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‘
HOUSE PAINTING
METHODS
WITH THE
BRUSH AND SPRAY GUN
INDUSTRIAL PAINTING ON STEEL, IRON,
CEMENT, BRICK AND WOOD SURFACES
BY
F.N. VANDERWALKER
Gradyate in ¢ commerce, Nartkwwestern, University ,
Edito?, A Anges: can Ravarer dnd Pecoratar 2
PAD AO hed! + 3
Author ae Biot Wall Décoration” ae The Mixing ‘of’
Colorsand Paints” “Estimates, Costs and
Profttss’ 5; A utoraobile °Paintitig’: eee
ah jew. Stencils and. Theirs’ 3°03 eve
een etc, OPS a ak wae
ILLUSTRATED
CHICAGO
Pier orRiCkK | DRAKE & CO.
PUBLISHERS
B
FREDERICK J.
he
Re
es oO
inted in the United Stat
PE
PREFACE
THE scope of this book has been confined to a con-
sideration of methods, materials and tools essential to
the painting of exterior surfaces of wood, metal, brick
and cement. .
An attempt to present the essentials of the whole
trade of painting and interior decorating in one book
is not an undertaking conceived in wisdom, the author
believes. This is a trade which is indeed extensive as
it touches upon craftsmanship, art, chemistry and
science. A mere understanding of how many kinds of
work are done is not enough, but rather a full knowledge
of details is essential, to the end that the painter can
go out and perform the work in an expert manner. Of
course no book, or set of books, is sufficient in itself
to assure such ability. Experience and practice at the
work are necessary. Good books, however, speed the
acquisition of knowledge and skill in any line of busi- -
ness, because good books are simply the record of the
experiences and knowledge of those who have gone be-
fore and those who are active in the work today.
A brief examination of books which attempt to cover
the whole trade between the two covers of a single
volume discloses the omission of many important de-
tails. Many of the subjects have been merely out-
lined, others have been omitted entirely, leaving much
to the student’s imagination and taking for granted too
much knowledge in the possession of the student.
Therefore, to avoid such omissions of important in-
formation the author’s plan has been to cover the main
A SFOS
PREFACE
branches of the trade of painting and interior decorat-
ing in four books bearing the titles—
The Mixing Of Colors and Paints
Interior Wall Decoration
House Painting Methods
Wood Finishing, Plain and Decorative
It was the author’s plan and ambition to record in
these four books all of the necessary details about work-
ing methods of today, new and commonly used tools
and modern materials likely to be needed by the painter
who is doing any of the common tasks in his field in
a first class and standard manner. Of what measure of
success has attended these efforts you are the judge.
If these books are found practical and useful in your
everyday tasks of the trade they are accomplishing all
that the author hoped for them.
F. N. VANDERWALKER.
CONTENTS
CHAPTFR I
A SuRVEY or THE MarkeT:—Purposes Served by Paint.. 17
CHAPTER II
BRUSHES FOR PAINTERS AND DECORATORS, DESCRIPTION, USES
‘AND CARE: — Bristles — Construction — Care — Reclaiming
Hard Brushes—Use—Holding—Spreading Paint—Bridling
—Flat Wall Brush—Stuceo Brush—Metal-Bound Brush—
