroughly with clear water, is all that is necessary to maintain it for years. Much more could be said cn the advantages and the application cf Velour, but these remarks arc supplementary to our Velour booklet end sample card, which give explicit directions for use, and shoud be well studied. The demonstration on mottlctoning, blending and stenciling which we will see nor;, should convince every one presnnt cf the great possibilities of this Dcvoc Product. 0007-SWP-000007077 De v o s & OaonuAS Co,im>, 3GE3-3LAC FTIilSHTS AiJD FTLAT?iD1 LQ.<d^. ii^ SFfrrrALic^.s At oior last paint talk, wo stuiiai several methods of finishing -nterior plaster walls, paying special attention, to the composition, application and great decorative value of our Devos Valour Finish As nothing was said about the use of Vs-lour over canvas, burlap, wallboard end wood-trim we advise you to read carefully 'again-, our valua ble booklet, making the House a Horae, as well as the dire ctions on our Va'lcur sample card* Tc.-night. we will crowd into our short sessibn, a-brief survey of the art of interior wood-finishing, with stains t varnishes and enamels, including our high quality Mirrolac Finishes j the third of the great Devos triumvirate of Lead and Zinc, Velour, and Jfirrolac. I have found in my experience with new men, studying and selling Kirrolac over our retail counters* that they are often baddy confused by the fact, that many of our related specialities seem to be duplic ated in, or even displaced by the Atirrolass , In order to dispel this confusion, and to show clear ly the value and need of each`of the seem ingly conflicting products. I will begin with the A. B. C." of wood finishing* This will show us how beet to get full, value, by the' proper selection and right application of each material* In painting with Lead and Zinc, and Velour, we have worked V7ith prepared paints based on the use of opaque pigments, our object being, to completely jbury or hide the surface over which they were applied We laid emphasis continually on tire opacity of Lead, Zinc, and Xithopons, and condemned the use by our competitors of the trains luc ent extenders such as Barytes.Magnesium Silicate,and China Clay,which detract to so large a degree frbm the opacity required in a first grade paint* *. Again, in studying our Color Pigments, we learned that certain pigments, like Indian F.ed. Chrome Greens and Yellow Ochre, had excel lent hiding quality, while uthsD pigaisuis su~3Tas Italian Siennas, Turkey Umbers, Vandyke Browns, and many Lake colors, bre valued' not only ror tinting strength, but for their txanslucency. Our desirein staining wool, is not to hide the wood under opaque surface coatings. On the contrary, we wish to preserve and enhance what natural beauty there is in the figured growth of the wood* We can give them the rich colorings cf the more expensive hard-woods, or hasten the soft warm tones that age produces slowly. Wq can bring out the beauty of contrasting grain or. figure in new wood, and save from the junk-heap the time-worn and discarded furniture that a preceding generation, and our own youth so highly prized* . Let us begin with the treatment of unfinished woods We obtain the best results by the use of deeply penetration transparent dye color ings, that, strike into the wood, causing a change of color below its surface, and not merely on the surface. The wood and its .colorings <>7-SW>. 000007o78 N12897.05 De v o s & Basous Co,ba, - 2- should then be protected against friction-wear and moisture attack, by surface coatings cf hard, tough, transparent varnishes* It i3 necessary tc study the peculiarities of the different weeds, in order to finish them to the best advantage* All vvccds arecomposed of filaments either large or small, straight cr curly, cr contorted. 'Between each, cf these filaments is a small duct, through which the sap flows upward from the root tc the outer extremities cf the smallest branch, cf the tree. Wen these small ducts cr canals are cut across either squarely or at an angle, they show up usually darker in tone than is shown by the filaments, and are then known-as pores. These filaments may be vary thick, or very thin, and the canals between them, are either large or small, to correspond with the filaments adjoining them* Thi3 coarse growth is known a3 open-grained, while the-fine close growth is-called close-grained. We must consider too, the figure of the wood as brought out in quarter-sawing as contrasted with, the same wood sawed straight through the log, full length* The most used open grain woods, are Oak - Ash - Chestnut - Mahogany - and Walnut and to a lesser extents Tn&-,-~Baywooa - White Mahogany CT Prima Vera, Loss- wood and ButtsrnifST^ The most used close-gralh wocias are. '/'Hite Pine Yellow nne cypress - Wh-jt.gwnnH rvn Pnplar fffcpTT.r Tiir rfo , and. to a Teaser degree Oregon Pine -~St t t h b > - WanViiwctmi Wt - Basswood - Bee cfeq,- California Eadwood -- Cedar - Gumwood and HemlocKT" 3Gf=wrrods should be thoroughly seasoned and well arisef Buk-we are living in a fast age. Until quite recently, it was customary to allow the wood to standssveral years between the time it was cut from the tree, and the time of manufacturing it, into household articles and building materials, by this slow process it would become thoroughly cured, but at present, much lumber is used, that has been cut but a few months Poorly seasoned lumber when hurried from the drying-lei In tc the work-shop is easily affected by atmospheric changes, and excessive expansion and contraction result under varying temperature. On the surface of such a wood, a lasting finish cannot be produced. When wood has not been properly dried,.no matter how well the pores are filled., or how carefully the best varnish has been applied, rubbed and polished, there is sure tc result as a consequence of this ex pansion and contraction, an unevensss and oft times a cracking of' the finish, soon after the work is completed* The old method of drying wood, by staring it in the rafters of the workshop fer months, where it' was subjected to the circulation of warm; dry air, was the-best way* In the present day of hurry and hustle, the old method, will not do, because competition will not permit of tying up capital fixe so long a time, and the wood, is there fore hurried through the drying-kiln. The softer woods, will shrink beyond normal, only to take on a certain amount of moisture after having been in work. A piece of basswood far instance, kiln-dried excessively and reduced to 9 inch, length, will increase in an appar ently dry room, to 9-^ inches in length. After the wood is dried, it is cut to sizes, and goes to the planer and from him to the sander 0007-SWP-000007079 De v o b & Ra k t o l d s dKimo, ** o * 'ho smooths it off, using improved machinery to dc this rapidly# % Samians, whether by machine cr hand, must always be dens with tlia strain,' using first the coarser grades or sandpaper, then the medium and finishins-..with the finest. P.emenber negligent s carat dies cr cuts, particularly cross-'.vise cf ~r ai n. will shew up decidedly through the finishes*. oat is fact cry staining , like expert finishing is a matter cf stuiy and practice. All stains should be put cn quick ly* Speed is necessary,, in orier to obtain a unii'ron depth cf color# See that you get an even aisuributxcn cf again. as m unintentional double coating at any point (what we call laps) will result in darker clot dies of color. In color staining the results obtained, are due to the application cf translucent colorings permitting the color of the weed itself j ..tc shew through, in a varyin- degree< Ihsref ore, a. se-ccnd cr third coating, or laps, produce a darker color, by obscur ing to a greater degree, the color of the wocd underneath# Stains can be classified as water stains, spirit stains, oil soluble aniline stains , oil pigment stains, chemical stains, *and varnish stains. 