Document y8r8Yr7bxNk2mxv6yxJV6QdX

chemical properties of our materials, and the still greater need.' T51. USleS a liming tff&ir physical qualities* This, is the ABC.'or- the alphabet of paint languagfi, JUKI IV Tb only in.this way, .unat ' we can reaison and understand the construction of the high quality^- Bevoe products, and their proper application* v They teadi us the results of intelligently using and of ignorantly/ abusing good materials r ... We hare studied the Vehidies Jteyera and Volatile Thinneri; heard a-few introductory remarks on. Pigments, and saw a test made, which". showed conclusively the; hiding qualities of our Lead 2s Zinc and Albalith;and the extreme weakness in this respect.of Barytes .China Clay, ,Se'Hca and WhitiiU5* 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 wilion- endeavor to let you see and reason for yourselves on the properties of'these various pigments and extenders end doubt not that you will voluntarily agree with our judgment and conclusions* .* .. -v,. However-'as paint men,in the employ of the Bpvoe house. and acting: as their representatives it is incumbent upon you (though you may at times hold differing personal opinions)to preach the Bs.voe paint gospel.as the Bevoe house believes. and to do this with earnestness and with convincing enthusiasm* It is. only with this full measure of ' conviction and'.unbounded enthusiasm,that you can get-tha:Bdvoe^paintmessage 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 Devoe 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 parts of our paint* * White. Lead"--or Basic Carbonate of Lead is regarded as" consistingof 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, ismelted and run into molls,then recast into "buckles" six to eight. inches in diamster and about T./4inch thick as shown in this exhibit* O .These buckles are then packed in earthen jars,which vary in size from, 4- txf inches in-diemeter, and 6 to l6 inches high* - ^ * In. the'bottom of the jars is-a .well, into whi ch is; put about aipint ; of diluted^-cetic acid. Above the acidjbut not in contact with it-, are placed the lead buckles,about eleven of the 6 in.buckles to a jax.The . j 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 covered-'pver; with a flooring .ofrxough boards* other layer of~iran baxk aboutoae foof'tb i ck,f of .pots'* j ' < aSrT". a Tl?. ' ,,*^,1; DmsftRdmBMCMw* - . / -'* - . . **A*'ii - 2- :.-r. S'd ths buiiiing of tha stack continues,altematirg between tan bark* .. pot3 and boards* A stack is usually eight tiers high.sacih tier con- - taining 1,800 potstmairing a total of 14,600 pots* A stack of this s*2 would, contain 1825 gallons of acid,and a little over 80 tons of lead-. The tan bark ferments,producing heat which"vaporizes the ac-etic.acia, The tan bark itself generates carbonic acid gas^ 2hs acetic acid con verts the lead to lead acetate,and/the carbonic actid as converts tne* lead acetate into basic carbonate cf lead, known tonrniercially as wn.it e- lead* The heat in the stack readies about .2.40o3r'5anti the pro,ee33 con tinues from ninety to 130 days'.The stack is then ofcjeaed and the-tan * bark and-boards removed. The buckles are found in their original , in'the pots,but snow white and swollen and very brittle* The corroaea. lead is then ground, washed free from acetic acid.ptesed into settling tanks, and finally pumped into drying pans,when thai idry powder is^rem- oved,and gxouiii usually in the proportion of 92 db(JlXy lead in 8 xos of linseed oil.to a paste from4in which shape it is hold as white -usaa in Oil, and measures a bulk of about 2*65- gallan3 of`paste lead* ;t t o o f s f .'p iw s o? (TAP.^o-:Am o?~ l ^a d i H . <% The C'axbon.it8 of lead .produced by the Dutch Proeesfi,i3 composed of -both fins and coarse particles .dees not absorb very rerch oil,and -3 very opaque* Its great virtue is this opacity or excellent hiding i quality* Its low oil absorption makes its'spreading caip&city small* it is'not as white, as Zinc Oxide,and discolors rapidly ur.d.tx uhe attacks * of-sulphur, gases which, are present in cities, and near miViuf aetiaring plants, and railroads* Sulphide of La ad.which is black., 1$ thus -formed, and -causes the darkening or graying off of white houses*- Although a iesirabls pigment on account of it3 good hiding1 qualities .an- ease or application,it cannot be vised suooessfuliy as tha soie^uo^y pigment m a peqp paint* It sets up a rapid and progressive erumblirgr or dusting, referred to as "chalking" off,and seldom lasts more mua tlfxee years* This necessitates frequent repainting, with the attendant cjst o_ more materials and high priced labor Let us sum up its mex*!- ana it faults* Its merits are t . It hides well '' _ . . ..... Works easily under the brush "- When it perishes,it goes by a chalking off process .which leaves ae ' old surface in`good condition for repainting > lijs faults are#1 It is poisonous - - - -(Prohibited m Prance..', \ 2 Darkens by the action of sulphur gases. y.uo,-' 3 Does not spread far-vrhich. mea.is mere gallons on * a 4 Leaves a soft fikjL,which chalks off too rapidly .. . means painting ofteuer,und a higher cost per year*. ; In our Lead and Zinc Paint .we retain the virtues of the Dead, -oxrect its faults by the admixt ure of Zinc Oxide ,vAii oh we will no xanine* ' ' - OXIDt! OP ZIWC Oxide of Zinc is a discovery or invention of later date than Car inate of .Lead,' as it came into use in Prance in about 1840. Two pro.--a 0007-SWP-000007040 * -3- Cbz**, .; " , ' : ' \ -&M -'t -oesseji ar.^ Used in. its manufacture* . ^ American process ' )both mala in-ithe*-" .' Stench process1' 1 JSr S A* . JS^-- V:- * :v$.^; .''rv'-r" ther Alterloan, pro cess, the pure zinc ores are pulverized,mixed %>At ***6 * Wit& powdered coal-and charged-into closed -furnaces with perforated flmlj*****jit grates* Tfie charge is fixed, and a blast 'of air is forced through thw~-^w&ii gr-fafceV The zinc volatilizes in the heat, and' is oxidized by. the blast A~.~ii>.V,~Ti* y The resulting; fumes ara' carxied thxough long t cooling chambers , con-f^*'Y'ifr 'ar&fensed, and-solidity .and fall, like- eiiow*7w* tvu i n h is A*****4b'.. ft >rTHe Stench pro cess, is made by-heating the metallic zinc or speltery ia*,a .current' of- air. and ' colle cting. the oxide thus formed { as des crib- L ed; foflr the .American'procssa^ The finest particles are carried farthest > 4- '.-before being deposited, and-the product, is graded accordingly into-|ji " vdiite sefhl-green seal, and red seal* The white seal is 'the finest^nnd whitest,and' is used extensive ly'asv the. sole pigment in high grade enamel paints*' _ - .... .. For mixing- with white lead in the making bf house paints ir.jpXiXT American pro cess zinc,will do as Well as French Process Zinc, as it has the same physical qualities . When ground in oil,zinc oxides usua lly contain'ab'out'80$''oxide and 20$ oil, and 100 I'oa .bulk about 4*05 gallons * .. 0-v- 'SRCPSETrss o? z in c cxrmss .' ' ' {^.<]Toh Poisonous y " z. ' '' ' ** (It ie whiter than, carbonate, of lead Merita iytlt' ie extremely fine- in-'its parti des,has strong -'* --'i: moll absorption,and its' spreading capacity is large* SfcEt is not darkened by. sulphur gases* iKleaves a smooth hard surface.that does not readily <^(hold dirt* "..U--/--" .. \ Faults (On account of its great-oil .absorption,it :does not . . (hide quite as-well as Carbonate-'of lead* (Used as a sole pigment,mixed, in lineeed oil for -- (outdoor use,it farms too hard a surface,and .eventually - .(.cracks,and comes off in'patches* This necessitates eJc**. .(pensive burning, off. of bid coats.to prepare the proper -'' (holding.surface for the new paint* . -n'Y??' BASIC StJLPHAT* OF L^SAD - ' -T -1 - Alab calls! Sublimed White, lead* - " ' ^ This is* another,fcrm'of White Lead,whicfe has come into us a. more re ce nt ly ,andT concerning its merits and faults, there is considerable .controversy* We do not use it in Davoe Lead and Zinc Paint,althoughmaiiy pther large makers of paint do so* This pigment is made by Ijeatihg.-a mixture /,-Pjrr^^ari ^thT-aGi-ca mal and lead^ a^ipH-tr^y, /. ..t-n- a high, temperature in the presence* of 'air * TJie lead 7-ph <ievapor!gad into white fumesywhibn are carried by a ourx- "" ant of air through coo ling TluesjWheaf*-aft sr" condensing it is '.collec ted in large bags, the air and gases escaping through the meshes of the fabr is* f; ^ 1. This pigment varies in coraposition.but. consists usually otf 80$*lda$ 'SuIphata7 ^c.- ,, .- - vAv 15^-Lfie4-Oxide V 5$ Zinc Oxide [f ; .` - Y;:-^ '-v . - W : . ; 0007 - SWP- 000007041 ~PK0FB~F.T""I3'-5'--' IO'-F "BASIC-" S- ULPH/T^ 07 LSAD II ia very fine and unifarid--, in.its particle^* 'Sc is Zinc gxideitt absorba-mgre oil than carbonate of lsad doseVZip,q absorbs -morjsSlfiiS'-- not discolored easily by sulphur gases^Does not darken ZinoTlt Stays in suspension better than carbonate of lead'JZji.nc does-it fbetter->T3Cfc_'. chalks more freely than, carbonate of. leaeLv^Zinc corrects chalking* - ^ It ha3 a tendency to liver . or stiffen up-the^jpainfr (Zinc doeS^nbt^- f ^ do this Jbaiaking it itore difficult'to'spread lit isj not as white asscasir ' bonateof lead* Zinc Oxide is whiter than either * --, " ITOTTSI,/' "v. . . - Our tests and study of.this pigment have proven to us conclusive-ly: that carbopate of Vail It ; i brttrr nflri'tn ~ T* nrV. rrr 1 .''nlitiFT''1*"'1'^- better and chalks, off leas ***' y,sixpl ^ni3nd alB0,thatt2up, . e has. ail,tha good!' qualities of,LaaaSuljihste, and 'none, of- faultsFurthermore Zinc bxi a a w t t eta .'tha chei f fault .of~carb onatbv of lead, (its ran?_d Jhaff dualities tha^.either- form ot1 'laad-this means ldhatsr vraacriewi^ gabions. * -+ rn~r,'l*h "liiiiiirhl ^Tn it-j bnriii ntr'ijr Tir*l"i'"l TIT1* In oil)and-is not found in paint `stores.jeXcept'.asJah'ihgredienit-p^ some makers of house paints * V. *v;.,' *,,- \ . ..7r : "? - ' *' : . ISADtiP'ZINC .- - - : ""'.'.A V : -v : ..This too i3 a sublimed p7.5m3ht .produced" ft cm zinc ores containing a proportion of lie ad sulphide ore* The process is similar to that used in mald.ng American Zih; Oxide, and-result s'-in a product composed .of; ' Zinc oxide aad; Lead SUlphate jihe-relative proportions- varyiijv.aeocjrd^ ing to tha;.ccnipo3itiOa of the ore ofte+i containing about 50^ af .e&ch/ It is` very fine grained,not as white. as Zi'nc Oxide ..and lacks the opacity .of carbonate of lead gro uni with .'Zinc oxide It is. used: very, largely in cheaper house paints* " V.' '_ -UTH0P0W18 ' " '* - - . .- It.is'.of comparativ modern origin,and has in.rece.it years,beU-. lmty mudi"improfed It is."used chiefly in manufacturing flat W^LX*.- '; Paints- and ;n Enamels .` The highest Quality'.of Xitlibpbne so far 'ptor-duced .- known .as-Aibalith is the -pigment, iu- our. taautif ul .Velour: Pin**, ish* .'