Oval Brushes—Sash Brushes—Varnish Brushes—Water
Color—Calcimine—Whitewash—Duster—Wall Stippling—
Artists’—Freseco Angle Liners—Roof Painting—Floor
Waxing—Brick Liners—Stencil Brushes—Soft Flowing—
Flat Color Brush—Badger Hair Blender—Graining—
eID DIOR. sa’. ee ei wc ete e's « MIE ee eas eia ca eee 22
CHAPTER III
MECHANICAL SPRAY PaInTING EQuiPMENT:—Spray Guns—
Air Compressor — Automatic Governor Unloader— Air
Storage Tank—Power Units—Paint Storage Tank—Air
and Material Regulating Devices—Material Agitators—
Spray Gun MHandles—Hose and Connections—Oil and
Water Separator—Trucks and Skids—Whitewash and
INNER EL Maio) aa oe 's a 'e)e2e «0° a «ee a'p/eins 0/4 0%e, + coscees 63
CHAPTER IV
LADDERS, SCAFFOLDS AND Swine Sraces:—Trestles—Step-
ladders — Single Ladders — Extension Ladders — Seaffold
Planks—Platform Ladders—Ladder Extension Feet Plate
—Steel Ladder Shoes—Rung Repair Plate— Ladder
Brackets—Roof Ladder Hooks—Window Bracket—Adjust-
able Folding Scaffold—Ladder Bracket—Swing Stages—
Stirrups—Pulley Block—Rope Falls—Rope Materials—
Care of Ropes, Storing, Lubricating, Inspecting—Hoisting
Machine—Cornice Hooks—Knots and Hitches—Special
EIR UIRMCTA Gos 5 wie vivian ck sess ecveccie vice ss NeCeE ead eet eect. 58
CHAPTER V
MISCELLANEOUS PAINTERS’ TooLs:—Blow Torch Burner—
Acetylene Gas Burner—Putty Knife—Scraping Knife—
Rubbing Pad—Brush Extension Handle—Paint Strainers
—Paint Mills—Paint Mixing Machines—Mixing Paddles
—Palette Knife—Pots and Tubs—Paint Agitator—Wall
Seraper— Steel Wire Brushes—-Sand Bellows — Bung
Spouts, Gates and Faucets—Moulding Scrapers—Ship
Scraper — Glass Cutters — Pliers — Hammers — Automatic
PAGE
CONTENTS
PAGE
Putty Gun—Glass Board—*‘T’’ and ‘*L’’ Squares—Drop
Cloths — Floor Surfacing Machines — Sandpaper — Steel
Wool—Felt Pads—Pointing Trowel.........eeeeees wvese
CHAPTER VI
PaIntTER-MixEp House Parnts:—General Mixing Facts—
Pure White Lead—Mixing Methods for White Lead—
Straining—Adding Tinting Colors—Quantities Needed
—Standard Formulas for White Paint—Extra Drier Needed
—Amount of Paint in Pounds—Zine. Oxide—Floor Paints
—Mixing Putty—Whitewash—OColored Whitewash—Paint
for Weather-Beaten Surface........... ale Vag auelene ee ees
CHAPTER VII
TINTING CoLorS AND THEIR USE:—Ground in Oil—Character-
isties —- Opaque — Transparent— Fading— Mixing Colored
Paints—Dark Colors—Color Cards and Formulas—Black
—Gray—Brown—Y ellow—Red—Blue—Green—Dark Colors
CHaptEeR VIII
Factory Rrapy-Mrxep Paints:—Mixing Prepared Paints—
Adding More Liquids—Changing Colors—Bulking Value
of Pigments — Titanium Oxide — Lithopone — Whiting—
Silica—Barytes—Asbestine—Stock White—Prince’s Min-
GVA ates Vemteieie cts eoeoesne @eeoeoevoeeeeneeee @ eeesvevoeeveeeeoeee eevee
CHAPTER IX
Paint OILS, THINNERS, DRIERS AND REMOVERS:—Purpose of
Paint Oil—Drying Oils—Linseed Oil—Testing—Paint De-
fects Caused by Adulterated Oils—Prepared Oils—China
Wood Oil (Tung)—Soya-Bean Oil—Menhaden Fish Oil
—Kerosene and Petroleum Oils—Creosote Oil—Turpentine
—Substitutes—Mineral Spirits—Benzine—Benzol—Solvent
Naphtha— Amyl Acetate — Aleohol—Driers— Paint Re-
movers—Formulas % s.:. 3.4 \'.'s bse 6 eases eee
CHAPTER X