'later ' s sains . which axe mads of gri^-hia no altar colors, dissolved'in water. fgiss the grain of the wood, Therefore the wood, should be sponged first, with luke-warn water, in which ansmall quantity of glue has been dissolved. This-will cause the fibres -cf the wood to dry stiff, cr to holdup the fuss. The wood is then sand ed down again, sufficiently to cut off the fibres or nap chat pro trude# If this sponging and sanding is not done, the water stain it self raising the grain would compel sanding afterward, which is liable to cut off too much of the stain coat, leaving an unevenly colored surface _ ' Preliminary sponging also opens the pores of the woods, and per=-. nits of better penetration of the stain, 'fater stains do not held their color- well, in strong light, u'hanicai stains, are solutions ~ male from various, chenicals , such as soda, potash, copperas, strong " ammonia, and such acids as ,,annic. picric, pjrogailic and ethers# These stains are very uncertain in the results produced, and only the expert will find them safe. 7'ith one and the same stain different _. results are often obtains!, on various wools, cr on two adjoining . panels of the same kind cf wood. An example cf a chemical stain, isj -*- the application first of a coat of tannic acid, followed by a second-1'"* coat of copperas , that is sulphate cf iron, which will produce weath ered oak effects^ Seme woods contain naturally considerable tannic ' acids while others do not. - Stain whitewood , cr any wood in which the tannin is pr a ct i calJy absent, with a solution of sulphate of iron, one ouncs to a gallon of water, the result will be negative. Apply the.same solution cn ash, oak cx maple, we get a gray color, ana on the oak, we sometimes obtain dark bluish grays to almost tlack" ecborings T3ia sulphate of iron acting on the woods tannic acid, produces -cannate of iron to the smaller or larger quantity of. tannic acid in the wood. Bichromate of potash dissolved in water, to darken !!ahog:uiy, is a commonly used chemical stain. 0007-SWP-000007080 DBVOB & fiflOQUIS Cojiro, I P . Of course., those stains dissolved, in^water, raise the grain. :Spirit stains, are alcohol soifcbls aniline colors* They set up very jquickly through the quick evaporation of the alcohol, and are diffi cult to apply. An amateur cannot handle them successfully# The ? 1, colors axe fugitive, they find their chief employment in furniture yfactgcjLes doing hurried dheap work# . `"v. Blsmhrk Brown,. a coax tar ..color used in producing Mahogany, soluole in both 'alcohol and water , while Nigrosene blacks, are made - - in two kinds, one for water solution, and- the other far alcbhol.These water, spirit and chemical stains axe.not Bafe in the. hands of the c amateur, nor the house wood-finisher. Marty manufacturers who formerly made - chemical stains, have either discontinued their manufacture, or refuse to take anv responsibility for the .rest^lter-:------------------------------s--;---- -- . '~ -- The Davoe line of high quality 6tains, comprises the i p-if>wawt- ftain^ the .penetrating dye stain,, the pigment marble Finer Varnish tain; and the Hirroiac varnisl^dva stain. Marble Floor aad Mixrolac can ^be used with good results on. new unfinished wood. Often times one or the other of- these two varnish stains, is the only stain carried'in the necessarily limited stack of the small town dealer .But the application of oil pigment or of-the penetrating stains,followed by protective surface coatings, gives us richer colorings and better wear." . . Oil-staitis,, which ou^ht to be termed turpentine stains, axe made from insoluble .pigmentasuch as umbers, siennas, Vandyke browns and transparent ..lakes,-ground in Oil to a paste form, and reduced very, much * with turpentine or mineral spirits. The pigments will settle out, "and the - stain- should be kept well stirred while in use. It will give good results ^on soft absorbent woods, but does not penetrate well on hard woods. We are dependent-upon .our. thin vehicle soaking into the wdod, and carrying with it, its burden of undissolved pigment. On hard, .close-,grain wood, the liquid strikes in, but is likely to de posit, thb solid-pigment on the surface, of the wood, giviig us a cloud ing of. the grain and a muddy color On Close .fibred'Woods, it is--better .to give two coats of-stain to produce .the desired-depth of .color, rather than to-attempt to. do it, with one heavy .application* ' The-strokes of the brush must -be carried out thoroughly ter'prevent piling-xtp of color material, and the stain- should be wiped over lightly with a rag, before it dries in completely, in order -to even up the color* Use a flat varnish brush. Which should carry the stain freely, but not overloaded;that is to'8ay,`the brush must carry just sufficient stain to fill it, ? that the .natural-cohesion will not permit the stain to run out of the brush. . 0007-SWP-000007081 DETO9l&9tCBIOU>S COM. When the brush 5s overloaded, the setting of the brush onto the work, will blot the weed, where the brush is-first applied, . especially on soft woods. . These directions, apply as. well to cur Penetrating iStains.- These stains are sc called cn account of their excellent penetratina qualities cn bthh soft and hard weeds. They are made cf cil soluble aniline or ccaltar dyes, dissolved in benzole or heated turpentine, and bound vrith a sufficient quantity cf high grads varnish',.'being further reduced with mineral spirits. These ccaltar colors t if net U3ed too excess and not adulterated dissolve as completely, as sugar in coffee. ,Hot having to carry an insoluble pigment\ but being really a colored liquidj the penetrating stains^, strike in rapidly tc good depth, and give us both richer and clearer colorings than we can get from pigment stains. Be careful on.very soft woods, lest ths penetrating stain strike in rapidly like ink on blotting paper, and produce a result much darker than desired. - On outside work, exposed- to strong sunrliahtj preference should be given tc pigment stains as they are more permanent tc li^ht. " Neither cf these stains will raise ths grain- or the weed. They should net be applied to weed previously finished (where there is no abserp^, ticn possible) unless ths old coats cf paint, wax* shellac^ or varni sh are thoroughly removed with neutral Paint- Remover, like* Devos's ' Remover, and cleaned up then, by a good washing with turpentine or benzine* Even then, do not expect the same result as you would obtain on unfinished wood. Removers, taka off all. the old surfaoe coatings, but are not equipped with pick and spade to dig the color ' and filler cut of the pores of the weed. Never apply a light color stain over a dark one, as the dark one will show through. Havingobtained our desired color] in one application, or by a second or" third coat in? if a deeper tone is wanted, we must allow about eight hours drjting time, and. then give the selected protective coatings. If the weed is close grain,we can give a first ccat cf-Daves'Pure Shellac, reduced 50?? with denatured alcohol, or a coat cf the selected finishing varnish, applied in full strength, or as-I prefer reduced, with about 20 to 25?Tof turpentine. Do not use liquid Fillers jeither - of Davos make or others. These are demanded of us by painters, but we advise against them, as they are only thinned out cheap brittle varnishes, with cr without, a transparent filling material, You are safer in using thin shellac, or a good gum varnish reduced as stated bsfors. When hard dry .sandpaper this priming coat lightly with finesandpaper or steelswool, and apply, two or three coats cf the varnish selected, rubbing these down between coats as directed in our Varnish booklet Where the weed is open grained,filling with paste wood filler, is absolutely necessary, for the securing-cf a good varnish finish. Stain the filler with colors in oil, or some of the stain used on the wood, large pores, are'innumerable holes, into which varnish sinks and these holes must be-puttied up. Instead of attempting the impossible task of taking: a chunk of putty, and filling each hole separately, we re duce our wood filler putty with turpentine to the consistency of heavy bodied varnish, and rub it in well-over the entire surface, working, against the grain, with a stiff or stubby brush* Be careful not to cover mare ground than can be cleaned off again. 0007-SWP-000007082 Dsvm&sfUxmnss Cowhe. When the brush is overloaded, the setting of the brush onto the work, will blot the weed, where the brush is^first applied, . especially on soft woods* . These directions, . apply as.v/ell to cur Penetrating-Stainsi* These stains axe sc called cn account of their excellent penetrating qualities on btih soft and hard weeds* They are made cf oil soluble aniline or ccaltar; dyes, dissolved-in benzole cr heated tiirpsntineand bound with a sufficient quantity cf high grads varnish,: being further. reduced with mineral spirits. These ccaltar colorsj if net used toe excess and not adulterated dissolve as completely as sugar., in coffee. :Nct having to carry an insoluble pigment \ but being-really a colored liquid j the penetrating stains,. strike in rapidly to geed depth, and give us both, richer and clearer colorings than we can get from pigment stains* Be careful on.very soft woods, lest the penetrating 3tain strike in rapidly like ink cn blotting paper, and produce a result much darker than desired* - On outside work, exposed- to strong sun?lightj preference should be given to pigment stains as they axe more permanent to li-ht*. ' Neither cf these stains will raise the grain cr the weed. They should net be applied to weed previously finished (where there is no abserpi* ticn possible) unless the old coats cf paint, wax* 