Document wgyeNqQmX0e1Oqxn4moGKEw46

A TALK ON PAINT J NATIONAL LEAD COMPANY NEW YORK, BOSTON, PHILADELPHIA. BUFFALO, PITTSBURGH, CLEVELAND, CINCINNATI, CHICAGO, ST. LOUIS  iWMi'imiiJh Index and Synopsis Fo r e w o r d Why the Houseowner Should Know About Paint Protective Paint vs. Merely Ornamental Paint Pj>r,t 7 8 Ch a p t e r On e --Wh a t Pa in t Is Must Have a Drying Oil and Pigment which has Affinity for it Why Linseed Oil and White Lead make a Natural Paint Mixtures Used to Imitate White Lead Other Pigments and Their Defects How White Lead is Made Why the Old Dutch Process is Best Mixed Paints and Fraudulent " White Lead " Labels Designed to Mislead A Test for Adulterants 1j 12 12 12 14 17 17 18 19 f Ch a p t e r Tw o --Wh a t Pa in t Do e s Wood is Porous A Perfect Paint Anchors in the Pores Adulterated Paint Stays on Outside Why Bad Paint Peels Off Paint Must be Elastic Expense and Danger of Scraping and Burning Priming Coat Most Important 20 21 22 22 22 22 23 Ch a p t e r Th r e e --Wh a t Pa in t Co s t s Cost per Gallon : Cost per Square Foot; Cost per Year W hy Low Priced Mixtures are so Expensive Mixed Paints More Expensive than Pure White Lead and Oil 26 29 30 8. I 1 Some Comparative Figures True Test of Cost is Length of Wear 3> 31 Ch a p t e r Fo u r --How t o Pa in t Ten Things the Houseowner Should Know The Priming Coat--Driers---Brush the Paint in Well--Wet or Frostv Wood--Proper Putty--How to Make Tints--The Best Tints to Choose for Durability--Mixing the Paint on the Premises-- Use Paint While Fresh--Importance oi a Good Painter. 33 1! A Wo r d Ab o u t Ou r s e l v e s tii We Want the Houseowner to Investigate What Painters and Dealers Say The Best White Lead 39 40 40 t shall prote point F comp mate adve: door solici brusl hires hand the v for s clima to se: [ ONSI DERING that it is his money which pays the bill, the houseowner, as a rule, has too little part in the details connected with the painting and repainting of his property. He chooses the color scheme, perhaps, but takes no precautions that the material used shall be such as to give permanency to the colors and protection to the surface beneath. The most important point--from the money standpoint--is thus neglected. Fortunately for him, the majority of painters are competent, conscientious men, who of choice use good material and apply it with judgment and skill. The advent of ready-prepared paint, however, has opened the door to unskilled workmen---not real painters--who solicit painting contracts solely on their ability to wield a brush. These men know no more than the man who hires them about mixing paint to suit the particular job in hand and must resort to a ready-prepared paint, of which the very best that can be said is that it may be excellent for some surfaces, in a certain condition, in a given climate, at a particular season, but cannot be expected to serve equally well on all kinds of surfaces in all the The Man Who Pays [7] 0007*SWP-000008785 variety of circumstances for which, differences in climate, altitude and atmospheric conditions are responsible. Ifthere is p<:h me bail one It may be your good fortune always to fall into the hands of good painters; they are in the majority and .. , .. T are trustworthy. But so long as the pretender is abroad there is a chance of your hiring him. That others have done so, shabby houses, with peeling paint, as well as too frequent visits of the painter mutely testify. hiteefn " The houseowner is by no means helpless. A very little knowledge of paints would enable him to guard his own interests, and to give some practical hints on the subject is the mission of this book. It will not make "every man his own painter." To become a painter takes long and studious application. But it will tell him what paint is; what a good paint, properly applied, may be expected to accomplish, and how to tell the good from the bad. The real painter is always glad when good material is specifically named. It gives him a definite basis on which to estimate and enables him to furnish a com pleted job which will add to his reputation. i.unt The subject of this little book is house-paint, that is. protective paint, as distinguished from the various pig ments and mixtures used in the arts purely for purposes 1 81 of color exposed is used pleasing I In tl j the natc j omitted. if not a ' stance ^ drying a mix tint anythin; I It W'OuL ! instruct ( tinting ! prarticCi tions p< depends each pa: of color and entirely worthless, many of them, when exposed to the weather. Paint in this protective sense is used, to preserve th, e wood, from d,ecray and, to ad, d, pleasing color to the structure painted. The Attack c^sfZ . and Ram In the discussion of paint which follows, all study into the nature of "driers" and tinting pigments is purposely omitted. It is generally considered desirable in practice, if not absolutely necessary, to add to paint some sub stance which has the power of hastening the natural drying action of the Linseed Oil. It is also necessary to mix