/O'- ' *- "*. flitering!,it-'iS'-'heatea tc.redness4,thrown into ccild w^er,whidx in*, oreases itSv.-opaoityi' 7tr is'1.then.gr oun*d/Cras'hed' .settle^ffiltered ,dried . and powdered." It is fine.^white . amorphous. and pr oof- against the action* of. sulphur gaaes * -Unlike"' Carbonate ofrEead it"- .iv.' is a very- great merit in indoor flat paint-, as wefwiil see-wnen;'wep;v:^' study the.great superiyec..ity\Of Devba 'Velour, over 'pointer*js. flat^p^jots-^ Xdthdppne generally has the-great fault of.-turning s^ray when^^;:^. posed -to strong li-nt ,but out tests of . the uJbaiiiil.brand.proye_ t|BS" one to-be .light proof* It - is not'aggcd pigment for outdoor. expoduep, as it would;.Chalk.too rapidly* * . . ' v VS'.*' . --i 0007 -SWP- 000007042 STATURAL OF. INET.T WHIT'0!' PltHiENTS " De VOB St RaXNOUJS C&.&104 " ALSO CALLED BINDERS Thsse are natural earth products,used quits largely by most of the makers of prepared paints, ostensibly to improve their product* These paint makers all advance ingenious arguments for 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 their 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 D-evoe fermuiaAnd nothing else* It gives us an absolutely unassailable position* Let us study these inert pigments fer a few minutes, at cur last . meeting, we rubbed up , (in 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 axe * , CK ^AEIUF SULPHATE' Barytes is made from heavy spar, an ore found largely in Missouri, Virginia and llorth 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 moar^ mm-a n;aim. and mgs labor o r the job,and heavy coatings cause blistaring .pealing and aILigatgring-of the paint coat ing* There is manufactured also an artificial barytes, known as Blanc Fixe, which we will mention later, in connection w.ith the making of ' settle color pigments* CHINA CLAY OR QVv -K trvn-p Cl) AX>Jr_y_i_N__tB__r_J__iH__o__A__Tig _________t_*_-.______ Wound in this country, chief ly in Albabma arid South Car olina.The finer quality is found in 6arnwall..'2rigl3.nd 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 quality, and like Barytes it re duces the value of Lead and. Zinc* SILICA or SHF.3T rji '/ i LmISZa . Is an oxide of the'metal sili con, and occurs in its natural form, as quartz, rock crystal, and sand. It is hard ^.rart ^isfirhs consider able ljp?4of* like Barytes anST'Cliin.a Clay it has no hiding power > WH-ITIU5 OR CALCIUM CATIONAT"! 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 D*VOB & B&NOISt COO** wf -7- You may ask,and th3 question is justified,what right .hasdStlie* Bevoe house to set itself up as an arbitrary judge of what constitutes the best house paintj announce as their decision,their formula of 50/ Basic Carbonate of Lead'50?? Oxide of Zino Pure Linseed7.Oil 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 laKks 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* Establiahad 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 left*, 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 thedays 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 merchandizing* 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 seme of the practices of our esteemed competitors* But BEVCrc is not in business for this day only. Dgvoe is not makiing new agencies, far the purpose of replacing dissatisfied formeragents 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 dx 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 axe 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 De v o e SC RAYNOLDS CO., In c . COLOR PIGMENTS <*Vt <- 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 tc the relative merit of their respective products, We were convinced hy our study of paint ingredients that tne Devoe formuxa 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 Carbonate of lead and oxide of Zinc as the two pigments which con tain in 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, v;e 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. "band of many colors, of which seven can he easily distinguished - viz,, rd, orange, yellow,, gr&en, .bjfue and violet. The rainbow is U y^&ctitUIl '8x''this kind formed by the refraction of 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 drop3, 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 d e v o b as r a y n o l d s Co ., in c . -3- COLOBB - ContA of prepared paints, enamels, motor car finishes etc,, in the oils or varnishes that each purpose calls for,. fellow, sSwtVi 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 petrol exam 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 bWftof 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 pure carbon in a very fine state of division, insoluble and indestructible as_ far as light and .weather go. and not afieciea oy acids or alkalis. 0007-SWP-000007048 De v o b ac r a 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-vw,-- tion is very large, a 100 lbs. paste mixture requiring about 72 lbs. linseed oil to 28 lb, dry pigment, and, bulking about 11 galIons. It is a slow dryer, especially an. if* it. p.nntaing arty 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 bfinish or lead color hue. Refined calcined lamp black, is the sole pigment in our Atrament Rust Preventing paihtT" IVORY OR DROP BLACX 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 fine ___ 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 r' ' ^ the dai'Kfir shades nf olivw and bronze greens.^ Its oil absorption " is large, yet smaller than that or lamp black. 100 lbs. in paste Z form, consists usually of about 50# pigment and 50# linseed oil, .Z 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 8t RAYNOLDS CO., In c . BLUES Prussian Blue or Iron Blue since the war, called also American Blue, is known chemically as Ferric 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 dissolved in .water in a wooden tarsi, 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 deoantatioc-until free from acids and'soluble alts. It is then filtered, dried and powdered, _ -- 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 PESSSPATST BLUS 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 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 43jj pigment and 57% oil, making a bulk in paste form, of over 10 gallons. ULTF-AMARIFE BLUE 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 afltt Sulphur and tVfidtlHg the produCL by iTL'ihm 'intricate processes or grinding, roasting and washing. It is not advisable at this short talk to go into the details of manufacture. EBOSgREIES OF ULTRAMAR HE BLUE It is bright, but of .low color strength as compared with Prussian Blue. Itstints when mixed with white are of a viole' 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 r V* <H vC-V' 0007-SWP-000007050 DEVOB SC RAYNOLDS CO., INC. -6- PROPERTIES OF ULTRAMARIRE 3LUE - Contd. 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 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 3LUE 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 painters1 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^^;<r against alkali and lime. With white it produces pure blue tints, and mixed with yellow greens, than Ultramarine does. Cobalt Blue, has not had thepalnters1 consideration as it deserves, and he bhould 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 j.-- known chemically as chromate of lead. They are sold as chemically pure, and commercial chrome yellows* Chrome Yel lowa^^*^**^ Medium is generally made by dissolving nitrate or acetate of lead in one tank, and a specified amount of bichromate of potash-?!^^.^^^^. or soda in another tank. These solutions are made in water, . * .r ^ u<Z and then run together in a third tank known as the striking tank','-- which is set lower than the first two tanks. When the solutions-iito^ ^ . come together a reaction sets in, and the lead and bichromate *4**--*f*-o 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 other insoluble lead salt, intimately mixed with the lead chromate * 0007-SWP-000007051 DEVC5E Bt RAYNOLDS CO., INC. -r;_ CHRQt-E YSLLQVS - Cont'd. The deep cr orange shades which are basic chromates are precipitated from alkaline solutions. Comme_r_c_i_a_l c_h__r_o_m__e < ~ yellows are not as strong in tint Ira: power as xhe chemically ^ pure, but have g"eater hiding pover^ *\o,t Cn The ccmaercla- chrome yellows, such as Devos Test Cfc. ca- Chrome Yellows, anrwer brat, a? ail wurr.cne color for house w- painters use. They have cansiierasie 'or iTljance. good coloring.i: Strength and and aa^ree iai.r:-y _d__urabis! otrrthides turn them black, and Ultramarine or Cobalt ilue, should not be mixed with them. They should net be mixed wixh silicate of soda, limeC'^J'.V.r.'^d" or other alkaline substances, for these will turn the yellows to-**-*- orange or red. YELLOW COHPE Yellow Ochre, is an earth pignrr.t which owes its coloring to oxide ox irorn They are fouo.d in all pa.rts of the world. Ochres contain from 10 to 5Cp4 ox hydrated oxide, the. ~ -. A, c* remainder being either silica or clay. The finest grades of ' ^''"i*. ochre," are obtained from France and are clear s.nd bright in color. The American ochres range from those that are fairly good, though lacking in opacity, brightness, tinting power, aria 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 OCEHE Good ochre, produced, when mixed with white, beautifully clear cream tints, that do not fade out. As a sole pigment, " 'Tv.u' f'-O (without lead or zincTT makes a durable protective coating , , for barns, freight cars, etc. It should be used wherever pos't^*~"u~^<. sible by the painter, for making yellow, buff or olive greens^ It is proof against alkali or lime, v. n.r~~V^V^"T Ochre was formerly used very largely for priming or ^ first coat on new buildings. This practice has been, practically,Cljt- abandoned, because subsequent coats of paWin'' t** '*d++ id"`'An. o t:.a**dhe; r,ne >.w** e^ ll,* T V7e will speak of this use of ochre again, when we study the proper application of Devoe Lead and Zinc Paint, G0?;DEN OCHRE Gol.den ochres, are ochres which have been brightened -- or enriched by the addition of Chrome Yellow, They do not, ^ however, hold this rich tint very well. r~^_ * fr-bv-- cCS. * *A 0007-SWP-000007052 DEVOE SC RAYNOLDS CO., INC. -8- . .//^/V _>r v/ CHROME" GE5ENS . The genuine chrome green, known as Oxide of Chromium 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-, >gi 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 he 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 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 clav. ^" *`y* These bases do not impair the color, nor take from '-V'.c- the hiding quality, but give them more body and better working'**' "wt -- qualities. Commercial chrome greens generally contain about 25^ of actual coloring matter, and for this reason are safer in theo^**'r , hands of the house painter, than would be the full intense - _ "`T* strength .of chemically pure color. As solid body colors, they ~ H'""' wear far.