3heUac* cr varni sh are thoroughly removed with neutral Paint. Remover, like1 Devos's ' . F.smcver, and cleaned up then, by a gcod washing with turpentine cr benzine* Even then, do not expect the same result as you would obtain on unfinished wood. Removers, talcs off all. the .old surface coatings, but-are not equipped with pick and spade to dig'the color ' and filler cut of the pores of the weed* Never apply a light color : stain over a dark one, as the dark one will show through. Havingobtained our desired color} in one application, or by a second or" third coating if a deeper tone is wanted, we must allow about eight hours drying time, and. then give the selected protective coatings*. If the weed is close- grain,we can give a first coat cf-Deves'Purs Shellac, reduced 50?? with denatured alcchcl, or a coat cf the selected finishing varnish, applied in full strength, or as-1 prefer reducedwith about 20~tc 25^ of turpentine-. Do not use liquid Fillers;either. of Devoe make or others. These are demanded of us by painters, but we advise against them, as they are only thinned out cheap brittle varnishes, with cr without, a transparent filling material, You are safer in using thin shellac, or a good gum varnish reduced as stated before* Ehen hard dr.y.sendpaper this priming coat light iy with fine sandpaper or stealpwool, and apply, two or three coats cf. the varnish selected, rubbing these down between coats as directed in our Varnish booklet* "Where the wood is open grained,filling with paste wood filler, is absolutely necessary, for the securing-of a good .varnish finish. Stain the filler with colors in oil, or some of the stain used on the wood, large pores, are-innumerable holes, into which varnish sinks and these holes must be puttied up* ' Instead of attempting the impossible- task of taking: a chunk of putty, and fillin' each hole separately, we re duce our wood filler putty with, tig pen tine to the consistency of heavy bodied varnish, and rub.it in well over the entire surface, working, against the grain, with a stiff or stubby brush* Be careful not to cover mare ground than can be cleaned off again* . 0007-SWP-000007083 Db v d b & routs Cosine, Inahout fifteen minutes after pppli cation* After the filler has lost its"wet. gloss j clean off with a scraping knife, followed' by-a thorough rubbing with burlap , or coarse cloth,, working again, against the grain ( A little raw oil, added, to the filler, will slow the drying if necessary ) Eub off filler thoroughly, to leave- it in the pores only, and not to muddy the high lights or flakes in the wood* Examine the filled surface carefully, and if pinholes are disclosed, fill a second time,, using a thinner consistency than the-* first* A-good paste filler should not shrink nor absorb any of the finish placed over it* - The Devoe filler is unbeaten by any.other on the market* It\ comes in Light, Dark, and Mahogany colors*. Pleasing results are obt ained by filling light oak, or chestnut for instance, without the U3e of apy stain, but using the dark filler in the pores* After- . filling, allow the work to stand about 12 hours and proceed to finish* Where oil or penetrating stains, are not available for the new work, the Marble Floor and Mirrolac stains can be used with very, pleasing results. . These are high"grade varnish stains or properly- speaking colored varnishes* They axe not so much psnetrators, but rather translucent surface coaters. Marble Floor Stains, resemble - oil stains, in their being made with insoluble pigments, while the Mirrolac Stains ars made with soluble coal tar dyes* ' The Mirrolac staine, give us much clearer and richer, colorings, and having no body of undi3solved pigment to carry, will spread: . easier thaui Maeble Floor Stains', and are less likely to show laps or brush .marks* On unfinished wood, that is however, old darkened, and ' not in good- condition, the Marble Floor Stains, will partly hide these defects- and should bs used in preference to Mirrolac* .' Our excellent booklet " Hidden Beauties of .the Home 11, which you have studied for to-night, is-so explicit in its directions for using Mirrolac, that it will.not be necessary to go into these details here* Let me though, emphasize'a few points*- Looking through a colored varnish, is much the. same as looking through a sheet of colored glass. If fer instance, we lay a sheet of'ruby aolored glass over white .pap er we obtain a certain- reddish color; if we cover a portion of this first glqss, with a Second sheet-of the same glass, we get a deeper tone; and if then a third sheet is placed over a portion of the - second, a still deeper color results* In:other words, the effect of the white paper underneath the colored glass is diminished. Colored varnishes really act like a liquid colored glass, and in their application, produce the effects just described* The user must be. careful to secure an absolutely even distribution of the stain, for., any lapping over or double coating after the material has once begun to set,- will show in dark streakse or blotches* An attempt to -remedy this by rubbing out with the brush, will make the result worse* In finishing furniture, doors, or windows: frames, take advant age of every break in the surface* On a door; for instance, do first the panels with their mouldings, being careful not to run outside of them. Then do the in-between rails, and last begin the stile in the upper left hand corner, and. carry it around the entire, side, of the doer* In finishing a floor, start at one corner, and work on only three boards at once* Finish as long a surface at a time asv conven ient, and work across the entire room, being sure to cut in on the cracks,so as to avoid lapping over on the next set of boards* Use a Devos chisel-edge bristle varnish brush,of a width suitable to the 0007-SWP-000007084 De v u b & fioorouDS Co^bro, - 7- siza'of ^urfacs dona* on like varnish* So not overload ths brush, yet flow the stain 2 b not brush `it out, a3 directed for house paint ins;. Sphere sur faces of close grain wood arc very dry and absorbent, this excessive suction should be partly stopped, with a coat of Devoe orange shellac reduced 50^-with denatured alcohol, or better still with a coat of clear Mirrolac varnish. This will prevent the stain going darker than shown on our sample cards. The color of the stains, can also be lightened considerably, by adding clear Mirrolac'to the stain, which results of course, from distributing the given coloring matter through a larger quantity of varnish* . On open grained wood, fill first with thaTpaste wood filler,and follow with the Mirrolac stain. Urge the application of a final coat of clear Mirrolac especially on floors., in order to keep the wear off' the Mirrolac color*- ; What we'haVe-said about Mirrolac, applies to the use of Marble Fl6or-Stains*. aa~well Remember though, that where time and interest will allowj- the "Aest results are obtained on unfinished woods, by the use of oil ana penetrating stains, protected by good Devoe Varnish* Mirrolae.-and -Marble Floor Stains \ should be re ccanended for new wcxk, only where.the dealer doss not carry our other stains, or where a quick job is desired Dd not Use Mirrolac stains on outdoor wcxkt When a varnish, stain is required outdoors, use Marbls Floor pigment stains, rub down with fine sandpaper or steel-wool, and finish with Vornosits S$ar varnish* The renovation of old surfaces, the restor ation of dilapidated furniture and the reclaiming of innumerable minor furnishings throughout the home, axe made possible by Mirrolac finish es. The booklet gives you in detail, the method of using Devoe Remover, the application of our opaque ground color, and the very natural imitation of wood-grain made possible' by the use of cur grain ing compound and-rubber grainer* This Devoe system and materials, transform the most uninteresting surfaces into the beautiful, when finished properly with the rich,, clear colors, and brilliant varnish of Mirrolacs*- HUhen desired,theground color can be modified in color, by the addition of some of the stain. The crack filler should not be used, until after the first coat of Mirrolac has been applied and hardened. Tint the crack fill er, with some of the stain you axe using* Mirrolac and Marble Floors stains, will not turn white or spot under hot or cold water, are-ex tremely resistant bfc friction-wear, and protect the surface thorough ly under the most saveda usage on floors* 0 0 0 7-SWP-000007085 Remember, that both of these products, can be rubbed to an egg shell finish with flour pumice and water, and then brought to a high polish by further rubbing with flour rotten stone and water or Devoe Mirrolac Polish* Ddxeyco Varnish Stains, are dye stains, made with a cheaper quality varnish, and are sold where price competition make3 it necessary. The market is flooded with heap varnish stains, made with brittle rosin varnishes, muddy pigments, and w&ak adultera ted dyes. They give but crude harsh color, and scratch vdditr ot powder off* Our Mirrolac and Marble Floor stains, are not good enou gh varnish stains, but the highest quality of color varnish*' leaving the subject of stains, let us go briefly into a study of over on^nels In making stains, ws selected carefully the most transparent colorings in order to bring out the inherent-, beauty of-the .wood. Unaaedd. ax Dm & nafiows c&.