tinting pigments with the principal ingredients, if anything but the natural white, of plain paint is desired. It would be a waste of time, however, to attempt to instruct the houseowner on the correct use of driers or tinting pigments. These pQTj$$0$hould be left to the practicedpainter, as each jot^^S^^fting presents condi tions peculiar to itself aritpjpce-^proper use of driers depends on the painter's knowledge of what to do in each particular case. Il l u s t r a t io n s Frontispiece, "The Dutch Boy Painter" Oil painting by Lawrence Carmichael Larle. Fu l l Pa g e En g r a v in g s f r o m Wa t e r -Co l o r s b v He n r y Hu t t 0007-SWP-000008789 :*rv * Thr Pigment exposed to the air it gradually becomes hard, `dries up,' in doing which it takes up from the atmosphere a large proportion of oxygen, forming a new compound of resinous character. In this power of combining with oxygen. Linseed Oil is distinguished very markedly from other oils which have little or no power of combin ing with oxygen." * The resulting film which the dried Linseed Oil makes is elastic, tough and insoluble in the moisture and gases to which ordinary atmospheric conditions would subject it. The other essential ingredient of paint is a pigment --the solid part--and here, too, nature has provided only one practicable material for the purpose. This is White Lead. As there are other usable oils besides Linseed, so there are other .materials beside White Lead which can be used for pigments, but White Lead is called the natural paint pigment because it is the only white pig ment known, which, when mixed alone with Linseed Oil to a consistency proper for painting yields a perfect paint. All other white pigments, if used at all, must be used with White Lead, or to form combinations which are imitations of White Lead. Barytes (sulphate of Barium), for instance, is so transparent that it will not hide the wood, and no one attempts to use it alone. G. H. Hurst. " Painters' Colors. Oils and Varnishes." page 34*- Zinc oxide, or zinc white, is also very transparent if made thin enough to spread, and, contrariwise, is too stiff to work if made thick enough to cover. It is objectionable also because it dries very hard and inelastic, which causes it to crack and peel off as the material beneath shrinks and expands with the changes in the weather. As remarked above, these pigments, and a few others less valuable, can be used if White Lead is mixed with them; or, in other words, White Lead can stand some adulteration without entirely losing the valuable characteristics which make it a natural paint, but its usefulness is impaired in direct proportion to the admixture of other ingredients. Thus, the addition of barytes and zinc or other material decreases the covering power, that is, necessitates a larger quantity of paint to properly obscure a given surface. More important still, the adulterations rob the paint of the lasting qualities which Pure White Lead possesses. To put it in still another way, pigments which by themselves cannot be made to act even temporarily like paint can, by the addition of some White Lead, be made to assume the appearance, for a time, of nature's true paint. But it is beyond the power of this fractional portion of White Lead to make the mixture wear like the Pure White Lead alone. Why Lead should be Pure It*hat it Cannot do ( >3 J 0007-SWP-000008791 Zinc Whites Zinc white, though objectionable as described above, Limitations on account of its hard, inelastic nature, and impracticable as a paint by itself, is, when mixed with White Lead, useful for certain interior work and in attaining hard, white enamel finishes. It should be used for the last coat only. Barytes, on the other hand, is an adulterant without value. Its only mission is to cheapen--a subject which will be taken up in its proper place. What White Without going into technicalities, White Lead, Lead Is nature's true paint pigment, is a white powder made by exposing metallic lead to the fumes of weak acetic acid (vinegar) and carbonic acid gas.* Siost\ Care- Commercially there are various ways of producing jitl Process it, but the best is the method known as the old Dutch Process. It is simplicity itself. The lead is *ddstv into perforated disks, or "buckles," about six in diameter, which are piled flat in earthen pots, only the fumes of the acetic acid in the bottom1 come in direct contact with the metal. A bed tanbark is first spread, and the earthenware - pots placed thereon. A floor of boards is laid over the another layer of tanbark on the boards. A : of pots is then arranged on the tanbark, and telTjating layers of tanbark and pots are built up until Itstack " is formed. The acid fumes attack the :r r/flfldte Lead i a combination of carbonate of lead and hydrated oxide of lead. Here stays th Here the U'h. lead and the tanbark gives off carbonic acid gas. The chemical process continues until the metal "buckle" is corroded into White Lead. The process takes from 90 to 110 days. The white substance is then ground