-better than chemically pure color, providing they are -- properly made, on a good inert base, and v/ell ground in pure '** <><*. ' linseed oil. Chrome Greens are generally sold in three shades, Light. Medium, and Deep^- and^the tints -produced rurffYTM11 thr> ^ ^ r*.(^ vftllnwiyiH tnnflo_oP>-tRe light shade, to the blue tones of the~~ - darker 'shades^-"" If well' ua.de, 'The greens are rairiy permanent, " but shouid^De used on new wood, or old porcus coats .of paints, . A. btfaarc^ giveny these surfaces a priming o^filling coat of a lead i color or olive green, made on a lead and zinc base. Greens lose-' their oil too easily, on absorbent surfaces, and appear faded out, r when it is really the loss of oil, that is at faulty/ v ....i Commercial chrome greens absorb about 12^3nl to make a paste, and the 100 lbs. bulks about 4 gallons. VENETIAN RED. Venetian Reds formerly consisted of natural earths which possessed a reddish color, due to oxide of iron, but they^<-4*.o*^< are now produced almost exclusively by artificial means. The better grades are made by heating ferrous ,*w- 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 in their oxide of iron content from 20 to 40^. <yYJL-_. 0007-SWP-000007053 DEVOB & RAYNOLDS Co., INC -9- PROEERTIES OP VENETIAN RED Its color is tha characteristic brick color, and it V-.__-- <*. is used very largely as the sole pigment, where an inexpensive q. . f ; 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 ^4. good Venetian red, of about 40% oxide of iron, takes about 22% of oil to grind in a paste form, and bulks about 6 gw allons. 1 , V* n. ** ** k* + ^*3 *lV7 r% IMP IAN BED o 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 purplishn. redT~depending nn t.h^ +- ~tment. Strictly pure Indian Redr, is of a darlc-Otthrilish ferric oxide. color and should contain at least 95% of A~+-.^r *^ ^j-r. r* ,acVi;--Pi PROPERTIES OP INDIAN RED It is not affected by light or other pigments. It is lut n very opaque, and even when extended by the addition of inert od*- l--^-- pigments, it covers well. When mixed with White, it affords clear red tints of a bluish or plum color tone. Indian Red in paste requires about 22% of oil, as ' +*> ^ >v-- ** * 4* oci. ' _ v -"W n^U.41- Venetian red does, but bulks about 4-4/5 gallons. Tuscan Red,generally used as solid trim color, is practically Indian Red, enriched by the addition of an artificial lake. Permanency of color, depends unon this lake.7 SIENNAS Raw Sienna, resemble ochre in their general composition.^*^C*_iri They are earth colors, that owe their coloring to o--rr* hydrated oxide of iron The best siennas were originally obtained from Sienna, a town in Ital^T, and these best grades are known As Italian Siennas, gterma pockets or deposits C^oA'V 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, f loating, drying, and ^ a- ^O- c--V grinding through granite mills." in color, u is a trahaparent yellowish-brown. Burnt Sienna is produced by calcining raw sienna. . This drives off the combined water, and changes its color to a subdued red-brown. Poor grades of burnt sienna are often "faked up by the 'addition of .coal tar colors^ but this rich tone is fugitive, and as it fades out rapidly when exposed to sun-light,,J^ leaves a dingy looking paint on the building. Vs ... rjt , wT 0007-SWP-000007054 DEVOE SC RAYNOLDS CO., In c . -1CH PROIERTIES OP SJXffllflS High grade siennas must he strong in tinting power, and be as transparent pnga-ilil o. T`hia 1ryh+.or r. quality is very important, as both raw and burnt are of the utmost impoBtanfee to the ral* fU3/* ra<riflffi in imi t.-tinp nn cheaper--woods; the rich color, effects of the more expensive hard woods* Muddjrtor 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 white^j^ should produce clear warm cream tints, while Burnt Sienna ,'s7"y~ 'L should produce a range of brownish red tints, down to & ^r"~Jit: *ju. delicata pfiaoh color. Haw Sienna and Burnt Sienna Absorb .T^'~'Zl'Z 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, *?^z UMBERS Raw Umbers are natural earth colors* belonging v'rrll^fcr 4^ - to the same class with ochres and s H p iw m. owing their color-- ing matter to,oxide of irorH Umber takes its name from Umbria' a city in ItalyTj"The principal source, however, is Cypruss and it is commonly called Turkey Umber,Domestic Umber is not ----`"I aa good as the Turkey grade". Umber is an oxides of iron in. " combination with silica, and contains a considerable percentage^c_ . of manganese dioxISeT-which gives it good drying quality. It is prepayeditor--use, by washing, floating, and drying at_J.qw r>(~: temperature . ' --------------- ' . "In color, it is a transparent, greenign brown. Burnt Umber is produced by calcining raw umber. This drives off the combined water, and changes its color to a warm red-brown, ' y. . 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 ; possible. Umbers are used considerably by painters and grairiers to produce with siennas,Vandyke brown,.rose pink, and other . transparent colorsiUittae* oil stains, which are used to stain ^-ft *: cheaper woods, and bring out whatever beauty is inherent in the wood. Umbers are quite permanent to light, and proof against^ - alkali. Raw Umber in white should produce clear,_co.ld, ..drab- .. .j tints, while Burnt Umber should produce rich~warm drabs and .. _ ~ browns. Umbers absorb oil freely, taking about 46$ of oil, to . 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 a oxide of iron and manganese, with,other ingredients of an organic, r 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 he used outdoors for tinting house paints, or staining^' 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. anSTturhing it _tQ-a-duTL3gfiJLLowr Ii-ls~ibsiIV oermaneiit^. -- 1 f*"** to light, but is blackened by sulphidis. As a protective coating for iron or steel it is said ` to excel red lead, It is still sometimes used as a color pigment/''"' Vbut i3 being displaced by coal tar reds. English Vermilion is a sulphide of mercury ^Lo. K It i3 very opaque of a beautiful scarlet color, and made in a number of shades. As a color pigment, it is being raplcf* 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 beautiful* 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. I^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 OH 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. - 0007-SWP-000007056 DBVOB 8t RAYNOLDS CO., In c . -12- COHCLUSION OST POLOS PIGMEHTS Conti^ Graphite, .Metallic Red Oxides j Red Lead, Orange Mineral and Litharge, -ise Remember, the color pigments, we have studied torwiK>. 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 compels 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, and Distemper water colors, and for-the coloring of Lead and Zinc Faints, .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 !/ ^ ( *f, vf iV PAIITTIITG THE EXTERIOR OF A BZ7 T7QODEI-T BUHDIUG T7ITH 5 COATS 0? PAIUT. wre will begin today the practical application cf painting uatcrials to the exterior of a new wooden building I quote fren p, talk given by one of the nost practical and progressive naster painters of Pennsylvania: " In regard to the proper application of paint on new wood* I want to dwell particularly on the first or pricing coat, which is of such vast importance to the success of subsequent coatings. Unless the caster painter is a careful diagnosist. with ability to read and understand structural conditions of the different -woods, he cannot pre scribe intelligently tc neet and overcome the different dis positions. )The pricing coat, cust be codified by the vehicle and thinner, so that it nay neet and naster the varying con ditions in the different weeds"j Years ; the only lvu an easy cat becone exha has done fo white pine Udjd and cypress and rosin f the South i which cause of the prir worst spots Shellac wll the shellac and not lcc 4 dLoujJ/wcfc c.chdl ere practically ouse painting was g lunbers have (as the Southeast and Cypress The cy,^,, lie resinous pine ' a cur turpentine .e lunbcr used in sin in the pine .c oil "fingers" : pores. The l s streaks, it be sure to thin .t will strike in A heai is will net hold the prinin.' dees not strike in, but remains .'integrate rapidly, because it drieiveryhara ana mca w* &iwu.c the ability tc expand and contract. Charring the resinous spots with a paint burner is oft tines done. But rosin often permeates the entire wood, and turpentine dissolves rosin. It follows then, that cn this lunbcr especially, we nust use turpentine liberally in our first coat and carry Southern printers resort to the use cf a snail quantity cf benzole (a coal tar benzine) on account cf its strong solvent qualities. Benzole, however, should never be used in my coat except the pricing coat, on unpainted wood only. 0007 -S'WP- 000007060 2 Cypress, cur next most difficult wood, rcauircs the same treatment ad Yellow Pixie. '.'.lien wc~studied the action of 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 attached. But how docs it attach itself to the weed, and wiiat can we do tc secure this safe anchorage on weeds of various hinds? If wo examine the surface of the wood, wo will notice that it is full of little pores, just as is. the shin on 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, like millions of little fingers gripping from the under surface of the first coat* into millions of tiny pores, and combined, offer a resistance tc removal, e^ual to many pounds per square foot. './hen these little fingers let go, the entire paint coat peels or chips off. The priming coatr is the foundation job. and its proper mix and application eahnot be toe 3trcngly urged upon the painter. The question of what is the proper mix; depends upon the character of the lumber tc vdiich it is applied. Determine whether the lumber is hard open or hard close grain; soft open or soft close grain, soft and spengy or compact end solid; very resinous like hard yellow pine with poor absorption* or . soft clcso grain like white pine with gecd absorbing qualities. Tp sun up, the nature 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 approximately equal to -two -gallons of oil in this respect. Turpentine helps to open the pores of the weed, and thins the paint, and so gives better penetration for the oil pigments, A new building cannot be properly painted with less than three coats; each cf these coats being tempered for its particular purpose* Y/hat are these-particular purposes, and how are the several coats designated? ~The first, called the wrincr is really the suction nncond. crJLled the body c oat, is the real hiding coat-third, called the finishing coat, is the real weatherirr r?r.nt.' i.o-t-.bv;--bu"S"UX't5, to memorise tilesc descriptive names, and the purposes of the three consecutive coats, as each plays its pert in the permanency cf a job. The suction coat, must penetrate end secure anchorage, and la.rg.ely step the suction of the weed, sc that the oil from succeeding coats, will not be drawn away# The body coat, is s o mixed that relation cf pigment to liquid is rela.tivcly 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^ a.s it is the coat which must resist the brunt cf exposure. 