&Kst similarlya mixture iof colcxr in varnish, but we employ here the pig ments that combine opacity and fineness with large vanish absorpt ion, as vre desire to hide the wood or metal under a prctective,gloss ..ppating* Shame Is are necessarily less opaque, than lead a.ii Zinc, oil paint, or Velour flat finish* The whites and light tints are based on French Process zinc oxide distributed through light color transp arent varnish^.It bacornea essential theri)- to Btop suction in the surfaces | and to build up the finish with enough good undercoats,to get a maximum of opacity and hardness. Do not depend upon the enamel for hiding quality, but consider it a finishing glaze over a perfect flat trader coat* We males a Flat White Undercoat, under aspecial label, as well as Hirrolac Label. Sell the latter in connection with Mirrolac Enamels. The under coatings `are made v/ith lithopo'ne, and a quantity of high grads varnish, sufficient to give good binding quality, and proper support for the enamel, It produces a whiter coating than one made of lead, and being free from oil, does not yellow through the enamel. Forming a hard non-absorbent ground,theEnamel vehicle does not sink into the trader coat, and the enamel re tains its full gloss* Db not, use our Lead and Zinc Inside White, as an undercoat, as it ie made of all zinc t7hite, and so is the enamel. When a number of coats of zinc only, axe used, they dry too hard, and are likely to crack, and straight zinc as an undercoat has not the opacity of lithopone* The old painters method of making, enamel or china gloss, was to add three pounds of white lead in oil to a gallon of light colored varnislpr, generally damar varnish* Another method, was to use French S5nc ground in refined linseed or in poppy oil, or gloss finish, a French. Zinc ground in paste form in Damar Varnish* These were then reduced to a brushing consistency with Damar Varnish and turpentine. But few painters to-day mix their own enamels. While many still hold to their old methods of hand-mixing house paints and flat finishes, they have come across on enamel grinding and varnish boil ing, because of the difficulties n making these products really good* Technical factory knowledge and scientific study of materia ls, have compelled recognition in these lines first, and i3 rapidly winning out on other paint products*. Mirrolao Ename 13, thoroughly ground by improved machinery,are smoother than hand-mixtures and many of our competitors factory made enamels* Their China (like, non-absorbent surfaces produce a sanit ary finish, resisting dirt, grease, and frequent washings with hot water and soap, far better than any flat finishes or oil paints* They are quick drying, but set much slower than painters or ordinary store enamels, and work comparatively free under the brush* The darker colors of Mirrolac Enamels, can be applied direct to wood or metal, but for beet work, the undercoat should ba used and color ed with some of the finishing enamel. Enamels, like varnish stains should be^flowed on with a fairly full brush* 0007-SWP-000007086 Dey o b % Raew o u )^ Ca*Ew Flowing on means, not to brusii out like house paint, but does not mean to flood on with a dripping brush, so that the enamel will 3ag down or form curtains on "vertical works Put cn the enamel in long even strokes, and. do not go over it a second time after it has set* It is not necessary here to go into the details of applicat ion, as the booklet gives solicit directions* F-oman Enamels,like the Kirrolac are varnish enamels, quick setting and hard drying,and must be spread rapidly.- This enamel is produced in white only, of three finishes, full glos3, egg shell and flat. They can be tinted with Japan Colors, or wixh the colored Kirrolacs. The flat enamel has more hardness and resistance than flat oil paints. A very pretty and durable egg shell enamel, can be made by mixing Vs lour Finish and Mirr o lac or F.cman Enamels in equal quantit ies* Cur other special enamels, need but a brief description* Cdnoe Enamels, are made with Spar Varnish to give them the resistance to exterior exposure!;gloss Carriage Paints and Kotor Car Finishes are colors ground in high grade carriage varnishes of great brilliancy and durability." Heat Resisting Enamels, are made with long oil varnish, giving them the ability to expand and contract under extre mes of temperature, while flexile and floor paints axe also enamel paints, made with varnishes best suited for their particular purpose. Ws have however, one enamel made in Y/hite only, both gloss and egg shell, that is far super cor to Kirroiao and Eoman Enamels. The Bevoe Holland Enamel, is made with the whitest and finest French Pro cess Zinc Oxide manufactured, and ground thoroughly in a very heavy body, blown linseed, oil,.salectea for quality and light' color. This results in an eaa&sl that is snow white and flows out perfectly under the brush, working as freely a3 oil paint* While the varnish enamels are excellent for use on smaller surfaces and furniture, the Holland enamel is a vertiable blessing, for ceiling and walls. It is sold also, under the label of Holland Yacht Enamel for exterior use. The Holland Egg Shell Enamel pro duces an attractive dull or egg shell gloss, approaching closely the effect of rubbed work, and the expensive labor of rubbing-is elimin ated, In regard to the specialities such as Flat Black, Stove PipeEnamel, Aluminum and Gold finishes, and Screen Enamels, we made all of these, before we made the Hirroiac line of "home makers." We continue to make them, so they can be sold as separate specialities, where the dealer does not handle our Hirroiac as vet * But, the close consolidation of our best varnish stains, white and colored enamels, these several specialitiee, our polishing oil, and four most used varnishes in a compact line, under one, makes possible the sale of these a3 a complete Bevoe line, instead of the salesmens' efforts becoming dissipated on separate units. The Mirrolac Varnish es, are of a high vus.-i.ity, and honest value. and in small country stores of diversified stocks, give all the varnishes necessary* 0007-SWP-000007087 DSVOB& Remember though, that cur t>r2e standard Levoe '^asnosito Pn.Le Interior and ilnr'cls Floor Finish Varnish.as , tars The experience of many j3ars, ha^e convinced chat %srai .''iss ara bast mads with. Hard nutuca.1 awns plus r.ynthetic gume Lin :.' i ;. oo 1 plus ohina wood oil* in this vay v/e get ext-ircme herinr-s?. 'Ha f ougur.333 and elasticity given by linseed oil, and the ::ui eler set ting quality and resistance to water discoloration, given 'ay cha :,iina wood oi.l Vcrnosits dries slower than any ether spar varnish made by u.3 , and therefore expands and contracts best under changes of temperature It does not orach or disintegrate by powdering off. Zanzlrex., Aquaspar, and Kirxolac Spar, .dry faster and can be used for hurried oirtdeor work, and bath rooms} kit die ns, laundries et .0- wherever much water is used* Pale interior, a tough varnish, light in color, and easy flow ing, is not affected by moisture. It'is of abetter quality than MIrrcIac Clear. Hard Oil Finishes or Furniture Varnishes, it can be rubbed to an ess shell, or brought to a high polish.* Marble Floor Finish, Transparent, contains less oil and rors sum than Pale Interior and so gives u3 the'greater resistance to hard friction under foot, which is really the most severe test on varnished' surf ace. I.'irrolac Linoleum Varni3h, is quicker drying, and therefore much sought for. ^hiIs of excellent wearing qualities, it does not rank as high as- Marble Floor* * Last but not least, in our Kirroiac booklet, we. find an old tried friend, the Devoe Polishing Oil. 'under the name of IT^-rrc.lac Polish* ' The market is flooded with innumerable haphazard furniture polishes. Some of them .'