between stone burrs--ground and reground with painstaking care in clear water, which washes out all acids and impurities-- sifted through fine silk meshes, and when sufficiently fine, is mixed with Linseed Oil in the form of a paste, as desired. There are quicker processes, which produce chemi cally about the same product, but the latter is never so good for paint as that made by the old Dutch Process, being deficient in covering or obscuring power. The slow process gives the White Lead a seasoning or aging which baffles the chemist to describe but which the experienced painter recognizes instantly under the brush. OldDutch Process Best White Lead mixed with other substances is met with in the trade in two forms: first, that of mixed orJreadyprepared paints, and second, spurious "WhiteVl Of the two, the former is, as a rule, by faj honest. The mixed paint is generally sold^ So's Paint," with no specific claim as to itsTnE You buy it as you would a patent medicf assurance of the maker that what is in it is gS Mixed Pigments I <7 ] II 0007-SWP-000008794 If you wish to accept on these terms, it is your privilege. Some ready-prepared paint makers, it is true, do claim a percentage of White Lead which analysis does not justify; but as a rule nothing is said about ingredients. On the other hand there are almost countless brands of so-called "White Lead" on the market which are not Pure White Lead. Misleading Some have considerable White Lead and a small Labels amount of adulterant. Many have absolutely no White Lead in them. Between these two extremes lie the remainder of so-called "White Leads," the quantity of adulterant varying with the avarice and nerve of the Ji manufacturer. -The labels on the spurious products are oftentimes ingenious. A popular expression is to say: " The .White Lead in this keg is guaranteed absolutely pure." The manufacturer thus eases his conscience, for undoubtedly the small percentage of White Lead the mixture contains is absolutely pure ! As a rule, however, the manufacturers apparently have no consciences to appease, for in most cases the label says simply and flatly " Pure White Lead," and lets it go at that. Appear ances are Deceitful It is impossible to detect the common adulterants in White Lead by the eye or any other organ of sense. 1 is ] The to a: of t pea, dire upo redi adu sene ( mal \ lt the able V Dal Wh gre( cust prot lies (Se. i There is a simple and infallible test, however, accessible to anyone who cares to make it. Place a small quantity of the supposed "White Lead." say the size of a small pea, in a hollow scooped out of a piece of charcoal, and direct the flame of a gas or alcohol lamp, or a candle, upon it by means of a blow-pipe. If the material is Pure White Lead, the heat will reduce it in a few moments to metallic lead. If it is adulterated, the reduction will not take place. We will send a blow-pipe, without cost, to anyone who desires to make this test. Little has been done in a legislative way to protect the public against these frauds, though there is consider able agitation from time to time in favor of it. North Dakota is the first State to compel all imitations of White Lead and patent paints to print the real, in gredients on the label. It is a good start, but until ;the custom . becomes general, the buyer's only protection (outside of the blow-pipe test given*: at lies in purchasing only a well-known, reliable: (See last page). 0007-SWP-000008796 Chapter Two--What Paint Does HAT do we do when we paint? does the paint act ? With the answers to these questions better understood, the folly of using certain of the materials we have described will be more apparent. Good Paint Wood is porous, and while the tree is growing these Takes Hold pores are filled with sap. As the sap dries out, the pores are left empty. The perfect paint takes advantage of these pores, and penetrates them while in liquid form, making, when dry, a tough coating on the outside anchored into the wood by innumerable little tentacles which are as much a part of the outside film as the clinched nail is a part of the head which remains on the surface of the wood. To secure this hook-like hold in the wood, Linseed Oil and White Lead are both necessary. If Linseed Oil, .`adiulterated with corn oil, fish oil, kerosene, benzine, etc., used (we have already seen that these oils cannot be at all alone because they will not dry) the mixture 1 break up the pigment and form a thin, spreadable mass, jd it will even penetrate the pores (just as water or any Iher moisture will) but it has no affinity for the pigment 0007-SWP-000008797 and therefore penetrates the pores alone, leaving the pig ment to stick on the outside for a time, and then scale off. Pure Linseed Oil, on the contrary, commingles with White Lead in so intimate a union that it penetrates the wood pores, not as oil, but as oil and White Lead--an inseparable compound. When the film hardens, we do not have oil in the pores and White Lead on the outside, but a new substance made of oil and White