0007-SWP-000007058 N12897.02 If left poor in oil, it will loose its binding quality, have largely impaired resistance 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 nest importance, '{yet the one most often abused) is the priming cr suction coat. It is the foundation of cur painting, and unless it is correctly mixed 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 coats, wo will readily understand the necessity for mixing each cf them differently. Let U3 examine first specifications cf the national Lead Co., and compare the several mixings, To the 100 pound keg of white lead in oil, paste form, which bulks about 2-3/4 ga.llons-th.cy add as follows: - Priming Coat Body Coat Finishing Coa.t 4 Ga-1. raw oil. 1& Gal.raw oil 4 gal. raw Oil 2 11 turpentine Itr " 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 mixing the prining coat, the painter may exercise his own descretion in using a larger or smaller quantity cf oil, according tc whether the wood is oil absorbent as xvhitc pine, poplar and basswood, or less permeable, as yellow pine, cypress, spruce, and hemlock. Bote that in prining, the 100 lbs. cf lead, are reduced with 6 gallons cf liquid, of which 2 gallons arc turpentine, to assist in penetration, by thinning tire oil and pigment. ITotre also that in the body coat, we have only three gallons cf added liquid, half of which is turpentine. This means a heavier paint with here hiding 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, acm-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 pin! turpentine in the finishing coat. Is we stated before this last coat bucks the weather attacks, and must have elasticity, gloss and water repelling qualities cf plenty cf pure raw linseed oil, but weakened ty 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 Devce Lead and Zinc Paint. T.giilc lead and zinc paint is a liquid paint, .it is not sold as ready for use. It is made 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 ror 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 res incusyellow 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 from the can, thinning with raw oil if necessary. liy judgment, based on my own use of the paint and the experience of customers, prompts mo 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 means 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. '.7c 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 priming. It is clo.imed 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 oil over night and stir it up by hand, '.Than such a mixture is made without grinding under pressure, the outside particles are only coated with oil, and when applied to an absorbent surface, the wood draws the oil away from the pigment. Years ago painters obtained very satisfactory results by using the imported Ffench Ochres, of a silica nature, ground in pure raw linseed cil, and the white pine and poplar then in use held this primer 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 taken their place in painters primers. Y7e ourselves, some years age made and sold for use in connection with cur Lead and Zinc naint, our #777 Lead and Ochre Primer, which was composed of the highest grade 'washed French Ochre and pure white lead ground in pure raw linseed oil and the necessary drier. Yfe found however, that many 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 Devcc Products. 0007-SWP-000007061  'Sheii trouble ensued our lead and eir.c got tlie blcne. Cheap finerican Ochres are not fillers, but as they cxc clayey, they piaster over the wood, without taking proper m c 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 net forget that confined dampness, fighting for its release, is the Chief cause cf paint failure* Danpncss in the pores of the wood, repels the penetration of the oil and prevents the proper grip of the princr . ITcarly all nodem lunber is kiln? dried, the pores arc open and they will soak up noisture' from rains or dew like a sponge. This kiln dried lunber contains all the salts and the acids cf the wood in concentrated fora, and it is advisable to let the building stand a nonth unpainted to let"the rain wash these out. Then too* nachine dressed lunber will held 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 also, for noisture which nay be confined back of the wood. Do not paint while plaster is drying out. Renenber a 100 yards of plastering require frcn 80 to 90 gallons of water-, nost of which, nust gree itself in sone way. Often this noisture is driven out through the siding causing the paint to blister and peel. The better the paint, the norc certain it is to peal under such conditions* Only good elastic cil paint vail offer resistance to the noisture; and as the cohesive coating resists it is pushed outward in a blister. A -porous hnnT-.i-qp or cr.nls.ien paint will allow noisture to_pass_cithor way, 'and consequently hasano protactive 'valued B'c'sufc'Z"the---------- cellar of the building is dry, by having a free circulation cf air-, or the drareness will go up through the house, between the plastered wall and siding and cause the paint to peel. Dock out fer leaking house reef, porch roefs and water pipes. They are efton 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 vh.it ing putty, after the pricing ccat is hard-, force the putty in wellr with a putty knife, end not with the fingers-. PQBrtT USE h OTT/FT; T.TUS-WhIQ GIL. l/hen we studied vehicles.-, we were given the reasons for preferring-rnw oil* u"e will only reiterate, that Boiled Oil lacks elasticity. It is too heavy and not fluid enough to penetrate the wood v;cll. It drys with a high jlcss on which succeeding coats cannot attach t liens cl ves ; and drying 0007-SWP-000007062 DEVOE a RAYNOLDS CO. In c . OF MASS. -6 too quickly on the surfr.ce of the paint film, remains soft underneath, resulting in an uneven enpansicn and contraction, and an early cracking of the coat-. Do not paint during extreme weather 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 cr tears, * Do not paint ever dirt or over 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, cr 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 cr break the job* The painter's knowledge of the diroctisns given and honest application are essential. A good pa.inter with poor paints, will often turn out better work, than an ignerent lazy painter will, with the highest quality of materials. 0007-SWP-000007063 OmBsSonaasCftM . *+ , Hay^l 1 p-ioaa.- yy ^ K^PAINTIITCT 5T.JK K-XT^EICIE 0? A "SUIIDINU TTO COATS 0? PAINT. At our last meeting o.i I .'ay -4th, 1022,, vre had a concise lesson on tha proper mixing axel appl.i cation of 3 coats of Lead and oil,and Lsad. and Zinc Paint to the exterior of a new vooden buildings Ke urged upon you the importance of studying the characteristics of the lumber, and tha nscsssity cf proparly mixing and applying ths priming coat, in order to get a se cur a anchorage in the pores of the wood* To-night, we take up the mors difficult task cf painting woodsn buildings, that hairs bean previously paantsd* in repainting jobs,we mu3t examine and study car a fully, the conditions of the old coatings that are on tha building*. Our new paint instead of striking into the lumbar as on unpainted work, must now attach itself to tha old coats* Two coats ara generally enough on old work, for tha 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 the good mechanic must show his knowledge .judgment, and prids in his skill as an artisan* Unless tha 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 ,had 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 Uducace your. agents,and impress its importance upon uai nte-rs nnd hr,usVrg.7nsrs ,men doing yOtar mi ss i on ary vor xc ' Kemember, chat ail good linseed oil -paint fshrinks considerably in drying tand 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 ceaseieraoiy . and unless allowance is mads for this absorption, the old 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 * Kemember again.that where the old coat is hard and g lossy,and there is no absorption to speak of,we have a condition somewhat similar to painting on hard jellow pine or cypress. Our first coat^ needs thinning with turper.tine in order to force penetration and ad hesion, and to reduce the gloss* If ths final coat is applied over a glossy surface, it -Till 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 first coat on old exterior work, calls for 100 lb* White lead in oil 2 gala Haw Oil 2 " 'Turpentine .1 Pint Dryer yielding a short 7 gallons cf' paint* 0007-SWP-000007064 N12897.03 DMBft5aiailCMw -s- For second coat, tiisy specify .100 lb' I'hi^e La ad in oil 4 sal? Haw Oil 1 P-c, Turpentine ' j Pt* Bryer 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 sscond coat, and the 2 gallons or 16 pints of turpsncine in the first coat is reduced to 1 pint only of turpentine in the second coat. Me see in this method of thinning that the Ofojsct 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 found 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 oh surface* Kepetition of some of the advice given there, will be beneficial* ''here the surface is thoroughly dried out and porous, thin Lead and Zinc paint, as follows: First coat, L 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* Bp 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 fety 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 surce. to impress upon agents and have them instruct their customers, that the addition for instance of one galien 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, through 5 gallons of the thin paint* You see, from the directions we have given, for the respective priming coats, we add the oil thinned v^ith 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, and to give a dull holding surface far the succeeding coat* As G B Heeke 1,says "No paint is ready far use^ 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 ana 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 adulter ants, the ignorant painters* bad judgment can cause equal injury" 0007-SWP-000007065 DEWOfB SXXHOUM Cd^SlHSf -5- So let us remember, that if an excess of purs oil, purs 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, v?hidb 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* Ae we have said before: paint dries through the oxidation of the oil, and this oxidation i.3 continuous even after hardening, resulting finally in a .loss of elasticity and the perishing of the coat. If the old coats have been permitted to go for too lens? a time, thi3 inelastic coat, goes dead, refuses to expand and becomes alligatored or full cf 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 let 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 undersi ie 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 :Torth and "Bast sides have r;ci. Tgia 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 shads and moisture caused by heayy foliage around a house, roue 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 c-ause peeling. We estimate, based on long experien ce that 90% of the cases of peeling are due. to t-he natural shrinkage, of pure lxnssBi oH'"p'SSaL, LTiUy prilling away the wexn 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. Irx some cases, the paint, burner may become necessary. This burning off, had better be done by an experienced man, to re luce the risk of fire* In many cases, fire insurance policies are made void if such fixes 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 house 0007-SWP-000007066 DZttOB * ZfeXNOU* COJbW* - 4- has peeled and must bs repainted. There is always some cause for the paint acting badly., and an irteliigens ir~esY.