/ill remove dirt quicker than ours will, But they contain sharp acids or abrasives that either eat into or grind off the varnish. Others polish with less rubbing effort, but contain solutions of brittle gums, v/hi da form a film over the varnish, and' doon after break up into a net work cf hair cracks, and then turn white and powder off. The Mirrolac polish, if applied as directed, a little oil and a liberal rubbing, will rest era new life to a varnish that is not too fax gone* The all important point is, that its continued use over many years, will absolutely not injure the varnish,but keep it full of life and brilliancy* Wq close as we began by placing the Levoe Mirxolac Line. along side of Devoe Lead ard Zinc and Levee Tsloti: , as the great home-makers and home-preservers of a home loving people*' As this is The last meeting this Spating, of our 'Thursday night classes, I wish to thank 0007-SWP-000007088 Oe v q b & you all for the good attendance and the attention paid. Th-papers hail->tD be written rather hurridly, but they .are at least an effdrt to give a more intimate knowledge of our line*- This makes the eighth paper, and wo hope shortly to give vou two more, one on the manufacture and application of Varnishes, and the other on the manufacture, use, ana care of brushes. We will send these to you, if by that time some of you: may have' returned to your home stamping groundso . 0007-SWP-000007089 VARNISHES Its Manufacture and Application. In the course of our Thursday evening meetings, we had the pleasure of hearing an instructive lecture by Mr. E. P. Phillips, based on fcis experience as a practical varnish maker in our Newark works. It is our purpose in this paper, to review as briefly as possible the essentials of varnish making, and give you some knowledge of the proper selection and applicationwof the many varnishes we make. We have dealt in our previous talks, with the manufacture and application of paints, such as pre made with tough, elastic vehicles and opaque pigments, for the purpose not only of pro tecting the wood and metal against moisture attack and friction wear, but to hide the surface completely under a decorative coat ing. Our purpose in varnishing wood, is tc some extent very similar. ne aim to give the same protective qualities that we demanded of our paint, but instead of the hiding power derived from opaque pigments, we strive to secure the greatest possible transparency, in order to show clearly and to enhance the inher ent beauty of the figured wood. This we achieve by the use of transparent varnish resing in place of the pigments to contrast them with each other. In paint we had a composition of oxid izing oil, bodied up by opaque pigments, reduced with volatile thinner, and intimately mixed by powerful grinding machinery. In varnish we have a composition of oxidizing oil, bodied up however with transparent resins or gums, reduced with volatile thinners, and thoroughly amalgamated by heat. Up to a few years ago, the only oxidizing oil used in these oil varnishes, was a high grade well settled and clarified linseed oil. This Oil, the varnish makers heated, and to it he added the requisite amount of Oxidfcs cf Lead and Manganese, such as used in the making of boiled oil and dryers. However, a strong rival has come into use in the last few years. China wood Oil, also known as Tung Oil, is used in varying quantities in most of the present day varnishes, generally in conjunction with our old friend. Linseed oil. ~ China Wocd Oil, is extracted from the fruit of the Tung tree, which grows in China and Japan. The fruit, which is a bout the size cf a small orange, contains 5 divisions, each hold ing a small kernel or nut, about the size of a nutmeg. The fruit is dried and the kernels removed, placed in a crusher and the oil pressed out. China '"'ood Oil has the peculiar odor cf hog fat, and when exposed to the air thickens up rapidly, ^hen spread on a non-absorbent surface like glass, it dries in its raw stats to an opaque wax-like film, with a "flat" rough surface. It dries more rapidly than linseed oil, and throughout the film at the same rate. 0007-SWP-000007090 N12897.06 2 For use in varnish it; must be carefully heated either with resins or drying agents such as compounds of lsadj mang anese or cobalt and thinned with turpentine or mineral spirits. The varnish maker heats the oil to about 3SOoF, for if heated high it coagulates and is converted into a jelly like mass, that cannot~be rsdissolved, China wood Oil is more water re pellent than linseed oil, but is lass elastic. The volatile thinners used in varnish making depending upon the resins used the purpose of the varnish, and often on the price paid per gallon, are turpentine, mineral spirits, benzine and alcohols. Let us examine briefly the origin, source of supply, and the characteristics of the most used varnish rums and re sins. Vith the exception of a synthetic gum produced in re cent years, they are of natural origin, being exudations from various species of trees. The resin flows out of the trees in the form of drops. If it solidifies quickly it retains this form as for example mastic; if it solidifies slowly it forms tears or cylindrical pieces like sandarac, and if the process is still slower, and runs until it collects on the tree8 or drops on the ground, it forms knotty masses of vary ing sizes and shapes, as we find in Kauri, Zanzibar, Congo, Copals and others. Resins differ considerably in appearance. Zanzibar is clear and transparent, but has a peculiar rough surface, like a goose skin. Other resins have a clear lustrous appearance, while some look waxy. They range in color, from the almost colorless aamar gum, through pale straw and shades of brown ish yellow as found in the copals, down to the deep brown al most black asphaltums. They differ widely in their hardness and their fusibility. Some resinsrequire a heat of 6O0F, to melt them, while others will soften in the heat of the hands. The source of supply from which varnish resins are procured, are Africa, Australia, South American and the Phillipine Is lands . Varnish resins may be divided into two troad classes, namely, fossil and virgin resins. The fossil resins had the origin in trees that flourished and fell centuries ago. These resins, having been hardened through the slow procesi of time make the most durable varnishes and are for that reason, the most desirable. . However, fossil resins are becoming scarce and the con sumption of varnish is rapidly increasing. In accordance wife the law of supply and demand, the price of fossil resins has become very high. Consequently the varnish maker of today cannot use fossil resins, excepting in the highest quality product, and he has been forced to study and experiment with other scientific mixtures, in order to replace his former source of supply. 9 \ 0007-SWP-000007091 The principal fossil resins used, are Zanzibar, derived from the island of Zanzibar and neighboring mainlands. Kauri derived from New ZeeLand and Congo Copal from the African ^est Coast. Amber, from the Baltic coats of Europe is used too a small extent ana yields an extremely hard varnish. Fossil resins, generally are found in patches, buried in the soil to a depth of 1-1/2 or 10 feet below the surface, and covered with a crust of soil ana decayed vegetation. During the rainy seaon, the ground is soft and the nat ives profte the ground with a long sharp pointed steel rod, a bout 1/2 inch diamecer. They feel in this way for the resin, and when they locate it, dig down to it with a spade, and bring it up. Trenching the ground is another method of securing seme of the fossil resins. Virgin resins, are obtained from liv ing trees and are softer. The trees when cut, bleed profuse ly and yfeld a pale viscid fluid, which on exposure to the re sin, exuded from a tree known as Camara Orientalis found in Batavia and Sumatra. Its chief merit, is its pale color, being usually clear arid transparent nearly white with a faint straw color tint. It breaks easily with a powdery fracture. As a varnish it never dries thoroughly hard, and-should not be used where subjected to weather or handling. It finds its chief use, in the manufacture of white enamel paints, as it dries hard in mixture, with zinc oxides. It is sometimes mixed with the darker hard drying copal varnishes, in order to produce varnishes of a fairly light color and medium hardness. Asphaltum is a black or brownish black resinous miner al, and when melted mixes readily with linseed oil, melted rosin or any oil varnishes. Asphaltum seems to be between soft bituminoiis coal ana liquid petroleum. Egyptian asphaltum and that obtained from Utah, known as giisohite are said to be the hardest, while that obtained from Trinidad is extreme ly soft. Asphaltums are sometimes made as spirit varnish, dis solved in turpentine or oenzine, without the addition of oil. Thus made they dry rapidly through evaporation of the solvent, but become brittle and soon perish. If mixed with rosin they, crack off quickly, many so called asphaltums are made from coal tar pitch, and these are very inferior. However, if asphaltum varnishes are made from high grads gum, and properly combined-with linseed oil, as is done in the manufacture oi best ,rrac.a clear olec-varrisrss, we obtain a slower drying but very durable varnish, inch