Lead, both inside and out, which cannot be separated from the wood either by force or time's changes. It will wear gradually down under the attacks of the weather, but wears uniformly, every part of the painted surface being pro tected by a smooth, even film. Penetrates the Pores The intimate union formed by White Lead in Lin seed Oil with a wood surface is comparable to a good glue joint, which everyone knows is harder to break apart than the wood fibres themselves. It is nicely shown, too, by the following experiment: Take two old painted wood surfaces, one painted with Pure Lead in oil and the other with mixed pigments. You can scrape the lead film off in fine dust with a knife blade or a bit of broken glass, just as you can scrape the wood itself away, but you cannot get a knife point under the paint film and lift it off the wood. Properly mixed, applied and set, it is to all intents and purposes a part of the wood. 0007-SWP-000008798 Poor Paini Peels pt\isf:c /'amt Scraping and Burning With a film of mixed pigments, especially if they have a hard element among them like zinc, you will find a different state of affairs. The film may in spots resist scraping to a greater degree than the lead film, but if you insert the point of a knife into some of the cracks which you will find in the surface, you will be able to peel the paint off in little flakes or scales, leaving the wood clean. What your knife can do, the weather does in time, leaving the splotched condition alluded to before. The elasticity of White Lead paint is one of the secrets of its freedom from the "scaling" or "peeling" evil. As wood shrinks and expands from the action of cold and heat, or bends in response to the swaying of the wind, the lead paint film easily accommodates itself to the slight change of form and its tentacle hold is not loosened. Hard paint films cannot stand the action. Not being able to bend or give, they break, crack and scale, off. The life of a paint that scales in patches must be deemed as terminating when the first scales begin to drop off, not by the length of time some of it will cling; for repainting must be done at once if the wood is to be saved. Not only so, but a scaling, peeling paint entails trouble and expense when repainting is necessary. The painter finds'some of the paint clinging like glue, while I "1 \ in other spots the wood is bare. He must smooth the whole surface by scraping or burning, which is dangerous and expensive. An old surface painted with White Lead is ready for new paint as soon as the accumulated dust is brushed off. As we study the nature of wood and the action of paint upon it, we see the 'seriousness of the mistake which many make--that of using inferior materials for the priming coat on the theory that, as it is to be covered by a second and third coat, and therefore will be exposed neither to wear nor to the eye, anything will do for the primer. In reality it is the most important coat of the three. If you are under the necessity of using a mixed pigment anywhere, put it on last, not first. It will do less damage there. To put on a hard, unpene trating paint as a priming coat, is to cover over the pores, making it impossible for the later coats to get an anchor age. Zinc in a priming coat, for this reason, is most dangerous, as it does not adhere well to the surface, nor do subsequent coats adhere well to it. The use of ochre for priming is nearly as bad. for paint applied on top of it is very apt to crawl and check. Priming Coat most Important Price is not Cost .VWi* Figures Chapter Three--What Paint Costs |OU may pay a high or low price for paint and still be left in the dark as to its real cost. One paint may be cheaper than another at the same price because it takes less of it to cover the same surface. A third paint at a higher price per gallon and no more covering power might be the most economical of the three because of its longer life on the house. Should you consult a price-list in any paint trade journal you wouUL find White Lead, zinc oxide and barytes quotedv^^liblesale at something like these prices per ygani in about this ratio: 73/4C- 5c . and eigftt^Kmjrap|fr a cent (Barytes is so cheap it isioaoted^S^^fegton. but when you figure it given here.) White Lead ly the most expensive, yet P*?111611*5 are mac*e to imitate it, jSttuje-of the low-priced ingredients costs the Lead prices. This fact does the manufacturer selling at White Lead lows to sell at a low price would be to Lthe article is not- what it pretends to be. / Tr Oft/ '' Per i;f< -.i . . / /. witisof/te /i 0007-SWP-000008802 Accordingly, with genuine White Lead selling at S cts. we find alleged "White Lead " retailing at 6 and 7 cts. per pound, the ingredients of which, if bought separ ately would not exceed 1 x/2 cts. to 2 cts. The following is a sample of the make-up of one of these imitation White Leads, when freed from its oil, taken from a large number of analyses: 10 lbs.. White Lead (g .07^ 7 Zinc White <g .05 83 Barnes <g .008 too 1 lb. of Mixture '35 .664 