-.g ation will usually dis close this cause, certainly do not make lad wfurd one day and good paint another. As you well know, we make our paint in batchea ox" 500 gallons at a time. We distribute 4.90 gallons of this batch and never hear from it again. The remaining 10 gallons are put on a house nrd "go wrong". l`e are certain.V 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 jrou 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 ir: correcting our fault of bad manufacturing, but their faith in us as makers of good paint has hot been increased or even renewed. S-ims ears ago we figured that on ths basis of supplying paint for 20,910 jobs , we had complaints on less than 40 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 40 jobs. 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? What paint was then, used? ^7hat were the conditions of the old paint? VTas it cracked or peeled, or both9 How much of this old paint was burned or scraped 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 ths manuf acturer supplies the paint dsnanded. not because he believes the com plaint justified, but because he thinks it good potion to satisfy the dealer and the consumer. But this course of* procedure aces not really satisfy the consumer. He js naturally glad to get the new paint,but unless he is^first convinced that the original paint was not at fault, the ease with which ths dealer "canes 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 dsceiv-ea 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 made by the painter in pre paring the several coats.. 0 0 0 7 -SWP-000007067 DeTOE & RcrXOlDS C&g-O, --- 5 -- It wiU be evident from this, that while we make the very best paint possible for us to produceTM there are four factors not under our control, which may kill the job. In closing this talk on Lead and- Zinc Paint ( I wish to say again-Our formula as stated in the sample card, is expressed so clearly, and then padlocked v/ith the concluding sentence, "and nothing else" that it cannot be questioned. Our offer and guarantee based upon proper application, is mofet liber al and mare than fair to the dealer, painter, and consumer. The established reputation of the Deraroe house* 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 job* should have no trouble in selling Leal and-Zinc to the consumer, and should be able to explain satisfactorily; the abase of the paint,as the cause of the job"gone v7rong." The following example comparing the relative cost of Lead and Oil. and Lead and Zinc Paint; shows conclusively that quantity and wear considered * Lead and Zinc Paint is the cheaper coat. The real coat of paint j is not the cost per gallon but - "How much annual premium, must X pay per square foot to put a Devos weather insurance policy on my buildings .. otresTion? Given a country house, painted before: and in fairly good condition Shall I paint it with 2 coats of Lead and Oil;' o 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 par gali thinned according to directions of National Lead Company 1st coat* 100 lb* Wh. 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 " turps. .25-1/8 " ' dryer 16*74 6/?/8say 7 g aliens 7)16.74 2*39 gal .Lead & Oil 1st co at * 2nd coat * ' 100 lb. Wh.Lsad 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 16.73 - 7 gallons 7)16.73 2*39 gal.Lead & Oil 2nd coat 0007-SWP-000007068 < DEm&ltoaamc^^ -----Tf.----------6 - So lead and OilT both oats, without mixing labor - 2.39 gal* LEAD AND ZINC 'PATNT'" 1st. coat 5 gal* L&Z at 3.90 - 19.50 - 5 gal* add 1 gal. F.aw Oil X w Turps. 1.02 - 1 " ,55 - * 21.07 6,5 gal* 6.50)21.0? 3&24ggaxL L&Z 1st coat: 2nd coat. an average 5 gal. L&Z @ 3*90 19*50 add gal, Kaw Oil- .51 20.01 5*50i2001 3*64 gal .L&Z- 2nd 3*24 on 2 coats 3*64 2)6.88 - 3,44 gal.average for L&Z Paint. coat 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 35044200 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 sprees on the average outside job, about 1 gallon of paint per gay. Wages vary- in various localities. Let us figure on C6.00 per day* Lead and Oil ijob 14 gls @6.00 gal.labor - 84.00 Leal and Zinc 12 '' @6.00 " . - 72.00 12100 Note) You see we save 2 gall.paint and 2 gallons labor. Our assertion is that Lead and Zinc wears longer How much longer? Whatever the life of Lead' and Oil may be under varyingconditions, 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 Dk TOB * RXBOU>S Qua. --e-- 7 - Many thousands of La ad and Zinc jobB, throughout thecountry, prove this* What bearing has this on ths cost? Cost of Lead and Oil 14 gls. 2*39 - 33*46 Labor-14 gls..... 6*00 - 84.00 117.46 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 )-J.17->46X4-469.84< * 12 " '* Lead and Zinc2 " (6 *' )-113.23X2-226.56 Dividing this cost of 12 years of painting, we find Lead and Oil 4o984 divided by 12 - 39*15 yr |A saving of Leal and Zinc22S,56 " * 12 - 18*88 " )20*27 year )Favor of Lead )and Zinc. This proves ths Devoe slogan, fewer gallons - wears longer. 0007-SWP-000007070 :'W\ * * <. ,.^.u.. v_^ ** -> ^<r ' OBVOE SC RAYNOLDS CO., In c . *--.w ` ------- -` V5L0TJR FINISH h - Our two meetings preceding tonights meeting, were devoted to a study of the proper application cf- Lead in Oil, and Lead and Si.-' ^aint, to the exterior printing cf a new and of a previous .j painted house. Mo discussed also the use and abuse of paint, the right method cf handling the guarantee, and the proper adjustment of claims. The personality and the tact of the salesman are the ;rcat factors In a staisi'actory 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 Perce Velcur Finish, as contrasted with the tine-honored method cf us in.-; Lead in Oil, flatted"> with turps. Our interesting booklet "Halcing the House a ' Home'1 which ycu 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 bcilin.- water cr the cold water type, is being rapidly displaced, (In spite cf its lew first cost) by the more permanent flat paints. Calcimine is \ generally based on a whiting pigment and is bound with an / animal glue, which deteriorates in_the presence of any mcisturef CalcimiirCT- event v5ren diu.puis'ea-under a' famcjr'P'foprae'eary name, offers nc resistance tc hr.rd usage, and when soiled cannot be washed. Mater immediately dissolves the glue binder, and the calcimine ccno3 off. In rccca.ting calcimine surface, it is safest to wash eff the old coating. The wa.tcr in the new coat is apt .to seften the glue in the cld cca.t,.rnd under the fricti mi of brushing the old coa.t may rub up. Good calcining requires a practiced hand, as it is net easily r.pplicd, and the amateur will do bettor wcric with Yclcur Finish. Before the introduction cf liquid flat pa.ints, (and they are comparatively cf recent date) most cf cur interior painting was dene in full cil gloss, either with load in oil, cr prepared pa.ints. bhen a flat cr dull effect is wanted,it became compulsory tc engage an excellent painter, one who understood tiic ra.ther difficult and necessarily rapid a.pplica.t cf fla.tted lead in oil. Let us figuratively paint a. plaster wall, in accordance with the suecifica.tions cf the national Lead Cc ;ith the three scats called for. 1st cr Friming cca,t:/ 100 lb. './hit: Lead / 7 Gal. Dciled Linseed Oil h 1 :t Turpentine, .n llote the large quantity cf oil specified, and the fact that bciled cil, not rr.w oil is used. Dry plaster -.Tailsare very pcrcus end absorbent, and the object is tc use this primer direct cn the walls, without a. preliminary sizing; cf glue. 0007-SWP-000007071 N12897.04 DHVOB & RAYNOLDS CO., In c , -2 - /Patent walls size or sizing varnish. Boiled oil is heavier 'in tody than raw oil, nore gummy r varnish like in character, ,-phd assisted by the Given amount of turpentine, penetrates 370II and stops f;C-tion. The second or Body coat consists of -i_ 100 lb. bliitc Lead ?; l-g- Gal. Raw Linseed Oil If- Gel. Turpentine 1 Pint Dryer This coat, is nixed with equal quantities of raw oil and turps,and one pint dryer, in a-total quantity cf threeone eighth 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 to each gallon -of thinner, this body coa.t carries about 32 pounds cf lead to ..each gallon of thinner. It is this body coat, which lays a good foundation for 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 2 Galls. Turps. 1 Pint Li-pit interior V; onish 1/2 Pint Dryer L, / * Cf * ~ -fv' * >Xl ' You note from thin formula, and-can reason fron your A - previous study cn the-respective actions of oil and turpentine, ?that the flat effect-, or lack, of gloss, is obtained by using "a nininun of oil, and destroying what little oil there is, by "the excessive use cf turpentine. The addition of one pint of i! varnish, does net remedy this defective binding quality. The ! 100 pounds of paste.lead is ground in about one gallon of raw oil, and this oil is attacked by twe-one half ga turpentine. Yfe learn that turps relation to oil, has a thinning power cf at least -two tc one, sc that in reducing our lead, we are' opposing a turpentine power of five tc an oil power of one. This excessive thinning destroys the binding quality cf the oil, disintergrate'rapidly under friction cf washing. It also destroys the fluiding cf what little oil there is, and necessitates the employment cf export painters. On large surfaces cr big stretches a number cf men must work in unison in 'order tc meet and connect with each ether's wet edges. The paint through the quick evaporation cf the large quantity of volatile turpentine, and the inefficient retarding action of so little oil, sets-, up or becomes fixed very rapidly. '.Then a connection of the second stretch with the first one is made, after the first is set, wc get- gloss spots cr as the painter calls them "shiners". 