varnishos are used as Smoke Stack Blacks, where rp.sictf.noo to weather and the expansion and contraction due to alternating heat and cold are necessary. Another gun very largely used and of great, im portance in industry is'the gum shellac. This gum is really cf animal origin. It is the hardened secretion of an insect acout l-40th cf an inch in length, which swarms in great num bers on the "lactress" of India and Siam. 0007-SWP-000007092 These tiny red insects live less than a year, during which they eat, ipropagate, and secret the shellac. '!rhsn set tled on the branches cf the trees they pierce with their beak through the bark''into the meat of the tree, and by a process of absorption suck the sap cf the trees up through their bod ies and feed themselves to death. At the same time the pro cess of propagation goes on. The sap in passing through the body, undergoes a chemical change, and is exuded, forming a hard shell like covering over the entire swarm, as the secre tion is acted on by the air. The female is really the shellac producer, while she is producing the shellac liquids, she also produces a fluid in which her eggs are matured, and from which , in the next six months, the future supply of lac bugs come. These go into searms, only to repeat the operation of propagation eating and chemical transformation of the sap into shellac. The great mass of bugs on the trees become inactive as the shell like covering hardens over them, and they die. TThen the young b~3ak through the lifeless mass they swarm to other trees, moving s b much as 12 feet in a day. They are also carried by the wind, birds and insects. After the young are gone, the natives gather the old shell like crust, known as Stick-lac. The incrustations are broken off from the twigs, and crudely ground between two great stones. The sticks and dirt are removed and the lac is sift ed. It is now known as Seed-lac. This Seed-lac is then "created by washing and soaking for about 24 hours tc frexit of its natural coloring matter.It goes again through a grinder, is placed in cloth bags about 12 feet long, and only two to three inches ir. diameter. These are then heated before a fire, while the natives twist the bags and wring out the melted lac. The melted lac is caught on wet plantain leaves, and while still warm is stretched into thin sheets, allowed to get cold and is then broken up into flakes. This comes into the market as Crange Shellac of various grades sold as T. N. 0. V. S. 0. - D. C. and other quality designat ions. . ^hat we know as White Shellac, is made from Orange, by desolving in a hot water solution of borax or soda, ^ile in solution chlorine gas or similar bleaching agent is introduce, until the orange color is bleached out. The shellac is then precipitated by means of an acid, and dried by placing the wet gum, broken inxc small pieces on flat trays and putting these in a moderately heated room. Hank rTiite Shellac is bleached shellac, which instead of being broken and dried, is twisted into hanks. It contains about 20$ cf x^oisture. H-ite Shellac should be thoroughly dried, before pacing in alcohol and should not be left exposed to the air as it is likely to become insoluble. 0007-SWP-000007093 -5- Shellac is not soluble in turpentine, but can be made into a solution with ammonia water, or with borax. Rosin is the usual adulteration. Devos Pure Shellac and Deroyco Shel lacs, are both absolutely pure. Dsra3*oo is a thinner shellac, containing less gum to the gallon of special denatured alco hol. Shellac gums are -hard but brittle, and being dissolved in alcohol only, they do -not have the toughness of oil var nishes. The alcohol which acts simply as a temperary means of keeping the gum in a liquid form and permitting of spreading it, evaporates quickly and leaves this film of shellac gum, just as hard and brittle as it originally was. As it is brit tle, and chips easily, shellac should not be used on floors, unless necessary haste compels it. It should never be used outdoors, as contact with water will turn it white and cause it to perish. Nor will it stand heat, as it lacks elasticity and will not expand and contract with the changes of temperature. Shellac is a valuable fdend, however, in some cases. It is used to hold back the resin in knots and in yel low pine; it makes a good sealing coat for interior cypress; and when reduced with more alcohol can be used to step suetion in plaster and also as a liquid filler for close grain woods. It is frequently used cn maple floors, where it is desired to retain the light natural color of the wood. Direct contact of oil varnishes with wood turns the wood darker, with a tendency to grow still darker in time. Repeated coats cf thin white shellac, or one ccat of the shellac followed by several well rebbed thin applications of Devce Wax Polish, will retain the natural color of the wood and all its beauty. Shellac varnishes are used very largely in Europe, es pecially in a modified form, and a method of application,call ed French polishing, but the American practice of using the slower oil varnishes, if given sufficient time for hardening between coats, gives us far more durable results. Other resins of minor importance in varnish making are Sandarac used prin cipally in spirit varnishes and Mastic which is a soft resin somewhat of the nature of Damar Cum. Deagon's Blood and Gamboga are used for'their peculiar color extracts. Last, but not least, is the great American re sin, known as colophony or rosin. This is the cheapest of all commercial resins, and is used in large degree not only in pro fessedly rosin varnishes, but as a cheaperer in other varnishes masquerading as copals varnishes. This resin is the non-volat ile residue left after the distillation of turpentine. Var nishes made from rosin scratch white and powder very easily, and do not withstand weather exposure. Ordinary sizing varnish es are probably the cheapest varnishes made, and are generally 0007-SWP-000007094 6- a solution of rosin in benzine. Slightly better grades are often sold as liquid wood fillers, and as cheaper copal furhiture and house varnishes. The addition of 2 to 10 per cent of lime to rosin while melted, hardens it. This rosin dissolves easily in oil, and while it dries with a hard brilliant surface, it looses lustre in a short time, forms minute cracks, which gradually enlarge and cause the varnish to crack off. In present varnish mak ing much rosin is used by combining it with glycerine and form ing the "rosin esters". Varnishes made of these "esters" and part resin, incor porated properly with china wood oil, furnish lime of durable water resisting varnishes. However, they seem to lack the el asticity of well made linseed oil spar varnishes. Leaving the subject of varnish ingredients, let us re view briefly the manufacturing process. Oil varnishes can be sub-divided into two classes, "long-oil" and "short-oil". When a varnish is intended for conditions requiring a tough elastic water repelling film, as for exterior exposure, it must contain a liberal quantity of oil relative to the a mount of resih used. It must be "long" on oil. Our Vernosite Spar Varnish is our best example of this type of varnish. When the varnish is intended for interior purposes, such as floors, woodwork of room etc., or as a "rub" under coat for long oil finishing varnishes, it must be made "short" on oil, and contain more resin. We need hardness rather than elasticity, resistance to friction-wear rather than weather attack, and we desire quicker drying. Varnish cooking must be thoroughly understood. While correct materials and proportions are very necessary, the pnoper manipulation of the resin melt ing, oil mixing, and thinning, are matters that rest in the practical knowledge and experience of the individual varnish maker. Good varnishes require a superior quality of linseed oil. This is pumped into tanks, and kept for some time at a temper ature of 90 to 110F, allowed to clear itself by slow precipit ation of vegetable and foreign matter. It is then generally heated to a temperature of 500o for a very short time, with a small amount of manganese, lead oxides of both. In "running" or melting the resin the customary quantity used is 100 to 125 lbs. at a time. A glowing coke fire is made in a fire pit and the resin is put into a clean kettle wht^ch fits over an opening in the platform of an iron hand truck. The kettle is covered with a loose cover, having a hold in it, through which the varnish maker stirs the melting resin with an iron rod. When the resin is melted, so that there are no lumps, the ket tle is withdrawn from the fire. Ten to twenty-five percent of the weight of resin, passes off or is lost as an inflammable vapor. The melted resin foams and must be carefully matched. 