1.7S9 .0178 This is a fair sample of how expensive in reality the so-called cheap " White Leads " are. I f you want what is in them, do not pay more than their market price. There are spurious "White Leads," of course, with greater proportions of real White Lead in them--some as high as 50 per cent--and, again, there are some which contain not a trace of White Lead. Expensne '* Keah`>' The purchaser pays more, in any case, than he would have done had he bought the ingredients separately and mixed them himself; how much more depends on which mixture happened to be foisted upon him--the partly adulterated or the wholly fraudulent. Me Pays tPC [ *9 ] 1 0007-SWP-000008804 f J 'ear is the I\eal Test In the case of ready-prepared paints, the situation is different. The cost per gallon is sometimes higher than for Pure. White Lead paint, although the ingredients substituted for White Lead are cheaper. You pay the extra price for the "patent," the manufacturer's special method, or because you believe the manufacturer when he tells you he has found a way to make a thing better by mixing it with something worse. There is not a great deal of difference in the price per gallon of Pure White Lead paint and the more prominent ready-prepared paints. The White Lead will cost, including proper tinting materials and driers, from $1.57 x2 per gallon to $1.50, according to the local price of White Lead (varying with freight charges). The better mixed paints run from $1.50 to $2.00 per gallon. A gallon of mixed paint, however, containing zinc and barytes, which are deficient in covering power (see page 13) will spread over only about 300 square feet of surface, two coats, while the pure lead and oil will cover 400 to 500 square feet, two coats, according to the conditions of the wood and the skill and care with which it is brushed out. When it comes to wear, we have seen White Lead outlast any imitation, however clever, and this still further reduces the comparative cost of White Lead Paint. "But, is there so much difference in the life of C 3 J tw j t V t c 3 c I <r li ar) its he i.tl vn ce re ill m a] r I 1 i i i i two paints which sell at approximately the same price?1' --you ask. Undoubtedly. We quote some figures given by a practical painter* from his own experience: " Say a house painted with Pure Lead and Oil by a first-class painter costs $60.00 (material $20.00 and labor $40.00), and lasts six years; the same house painted with cheap lead and oil will cost $51.00 ($11.00 for material and $40.00 in labor) and may last two years. It will thus cost $10.00 a year with the best material where it will cost $25.50 a year with the cheap. It's cheapest to use the best." The figures this painter gives and the difference in the lasting qualities of two paints are a fair average, which is what he intended them to be. It would not do to say that this ratio would always hold good. A better cheap paint (one containing more Lead and less adulter ant) might be used, which would last three years, and extraordinary conditions might prevent even Pure Lead and Oil from lasting six years. In such a case, the difference in cost would not be so marked as he has shown it. On the other hand, many a house painted with Pure White Lead and Oil has remained bright and well protected eight, ten and twelve years, and many a cheap paint will scarcely last till your back is turned. In such a case, the lower cost of the *F. Holmberg, 6543 S. Halsted Street. Chicago, III. a Painters F,surrs t 3> ] I higher priced paint would be more marked than in the painter's example. Finally, the fact that White Lead paint wears down uniformly, leaving a perfect surface for repainting (page ay), takes off a good portion of the next painting bill; for it is not at all rare that a painter has to charge more for scraping and burning off an old splotched surface, owing to the mixed pigments in the original paint, than for applying the new paint when once the surface is ready for it. The great saving on this score will be appreciated only if account is kept of the outlay for painting in a dozen or more years. In looking back over these cost facts, the showing of Pure White Lead paint from the standpoint of ultimate expense is so remarkable that we will close this chapter with a resume in a few words of its advantages: It costs /css per gallon than many. It covers more surface than any other. It has no competition in lasting qualities. It entails no extra costfor preparing the surface for repainting as other paints do. In every respect Pure White Lead mixed with Lin seed Oil is the most economical paint that can be used. Chapter Four--How to Paint HE houseowner can make his painting job doubly satisfactory if he will learn a few cardinal principles about painting as well as learn to know the genuine paint from imitations. The first of these is: Do not try to save a little money on the quality of the materials used in the priming coat. It is the most important of all (see page 25). Second: This priming coat must be entirely different