0007-SWP-000007072 De v o e s c r a y n o l d s c o ., in c . -3- I think we have sufficiently proven, that a ninimin of ordinary linseed cil reduced with an excessive amount of turpentine* does not give a satisfactory vehicle for flat paint* How let us 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 ere very coarse, creating a rough surface, tc 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 of 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, as 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 of their lead and flatting oil, in white only. However, thought flat ting oil may have many characteristics of the vehicle used in prepared flat 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 flat 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, gees all the way with us. Well, wc have condemned the use of flatted lead and oil, and what do we offer in its place? I had the pleasurerecently cf reading a phcnplet issued by the Hew Jersey Zinc Company containing an r.ddress by Prank G. Breyer, chief of the Research Division. I shall net 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, avoids 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 afbeut, arc concerned with strong hard colors.or with whites that turned dingy yellow." I will repea.t, that the objection to the use of \ raw cil as the vehicle in fla.t 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 | qualities, we could use, as most of our competitors a. Garnish ; binder, but when this i3 reduced with sufficient volatile / ! thinner to flat it, wc else 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 ca.sc in application nor of succcss- .. ful mottle toning. ------------------------------------------------ ------- In our Deyoo Velour Finish, wc use a specially treated blown linseed cil,- cf very heavy consistency and light in color. This oil permits reduction with a large 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 ma.rks or laps. As thinners, we do net use the gum turpentine used in cur Lead and Zinc paint, but what is known aS^aigh~ppracre'j linerdr--g-pfrTts , derived-- fTon petroleum, xhia--f 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 time fer application. A large stretch of surfa.ee, ordinarily requiring the co-cpcrrtivc work of three men, can bo carried through successfully by cne man. Now let us examine the pigment portion cf our Velour. In advocating the use cf our lead e.nd zinc paint, wo have laid such stress cn the good qualities of these twe pi-ments, when in correct combination, that it is only a fair question to ask us, why we do not employ there in Velour. \7e he.vc already staked this evening, the faults cf lcr.d, and the difficulty cf producing a good flit paint 0007-SWP-000007074 d e v o e 8c r a y n o l d s Co ., in c . fron Zinc only. Our fornula labels on the cans, show that wc use 86,67% of Lithopone and. 13,33% of Asbestine or Hainesiun Silicate in the V;1iite Velour. Lithopone is a zinc pigment uade chemically and analyzing about 30% Zinc Sulphide 70% Bariun Sulphate It is nade by pouring together very pure solutions of Bariun Sulphide and zinc sulphate. Do not confuse this pisnent, with- the ncchanical grinding tosethcr of zinc sulphide and Barytes* This latter nixturo is deficient 'in opacity, \7hilg~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 shews no reaction when exposed to sulphur or sulphur gases. The high grade Lithopone which wc use, is alnost as fine as Zinc Oxide. XJb 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 noisturc, And now, vtfiy do we U3e Asbestine or magnesium Silicate, which wc condemn a3 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 j has such great thinning power. _____ " Furthermore,the volatiXe""thlnnor docs not carry the pigment- ^in suspension as well as docs the heavier oil liquid, but per- | nits it to settle out more rapidly. In our Lead and Zinc Paints, 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 wa3 carried but nbwrJLat-in oua-i>onsi-en-bv^. the light thinner? i T^-3a^yi`!llir'~TMf>a t-rnnendous hiding quality in a flat paint, (where the pigment content relative to liquid is large)and wo can held the solid natter in suspension with Ilagncsiun Silicate,and yet not impair this hiding power. So far, we have spoken only of 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, rail reflect as much a.s 85^ of light, while the best grade of white lead, will not dc hotter than 70/. t A light cream drops the reflecting power to 70%,light buff to 65J3,light green tb <*7%, and red to 12^ . So you see, - that the selection cf poor light reflectors, increases the expense ; of artificial illumina.tion at night, and keeps the room gloomy by day if window openings a.re few. Interior deq^Tb-t.-inn------------_____ 0007-SWP-000007075 DBVOB SC RAYNOLDS CO., In c . -6- color harmony end the selection of appropriate colors, for the differently situated rooms, i3 a study in itself. Our Velour ' booklet, gives excellent suggestions on color selection. Bead it again. Remember, the most important things to consider r.rc. How strong is the light that enters the rocn? For what purpose is the room. to be used ? 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. Rencnbcr, that Velour colors can be intemixed, and con bo lightened with IThitc Velour, and that 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 np- thc colors into each ether. uioc&ictoning svs Pen, makes wcssiblc rare color harmonics, uniamted in nunber. As you will see fron the deaenstratien this evening, it can be worked as one coat nottled over the undercoating, or applied in several applications over previous nottletonc3, canto perfectly blended, or worked with a nunber of harnonicus 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 lack of understanding cf the principles of paint adherence or the use of supposedly secret cr professional netheds of ducking these principles. V/hy won't any paint stick to any surface, if you manage to brush a filn .on it? Because in practically every case of failure to stick, the paint never touched the real surface cf the wood or plaster, but sinply ley as a friction or suction coat ever the top cf a film cf condensed water. If the wood cr plaster contains water, and you raise the temperature of the building, that water generates vapor, the pressure of which is dependent upon the amount cf water present and the particular capacity of the wood cr plaster. That press ure must be relieved somewhere, and often at the expense of the paint film. 'i -v*"* -> ui* .V** * V/'atcr,thc great enemy,works in under window sills,and pulls the paint eff the sills,while the side of the francs is perfectly good. A slight leak in the roof may get dewn through a number of walls. A sweating pipe or a lealcy water connection, cause trouble sooner or later. Paint 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 under coat,stretches on the outside of the curl, and the tighter harder outer coats from the inside. Hever paint below 40p Farenheit, (Mater condenses on wood and plaster rapidly below this temperature) nor on a surface that is too hot to bear the hand comfortably. Be sure, your wood and' blaster arc smooth, as waint films-------------------------------------------------------------- 0007-SWP-000007076 DBVOB 8C RAYNOLDS CO., INC -? " are only about three thousandths of an inch thick,and won't ccvcr up cracks end. irregular patches. normal 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, Hairin'; a fluid soapy solution, which runs down the walls in ugly dork drops, carrying the tinting pigment with it, ar.d leaving seme of base pig ment behind, decolorised. ah.cn such a job approaches dryness and the film, begins to shrink it simply pulls off in flakes. If the paint had contained a harder, less easily attacked varnish, instead cf raw cil, the Image would not be visible immediately by running down, but would exist all the same right from tno start; and as soon as the shrinkage stresses get strong enough it will peel off, perhaps a year later. The answer to the question "when dees plaster cease to be green," is a long cne. 'Jo.it o.s long as you can before painting, and if you have to paint in short tine, wash the wo.lls with a solution of four pounds cf zinc sulphate cyrstals to a gallon cf wo.ter. Brush this on with a wide brush and let it dry thoroughly, hemember, that your priming coat must stop the suction, and if this is not done, then the second and third ccats will suffer and your finish will not be uniform. Dcn't start the second coat, until the primer cr undercoat shews a uniform slight gloss all over the surface. Very porcus surfaces, should have a second coat of primer, or half underccat . and half velour. _______-- ---------------------------------------------------' Should the new wall be very hard and nen-absorbent, you can reduce the varnish content cf your undercoat, by mixing 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 undercoc.t, will prevent proper adliercr.ee cf the velour coatings , and often cause a gloss to flash through the finishing coat of Velcur. V/ashing Velour, with a mild soap (of the - type of ivery scap) and warm water, and 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 tc our Velour booklet and sample card, which give explicit directions for use, and shoud be well studied. The demonstration on nottlctoning, blending a.nd stenciling which we will see nor;, should convince every cne present cf the great possibilities of this Dcvoc Product. / / 0007-SWP-000007077 De v o s & Ra x j c o ib s Co^&ra, At oiar last paint talk, wo studied several methods of finishing \r.t error plaster walls, paying special attention, to the composition, application and great decorative value of' otor Devos Velour 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 bn our Velcur sample card* -c.