0007-SWP-000007095 7 Should it come too near the top the kettle must be quickly with drawn from the fire. The operator by means of his stirring rod and guided by his practical experience, doterreincs the condition ofthis melt ing resin. The temperature is rarely below 6,50F when the melt ing is completed. The kettle is now withdrawn, the contents al lowed to cool some, and the foam to settle. The oil, which has been previously heated to about 500oF in another kettle, is now slowly added and stirred in. The kettle is again drawn over ibe fire, and the temperature and length of time for cooking will vary according to the kind of varnish. A long oil varnish may be cooked 6 or 8 hours, and a short oil varnish, perhaps an hour or two. Whe n sufficiently cooked, the kettle is again withdrawn, and the contents allowed to cool some. The volatile thinners are now added carefully and slowly, while the operator stirs the varnish going vigorously. Highly inflammable vapors are formed and care must be used, that these vapors do not ignite. Benzine and Mineral spirits, as well as Turpentine are used as thinners. Benzine evaporates too quickly, and thus kills*the flowing quality of the varnish, and impairs its .spreading cap acity. Turpentine and Mineral spirits evaporating slowly, per mit the little ridges of varnish caused by brushing, to flow out and level themselves. Every factory makes certain "key" varnishes, which can be intermixed, to produce themany kinds, that custom and prices demand. Our Vernosite and Yacht Spar are old fashioned long- oil varnishes, they are the most elastic varnishes we make and while more susceptible to white discoloration by water, than is our Aquaspar, they will expand and contract better under vary ing temperatures, and will not crack or disentegrate rapidly as a powder. ' Zanzirex dries faster than the above, having less oil, but therefore not as durable. It is sooner proof against dust and rain, and some conditions, make the use of a quick drying varnish, compulsory. Aquaspar and Mirrolac spar contain consid erable china wood oil, and are excellent water resistant varnish es, especially on bathroom and kitchen woodwork and floors, they are not as elastic as Vernosite and Yacht Spar, but excellent varnishes for exterior house work, like front dcors etc. Motor car finish is a durable varnish made of high grade resin but less oil than Vernosite. while less elastic, it dries with more brilliancy. We cannot always house our boats when not in use, nore take the front door in overnight, and such surfaces being constantly exposed, the ail important question, is weather protection. Sc we reduce the amount of resin and increase the quantity of oil in our Vernosite. An automobile spends a large portion of its time in the garage, but when on the road, must be able to withstand the cutting action and impact of sand and 0007-SWP-000007096 8- and stone. Therefore we increase the amount of resin, and de crease the quantity of oil, in our Motor Car Finish. re thus sacrifice some elasticity, f0r greater brilliancy and hardness Our Motor Car Gear, One Coat Coach and cheaper spar varnishes are made to sell at a lower price. Remember, when you take it out of the price, the maker must take it out of the price, the maker must take it out of the quality of his product. The foregoing varnishes are comparatively speaking, long oil finishing varnishes. Let us examine a few shorter oil var nishes, such as rubbing and interior finishing varnishes. It Is at times necessary to remove the gloss of a varnish, as for in stance between the successive coats. Then again an egg shell or a polished surface is desired of the last coat. While long oil varnishes can be rubbed dull with ground pumice and water, the gloss is likely to return, due to the large amount of oil in the body of varnish, coming through to the surface. This is called the "sweating" of varnish. This "sweating" may be due at times to the fact that the successive coats of varnish have been hurried too much with the result that the under coat which have been shut off from oxygen too soon by the succeedingapplications, have not hardened through. Good rubbing varnishes are our Pale Interior, Marble Floor Finish, Cabinet Finish and others. Pale Rubbing and quick Rubbing under proper drying conditions and intelligent applica-r tion, can be rubbed in 36 to 48 hours without sweating. Piano Forte Polishing, made of Zanzibar resin and little oil, is our best high polish varnish. It sets up very fast, and must be applied rapidly. A varnish of this type is not very elastic, as this quality is necessarily sacrificed to high brilliancy and hardness. Piano Varnishes are sensitive to high tempera tures as caused by the cencentration cf the sun's rays coming through the glass of a window, and quick chsnges from heat to cold, will check and crack the varnish. ____ Pale Interior, is a happy medium. Made from hard res ins, it contains less oil than Vernosite and more than Piano Pol. Varnish. It works very freely under the brush, and lev els itself well. It is not as elastic as Vernosite, but ac comodates itself to varying temperatures, better than Piano Forte Polishing. Marble Floor Finish, which on account of its particul use, requires extreme hardness and toughness even at the ex pense of maximum elasticity, contains less oil and more res in than Pale Interior. Rosin varnishes are hard but brittle, and even the~Improved China wood oil rosin varnishes are net equal in wearing quality to the Devos Marble Floor Finish. In regard to our cheaper interior varnishes, while each of them, represents full value for the price paid, common sense will tell you, that the. j 0007-SWP-000007097 -9- quality is decreased. Allow me a brief explanation of the present day value of some varnish names. Time was, when Co pal Varnish designated a varnish made of highest quality co pal resins. To-day this label applies to cheap furniture var nishes made from rosin. #1 Coach and similar "coafch" varnishes. To-day these varnishes are unfit for exposed work, and are used mainly for cheap interior trim. Hard oil Finishes, originally the high est quality of interior house varnishes are to-day, at the best, but medium grade interior finishes. This loss of val ues, was brought about by strong price competition, with the result that qualities were forced down to a point where the names no longer commanded confidence. Reputable manufacturers, continued these designations as cheaper varnishes, and then put up the high quality goods, under special proprietory names, coupled with their firm names backed by established reputation as reliable makers. Devoe Pale Interior for instance is our high quality Copal Varnish. Let us define a few special varnish terms. RUBBING VARNISH, must be a short oil, hard varnish, that will rub well under pumice or rotten stone. It must n< soften with the warmth generated by friction heat, nor be in jured by water or oil employed in rubbing. POLISHING VARNISH, practically a high grade rubbing varnish. FLOWING VRNISH. A long oil varnish, that spreads eas ily under the brush, and remains fluid long enough to level out and show no brush marks. DIPPING VARNISH, a varnish that will dry quickly, due to its content of quickly evaporating solvent. They are gen erally thin varnishes that set up rapidly and so prevent the sagging of the varnish on dipped work. SPRAYING VARNISH, applied by spraying by air pressure. The varnish is similar to dipping varnish. BAKING VARNISH. This varnish usually contains consid erable oil, which permits its subjection to heat, without be coming short oil inelastic and brittle. The baking process produces a harder, tougher and nore uniform film. We must not forget, that varnishes, are not used only as transparent ooatings., but are frequently the vehicle emp loyed in the manufacture of high gloss paints, such as enam els, notor car finishes and floor paints. 