from the other coats in consistency. No absolute rule can be given for it. 1 f that could be done, one of the greatest obstacles in the way of the success of ready-prepared paints would be removed. All depends on the kind of wood and its condition at the time. It is sufficient to sav, however, that the primer will take more oil than subsequent coats, for the porous wood will absorb more of the priming coat than any other, and will also extract some oil from the pigment. Accordingly, enough oil must be used to satisfy the wood and still leave the mixture of pigment and oil in correct proportions to form the intimate union necessary for a perfect paint. New wood, in average condition, will require six to Penny ll'isr. Pound Foolish Priming Coat [ 331 0007-SWP-000008808 seven gallons raw Linseed Oil to ioo pounds of White Lead, whereas, the following coats will need only four to five gallons to the same quantity of White Lead. If the job is repainting an old house, the first coat, although sometimes called a priming coat, is more like a second coat would be on a new house, and there should be less, if any, difference between it and the following coat. As intimated above, different kinds of woods vary in absorption power and it is the painter's business to know the nature of each. Third: The painter should be instructed to brush the paint well into the pores and not simply "flow" it on as is frequently done. In the old days when round brushes were used more than now, the paint was brushed in more thoroughly and better jobs were the result. Fourth: Use only the best liquid drier of some wellknown manufacturer. Use as little turpentine and drier as possible for outside work. Fifth: Never paint while the wood is wet or while rain or snow is falling, or immediately after a frost, how ever light. The pores of wet wood are already filled with moisture, and the paint film, therefore, does' not get' the ar.jhor hold in them which is necessary to make it stick. Sixth: For filling nail-holes, cracks, etc., use nothing but putty made of Linseed Oil and equal parts of White l 34 ] Lead and whiting. Much of the putty sold at present is made of other oils than Linseed, and ground cliffstonesand and its use explains the appearance of yellow nailholes and cracks. Seventh: Tints are produced with strictly pure White Lead by adding the proper colors in oil, which are staple in all paint dealers' stocks. For black and the very deepest colors the color pigments are used alone, principally for trimming. Hmu to get any Tint Eighth: If you would have the utmost wear out of your paint, choose warm tints rather than cold ones. Careful experiments in our laboratory, as well as general observation, seem to prove that White Lead tinted with burnt sienna, lamp-black and the oxides of iron, make the most durable paints possible to obtain. These give browns, olive-greens, reds, etc. Harsh greens, yellows and cold colors in general do not wear so well The theory is that those tints which reflect or turn back the color rays mentioned also turn back the heat rays, which, if they penetrated the paint film, would help to disintegrate it. Ninth: Have your painter bring his White Lead and Linseed Oil in original packages and mix them on the premises. Take a look at the brand he uses and see that you have the best (see last page). Look at Original Packages [ 37 1 0007-SWP-000008811 Employ a Good Painter Tenth: Do notallow the paint to stand long after being mixed, but have it applied while fresh. Other wise, it will be little better than factory-mixed paint. The amalgamation of oil, pigment and wood-fibre should be accomplished simultaneously. If the union of oil and pigment is allowed to proceed to some extent before touching the wood, the lead and oil never get into that close, intimate relation with the wood, which is the fundamental requisite of a good, lasting job of painting. Finally, employ a good painter. This point is given last, but is of prime importance. It is not economy to set unskilled labor at a job of painting just because anyone can spread the paint on in some sort of fashion. The painter's experience in diagnosing the needs of the wood, and his knowledge of just the right proportions of lead, oil and drier to fit the case, make him absolutely necessary to a good, economical job of painting. Like good materials, a good painter pays for himself. (V 0007-SWP-0000088X2 I -justas Good paint so good as Cornell White Lead mixed with Pure Linseed Oil. Others may say to you: "Yes, Cornell is good, but here is something just as good, and a little cheaper." Someone has aptly said, " to say a thing is as good as gold, is a rare compliment for the gold" What ever merit the other paint may have, you are safe in buying the one which all take as their model. And a cent or two per pound, is not enough saving to pay for the risk you run in buying something else. For safety's sake,.look on the side of the White Lead keg for the DutchrBoj^Painter trade mark (see lower Lookfor these Marks 0007-SWP-000008814