-night. we will crowd into our short session, a^brief survey of the art of interior wood-finishing, with stains t varnishes and enamels, including our high quality Mirrolac 5'inidnesj the third of the great Devos triumvirate of Lead and Zinc, Velour, and Ifirrolac. I have found in my experience with new men, studying and selling Kino lac over our retail counters * that they are often badly confused by the fact, that many of our related specialities seem to be duplic ated in, or even displaced by the Atirrolacs , In order to dispel this confusion, and to show clearly 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 best to get full, value, by the' proper selection and right application of each, material* In painting with Dead and Zinc, and Velour, we have worked V7ith prepared paints based on the vise 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 Lithopons, 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 Ead, Chrome Greens and Yellow Ochre, had excel lent hiding quality, while otKer -pigments su3Tas Italian Siennas, Turkey Umbers, Vandyke Browns, and many Lake colors, lire valued* not only ror tinting strength, but for their txanslucency Our desire- in staining wool, is not to hide the wood under opaque surface coat- ings. On the contrary, we wish to preserve and enhance what natural beauty there is in the figured growth of the wood* W can give them the rich colorings of the more expensive hard-woods, or hasten the soft warm tones that age produces slowly, 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 007-SWP.000007078 N12897.05 De v o s & IUs n o ib s Co*bo, - 2- should then be protected against friction-wear and moisture attack, by surface coatings cf hard, tcugh, 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 or curly, car 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 or 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 as 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 U3ed open grain woods, are Oak - Ash - Chestnut - Mahogany - and Walnut and to a lesser, extent,.- 1^Bll-.-'~Baywooa ~White Mahogany CT Prima Vera, Loss- wood and ButtsrnifST" The most usea cxose-gr aI5~woods'are - '/'bite Pine Yellow nne .- UVUTRSS - Wh-jt.gwnnH rvn Pivplny ffftoT-r.r H-iT- rfo f and to a "lesser degree Oregon Pina --S-nruce - Waab-iric-fenn - Basswood - Bee ch^- California Redwood - Cedar - Gumwood and Hemlock*" ATI ivuods should be thoroughly seasoned and well dries. But-we axe living in a fast age* Until quite recently, it was customary to allow the wood to standseveral 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., ar 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 for 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 fear 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 w t o l d s Gtuke, Tith i-33ar gradas or sandpaper, than ti madiun ami finishing-..with the finest. P.amenbar n3rl.-i.e3nu scarat chas or cuts, particularly cross-'.visa cf grain. wi 11 show up ie cidadly through tha finishes*. oat is fact cry staining , lika s::pcrt finishing is a matter cf stuiy and tract! ca. All stains should '03 put cn quickly. Spaad is naoassary,. in oriar to obtain a unifrcn dapth cf color * Sea that you gat an even aisunbution. cf stain, as an unintsnticnal double coating at any point; (what fa call laps ) will result in darker blotches of color. In cclor staining tha results obtained; nr a dus to tha application cf translucent colorings permitting tha color cf the weed itsalf, ..to shew through, in a varying degree. Therefore, a. sa-ccnd cr third coating, or laps, produce a darter ccicr, by obscur ing to a grsatar degree, the color cf tha wood underneath. Stains can be classified as water stains., spirit stains, oil solubla aniline stains, oil pipitsnt stains, chemical stains, and varnish stains. atsr stains . which axs made of c-riirhi^ nnaltar odors, dissolved~in watST. raise the gram of tha wood, Therefore the rood, should ba spongad first, with luke-v/arr. water, in 'which arsmall -quantity of glus has baan dissolved. This-will causa the fibres -cf th3 wood to dry stiff, cr to holdup tha fuss. The wood is than sand ed down again, sufficiently tc cut off tha fibres or nap chat pro trude. If this sponging and sanding is not dona, the water stain it - saIf raising tha grain would compel sanding afterward, which is liable to cut off too much of tha stain coat, lsavih.3 an unevenly, adored surface ______ _____ ______________ w Preliminary sponging also opans the pores of the woods, and per=-. nits of better penetration of tha staiiir '.Tatar stains do not held thair color- well, in strong light. chemical stains, are solutions mala from various, ch ami cals, such, as soda, potash, copperas, strong ammonia, and such acids as tannic. picric, pyrogailic and ethers. These stains ars very uncertain in the results produced, and only the expert will find them safe. 7'ith cna and the sans stain different results axe often obtained, cn various woods, c.c on two adjoining 1.11 panels of tha sans 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 weathaxed oak effects i Some woods contain naturally considerable tannic acids while others do not. Stain whitewood, cr any wood in whi ch the tannin is practically absent, with a solution of sulphate of iron, one ouncs to a gallon of water, the result will be negative. Arply tha same solution cn ash, cak cx mapla, 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 Mahogany, is a commonly used chemical stain. 0007-SWP-000007080 & DEVOS St tussmos COJbW, ^ jL rK ~`_. A^'-< j- . Of course., these Btains dissolved, in^water, raise the grain* |Spirit stains, are alcohol soifcble aniline colors* They set up very *1 (quickly through the quick evaporation of the alcohol, and aaire diffi- | cult to apply An amateur cannot handle them successfully* The -? \colors are fugitive, they find their chief employment in furniture yCaotgElS-8 doing hurried cheap work*. ________-- ----------------_ ~Bismaxk ?rownJ. a coax .tax-color used xn producing Hahogany7~'ld " 3oluble in both 'alcohol and water , while Nigrosene blacks, are made -^L,^ in two kinds, one for water solution, and- the other for alcchol.These water, spirit and chemical stains are.not Bafe in the. hands of the v- amateur, nor the house wood-finisher * Hahy manufacturers who formerly mads ch.eir-.ical stains, have either discontinued their manufacture, or refuse to take anv responsibility for the -rssgkfcc-r:------------ ----------------------------~ The Devoe line of high quality 6tains, comprises the nil pio-mnt -- Stainx the .penetrating dye stain,, the .pigment Marble Ping-Varnish tain; and the Mirroiac varnxsheave stain* ltarble Floor aad Mirrolac "canTib 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 stock 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-stains,, which ought to be termed turpentine stains, axe made from insoluble ..pigmentssuch as umbers, siennas, vandyke browns and transparent lakes, ground in Oil to a paste farm, 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 dees not penetrate well on hard woods. We are dapendent .upon our-thin vehicle soaking into the woodand carrying with jit, its burden of undi6solved pigment. On hard, .dose-,grain wood, the liquid strikes in, but is likely to de posit, thb solid-pigment on the surface, of the wood, givix^ us a cloud ing of. the grain and a muddy color On dlose .fibrsd'Woods, it .is-better ,to give two coats of-stair, to produce the desired -depth. of, color, rather than to-attempt to.-do it, with one he-avy.application* ' The-stmkes of the brush must -be carried out thoroughly to-'prevent piling, up of color material, and the stain-should., be wiped over lightly with a rag, before it dries ir. 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 j*13^ sufficient stain"to fill it, s* that the .natural- cohesion will not permit the stain to rim out of the brush* 0007-SWP-000007081 f>Bvafc*5UBKni>s co^e. When the brush 5s overloaded, the setting of the brush onto the work, will blot the weed, where the brush ia^first applied, especially on soft wood3. . These directions, apply as. well to cur Penetrating stains.- These stains axe sc called cn account of their excellent penetrating qualities cn btih soft and hard weeds. They are mads cf cil soluble aniline or ccaltar dyes, dissolved in benzole or heated turpentine, and bound vxith a sufficient quantity cf Mcrh grade varnish;: being further reduced with mineral apirits. These ccaltar colors t if net U3ed too excess and not adulterated, dissolve as completely, as sugar in coffee. ,Nct having to carry an insoluble pigment^ but being really a colored liquidj 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, last ths penetrating stain strike in rapidly like' ink on blotting paper, and produce a result much darker than desired. On outside work, exposed- tc strong svuirlight j preference should be given tc pigment stains as they axe more permanent to li-ht. Neither cf these stains will raise ths grain- or the weed. They should net be applied to wood 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* Devoe'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 j in one application, or by a second or" third coating if a deeper tone is wanted, we must allow about eight hours drSling time, and. then give ths selected protective coatings. If the weed is close grain.,we can give a first ccat cf Davce'Pure Shellac, reduced 50^ with denatured alcchcl, or a coat cf the selected finishing varnish, applied in full strength, or as* I prefer reduced, 'with about 20 to 25jTof turpentine-. Do not use liquid Fillers * either of Davos make ox others. These are demanded of us by painters, but we advise against them, as they are only thinund out cheap brittle varnishaa, with or without, a transparent filling material, You .are safer in using thin shellac, or a good gum varnish reduced as stated before. When hard dry,sandpaper this priming coat lightly with finesandpaper or steelpwool, 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-of a good varnish finish. Stain the filler with color3 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 Droa9tamss Cowhe. When the brush ks overloaded, the setting of the brush onto the work, will blot the weed, where the brush ia^first applied, especially on soft woods. . These-directions, . apply as.v/ell to cur Penetrating ^Stains* These stains are sc called cn account of their excellent penetrating qualities on bt'ih soft and hard woods. They are made of oil soluble aniline or ccaltar; dyes, dissolved-in benzole car heated tiirpsntineand bound with a sufficient quantity cf high grade 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. .Not 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 the penetrating stain strike in rapidly like ink cn blotting paper, and produce a result much darker than desired. On outside work, exposed tc strong sunrlight j preference should be given tc pigment stains as they axe more permanent to li~ht.. neither cf these stains will raise the grain or 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* 3hellac* cr varni sh are thoroughly removed with neutral Paint. F.emover, like1 Devos's F.eiacver, 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, take 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 ens will show through. Havingobtained our desired color j in ens 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 Devce'Pure Shellac, reduced 50?? with denatured alcchcl, or a coat cf the selected finishing varnish, applied in full strength, or as* I prefer reducedwith about 20' to 25?T 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 varnished, with cr without, a transparent filling material, You are safer in using thin shellac, or a good gum varnish reduced as stated before. When hard dry.s.endpaper this priming coat lightiy with fine sandpaper or steelswool, and apply. two or three coats cf. the varnish selected, rubbing these down between coats as directed in ova: Varnish booklet. Where the weed 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, 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 more ground than can be cleaned off again. 