0007-SWP-000007098 10 Leaving the subject of raw materials and manufacturing and knowing something now, about the characteristics of the several varnish mixtures, let us spend a little time on the proper application of varnish. Read carefully our valuable booklet, entitled "The Secret of Rich Rooms," it is extremely interesting, and above all, practical. We cannot impress too strongly upon the salesmen, that in varnishing as in painting, the manufacturer's products are too often wrong-fully blamed for poor results, when the ignor ant or carelessness of the user is really the cause of trouble. Salesmen must have confidence in their goods, and while no mak er is infallible, it is only fair to assume that the manufact ure on proven formulas, and under rigid supervision leaves less chance for errors, than is likely in application by all kinds of mechanics and laymen, under all sorts of adverse conditions. Have backbone to stand firmly by your goods, yet be Mr to the consumer, and tactfully seek out the causes of failure. Convince him if possible, that your goods are right, and hold his confidence and good will. In our paper on Mirrolac, we went into details in describing some of the characteristics of different woods; how to treat close grain and coarse grain lumber with the proper fillers and stains. Look at a section of freshly cut wood, and you will see that it looks clean and bright, and shows the grain clearly. Leave it unprotected, and it will turn dull rppidly, and the grain become obscured. Oxygen and moisture of the atmosphere will attack and rot the fibres. , On exterior exposure, the fibres are destroyed, the grain completely lost, and the wood turned black. But pro tect the wood thoroughly with good varnish, and you surround it with an air-tight and moisture resisting case, and exidation cannot take place. The first essential in producing good results, is to see that cleanliness is practiced in ev ery step of the work. The surface to be varnished should be thoroughly cleaned, some of the material to be used should be poured carefully out of the original container (without agit ating the varnish) into the working cup and the original can tightly sealed. Be sure, that your brush, to use painters parlance is not "lousy" that is free of particles of old haidened varnish from previous use. The varnishing room, should be dampened down, to laythe dust, but this does net mean to flood the room. If pos sible the varnisher should not permit the entrance of unnec essary persons, as their mowing about, is likely to stir up the dust. In places where windows permit dust laden air to enter, such windows should be properly screened, to allow of ventil ation, and the carrying off of the volatile varnish vapors, yet shut out this undesirable dust. Unless this is done the 0007-SWP-000007099 11 - user will be likely to complain that the varnish was dirty, or contained undissolved gum. Remember that varnishes, especial ly the slow setting durable kind are perfect dust calibers. Another ver^ important preliminary, is the question of temperature and wealther conditions. Varnish should never be applied in a lower temperature than 70oF, and the varnish it self should be near that degree of warmth. Furthermore, the surface to be varnished, should be warm. Varnish will flow more freely when warm, and used in a warm room, but if the sur face to be varnished is cold, the varnish will contract and not stay properly "put". Humidity is another factor, that enters the question of proper drying. Tour barometer will record this condition in doors, as well as outdoors. In hot weather, especially then, is apt to carry a large amount of moisture, and will retard the drying. A varnish will dry better in moderately cool dry air, than it will in warm moist air. Avoid' varnishing or laccuering on muggy days. Be carefuljr too of rapid changes of tem perature. Ventilation is neoessary, but a draft of cold air, will contract the varnish quickly, and cause checking. Too often in the winter consumers take a can of varnish from a cold attic room, into a closed garage just heated with an oil stove, and the metal car still cold, and then a com plain about poor materials. Make sure, that the surface to be varnished is in fit condition to receive same. If the surface is -coated with old varnish coatings, that are cracked, they must be removed. Non-drying of varnish is often caused by ap plication of the new material over surfaces previously waxed or oil polished. Frequently where the Use of remover has not been followed by a thorough washing of turps or benzine, trouble of non-drying is caused, because wax is used in removers, to prevent the too rapid evaporation of the active liquids solv ents, which are extremely volatile. This wax must be removed. Avoid the use of patent surfacers, liquid wood fillers, substitute shellacs, and if pos sible even pure shellacs. Let your first coat of varnish, be of the same good quality as the last, but reduce it, with 20 to 25^ of pure turpentine. When turpentine is added to varnish, it is best to shake the mixture thoroughly, and let it stand 24 hours, in a warm place, before using it. Good work cannot be done-with poor tools. It demands just as good a brush for one small "job as it does for a number of large jobs, if that job is to be d0ne well. Our Soudan, Montauk and Huron Varnish Brushes, as well as our high quality oval varnish brushes, will turn out A1 weak when spreading quality varnish, by a man who knows how. The first coat of varnish should be allowed to dry thoroughly hard. 0007-SWP-000007100 13 - before a second coat is applied and shuts off the oxygen nec essary to properly harden the first. The same care should be excercised with the second coat, before the third is applied. Each intermediate coat should be well hardened, or it will have a tendency to keep the succeeding coat soft. The rushing of a job oft times, causes a tacky condition in the finishing coat. The undercoats of. varnish, should be rubbed when hard with ground pumice stone and water, cr #1 steel wool, just enough to remove the lustre. Rubbing creates a series of very fine scratches, hardly visible to the naked eye. These scratches break up the light reflection and cause a dull appearance, at the same time giving us a holding surface for the following coat of varnish. On exterior work, the last coat is generally left in its natural gloss. Interior work is frequently rubbed down on the last coat to a dull finish as described for undercoats. For a sat in finish, the surface should be rubbed up with an oil like our Kirrolac polish. Sometimes a high polish is desired, as in piano work. This is done by following the pumice rubbing, by a final rubbing with flour rotten stone and water. In extra fine work, this rubbing is completed by rubbing the varnish with a small quantity of very fins rotten stone on the ware hand, moistened with water. Rubbing should be done, by taking the material up on a piece of so called rubbing felt, and the operation should be carried out in a long even stroke, being careful not to use too much nor an uneven pressure. The last polishing rub with the hand, should be done with a circular motion. Good pfc.no polishing is an art that can be acquired on ly through the close observance of work performed by expert polishers, and the patience necessary to try again and again in the face of failure. Do not advise an amateur to attempt this high class work without warning him fairly that experi ence is necessary in fairness to varnish used. Where an egg finish is desired, and the expensive labor of rubbing is to be eliminated, our Rubbed Effect Varnish can be used as a last coat. Best results are obtained however, by proper rub bing down of high gloss varnishes. Shellac siidom requires any rubbing. Contact with wat er must be avoided. Between coats, if necessary to efface brush marks a light rubbing can be given with fine steel wwol. In conclusion, let me call attention to some of the terms and their meanings applied to some of the varnish "devil tries" and give also an example of the comparative cost of quality varnish and price varnish. Blurring of varnish is an appearance of spots or dirty looking streaks. ' 0007-SWP-000007101 13 Blooming is a plum color, cloudy appearance. These troubles are generally due to tret weather, and can often be cured by washing wi,th cold water and standing in the sun. Blooming is sometimes caused in short oil varnishes by their inability to resist the action of moisture or of vari ous fumtfS and gases. Checking or Cracking Checks are but the beginning of cracks, which sometimes widen until the varnish particles stand out like bark on wood. This is due to the perishing or disentegration of the varnish, due to its final oxidation and loss of elasticity. Eeing no longer able to expand and con tract it tears apart. A poor quality varnish will reach this condition quicker than good quality paint will. Checking is due often to the action of coal gas or am monia fumes, as also by washing with hot water or by the act ion of alkaline soaps. Chilling of a varnish, kept in extreme cold, will cause a separation of its ingredients and cause it to work "specky". Chipping or flaking off, if it occurs in short time, is often caused by using brittle varnishes. Sinking or Deadening, is frequently the result of ap plying varnishes over an absorbent surface, like a porous paste wood filler, or when the ccat of varnish is applied over an undercoat that is not hardened and so is partially absorbed. An expert wood finisher sums up as follows: "For var nish to dry and harden properly require light, ventilation and moderate temperature. Very hot weather, very cold weather and humidity all interfere with drying. Best results are gotten in dry atmosphere and a temperature ranging from 65 to 8O0F. 0007-SWP-000007102