0007-SWP-000007083 Db v d b & routs Cosine, Inahout fifteen minutes after p.ppl cation* After the filler hae lost its"wet. gloss j clean off with a scraping knife, followed' by-a thorough rubbing with bur lap , 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 leaveit in the pores only, and not to muddy the high lights or flakes in the wood* Examine the filled surface carefully, and if pinholes axa 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 Devos 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 die31nut for instance, without the use 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 Mlrrolac stains can bs used with very, pleasing results. . These are high'grads varnish stains or properly- speaking colored varnishes* They are not so much penstrators, but rather translucent surface coaters. Marble Floor Stains, resemble - oil stains, in their being made with insoluble pigments, while the Mirrolao Stains ars made with soluble coal tar dyes* The Mirrolao stains, give us much clearer and richer, colorings, and having no body of undi3solved pigment to carry-, will spread: easier them 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 Mirrolao* ' Our excellent booklet " Hidden Beauties of .the Home ", which you have stidied 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 for 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 li^e 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, taks 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 Saves 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 v/ith 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-S W P -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 & nofioafts edit'd similar3ya mixture iof color in varnish, but we employ here the pig ments that combine opacity and fineness with large varnish absorpt ion, as vre desire to hide the wood or metal under a prctective,gloss ppating* Shame Is are necessarily less opaque, than lead and 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 varnishIt bacornea essential theh|- 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 Tinder coat* We make a Flat White Undercoat, under aspecial label, as well as Mirrolac Label. Sell the latter in connection with Mirrolac Enamels. The under coatings `are made v/ith lithopone, and a quantity of high grade 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,the Enamel vehicle does not sink into the undercoat, and the enamel re tains its full gloss t Db notr use our Lead and Zinc Inside White, as an undercoat, as it is made of all zinc T7hite, and so is the enamel. When a number of coats of zinc only, are 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 varnislg, generally damar varnish* Another method, was to use French 5nc ground in refined linseed tar 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*. Mirrolac Ename 13, thoroughly ground by improved machinery,are smoother than hand-mixtures and mazy of our ccmpetitors 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 Dzm&RiaROi^Cdjwt Flowing on means, not to brush 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 sxpiicit directions* F-oman Enamels,like the Mirrolac are varnish enamels, quick setting and hard drying,and must be spread rapidly.- This enamel is produced in white only, of three finishes, full gloss, egg shell and flat. They can be tinted with Japan Odors, or wixh the colored Kirxolacs* 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 Mirrolac or F.cman Enamels in equal quantit ies* Cur other special enamels, need but a brief description* Canoe Enamels, are made with Spar Varnish to give them the resistance to exterior exposurei;g loss 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. We have however, one enamel made in white only, both gloss and egg shell, that is far super cor to Mirrolac and Eoman Enamels. The Devoe Holland Enamel, is mads with the whitest and finest French Pro cess Zinc Oxide manufactured, and ground thoroughly in a very heavy body, blown linseed oil,.se3.ectea for quality and light' color. This results in an eas&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 Plat 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 Mirrolac as vet* But, the close consolidation of our best varnish stains, whits and colored enamels, these several specialities, our polishing- oil, and four most used varnishes in a compact line, under one, makes possible the sals of these as a complete I-evoe line, instead of the salesmens* efforts becoming dissipated on separate units* The Mirrolac Varnish es, are of a high tfus.-i.ity, and honest value, and in small country stores of diversified stocks, give all the varnishes necessary* 0007-SWP-000007087 De v o b & Eemember though, that cur three standard Devoe "/arnoi;. to I3 a La Interior and 51.arc la Floor Finish. Varnish.as , tars The experience of many 3?ears , haff3 convinced us_ :h?.t .-.Hag are best mads with. Hard nutura-1 gums plus r. ynthctic gums oi 1 plus ohina wood oil* In this vav v/3 rraf sxtx jma norc-ur- tougunass and elasticity given by linseed oil, and the -alii tins quality and resistance to wat er discoloration, given 'ey wood oi.l .lina Vernosite dries slower than any ether spar varnish made by u.3, and therefore expands and contracts best under changes of temperature It does not crack or disintegrate by powdering off. Zanzlrer., Aquaspsr , and 'Mirxolac Spar, .dry faster and can be used for hurried oirtdeor work, and bath rooms, kit die ns, laundries et c- wherever much water is used* Pale interior, a tough varnish, light in color, and easy flow ing, is not affected by moisture. It'i3 of abetter quality than Mlrrclac Clear. Hard Oil Finishes or Furniture Varnishes. It can be rubbed to an egg shell, or brought to a high polish. Harb.'ie Floor Finish, Transparent, contains less oil and rors gum 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. V irr o lac Linoleum Varni3h, is quicker drying v and therefore much sought f cr. While of excellent wearing qualities, it does not rank as high asjfarbla Floor* Last but not least, in our Kirroiac booklet, we. find an old tried friend, the Devos Polishing Oil. under the name of I-T'-rr c.lac Polish The market is flooded with 'innumerable haphazard furniture polishes. Some of them .'/ill remove dirt qui cker 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, vrhi ch. from 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 cil and a liberal rubbing, will restore 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* We close as we began by placing the Devoe Mir ro lac 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 S-pting, of our Thursday night classes, I wish to thank 0007-SWP-000007088 QgVOB 3* RdC)IJjggC<rj|ic> you all foe the good attendance and the attention paid. The*papers ha3d->to he written rather hurridly, hut they .are at least an effdrt to give a more intimate knowledge of our line- This makes the eighth paper, and W3 hope shortly to give vou two mors, ons on til manuifactin: and. applica'bion oi VaxnisnsSj and the other on the manufacture, use, and care of "brushes. We will send these to you, if hy that time some of you: may have' returned to your home stamping groundso 0007-SWP-000007089 VAR N I SHE S 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, ws 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 opacue 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 Wood Oil, is extracted from the fruit of the Tung tree, which grows in China and Japan. The fruit, which is a- hout 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 process of time make the most durable varnishes and are for that reason, the most desirable. /' However, fossil resins are becoming scarce and the con- j y sumption of varnish is rapidly increasing. In accordance wife \ t 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. --- 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 and 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 pro$e the ground with a long sharp pointed steel rod, about 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 sene 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 and 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 js 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 ot best ,rrac.a clear oleo-varrisrss, we obtain a slower drying but very durable varnizi.. Ouch varnish os are used as Smoke Stack BlacK-s, where re.sicte.noo to weather and the expansion and contraction due to alternating heat and ecld 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 "lactraes" 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 friend, 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, ana is used in large degree not only in pro fessedly rosin varnishes, but as a cheapener 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 amount 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 whl^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, determines the condition of this 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 longoil 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 oar 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 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, lcng 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 bard 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 part iculai 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 im proved 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. 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 oxid ation 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 moving 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 wea!ther 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, traible 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, or #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 idirrolac 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 pfcno 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 s&asdom 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 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 fum% 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 thiscondition 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