METAL PAINTS AND PAINTING:—Corrosion—Paint Tests—
Ratings of Metal Paints—Red Lead—Testing—Mixing
Formulas—Blue Lead—Graphite—Aluminum Bronze Paints
—Ameriean Vermilion—Para Red Vermilion—Preparation
of Surfaces — Tools — Sand-blast Machines — Pneumatic
Scaling Hammers—Steel Wire Brushes—Iron and Steel
Surfaces—Galvanized Iron—Tin Plate—Zine and Copper
—Number of Coats Needed—Brushing, Spraying, Dipping
CHAPTER XI
CEMENT AND Brick PAINTS AND PAINTING:—Neutralizing
New Cement—Old Cement Surfaces—Mixing the Paint—
Brushing—Spraying—Cement Floors—New and Old Brick
Surfaces—Staining Brick—Lining s.sy) ve.see ue eee
121
144
172
189
203
230
@
CONTENTS
PAGE
CHAPTER XIT
A Srupy or Woops snp Surracrs:—Penetration and An-
chorage—Expansion and Contraction—Cracked and Scaled
Paints—White Pine—Hard Pine—Poplar—Cypress—Doug-
las Fir—Hemlock—Cottonwood—Basswood—Redwood—Ce-
dar—Chestnut ....ccccecsecrecccces Wee alp tel eiaisla c'aedharatie
CHAPTER XIII
Estimating MaAreriAL Requirep:—Measuring Surfaces—
Covering Capacity of Paint—New and Old Wood Surfaces
—New and Qld Brick Surfaces—Cement and Metal Sur-
faces—Shingle Stains—Measuring Structural Iron Surfaces
CHAPTER XIV
A Jos or PAINTING WiTH THE BrusH:—Mixing and Tinting
—Seaffolds—Tools—Preparing the Surface—Knots—Prim-
ing Coat— Brushing — Puttying — How many Coats?—
Where to Begin—Rain Gutters—Weather—Removing Old
Paint—Bare Spots—Exterior Doors—Enamel........++++
CHAPTER XV
Painting Witrn THE Spray Gun:—Size and Kind of Equip-
ment—Management—Scaffold Equipment—Surface Condi-
tions—Spread or Pattern—Holding Gun at Correct Angle
—Distance from the Surface—Movement—Air Pressure
Balance—Cleaning the Gun—Care of Machinery—Number
of Coats—Time and Materials—Health—Durability—
Drying Time—Creeping and Crawling....... soe ay?s ake aera
CHAPTER XVI
EXxtTERIon STAINS AND STAINING:—Dipping Shingles—Mottled
Colored Roofs—Suitable Stains—Stain Formulas—Brown
—Green—Red—Black—Blue—Silver-Gray—Liquids ......
CHAPTER XVII
PamntTING DEFECTS, CAUSES AND REMEDIES :—Surface—Paint
—Workmanship—Weather—Cracking and Sealing—Blister-
ing and Peeling—Checking and Alligatoring—Chalking—
Loss of Gloss—Washing—Tacky and Slow-Drying Paint—
Runs, Sags and Wrinkles—Creeping and Crawling—Flies,
Gnats and Dust—Streaking—Fading—Yellowing—Discol-
oration—Spotting ......sseeeeeeeeees Bis sien i6 oa miss, 0180
CHAPTER XVIII
Toe Pamnt SuHor:—Location—Plans—Lighting—O ffice—
Material and Tool Stockroom—Paint Mixing Facilities—
The Shop Man—Finishing Room.......sseeeseeeseeeees
CHAPTER XIX
OxipizINc Copprr SurRFACES:—Verdigris Green Finishes—
Natural Copper Patina—Formulas..........-see cece eee
es nis cu ¢ cw abies vial weiss hie ave eG nue ees en aa
272
285
299
316
344
350
374
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ILLUSTRATIONS
PAGE
1—Standing Property in the United States...... 18
2—Illustrating the Need for Painting............ 19
3—Hog Bristles and Horse Hair.............+-. 23
4—(A) Showing the Distribution of Bristles
(B) How a Toppy Brush Flares Out
(C) Showing the Shape of Good Brushes.... 26
5—The Principal Parts of a Brush.............. 28
6—What Happens to a Brush not Cleaned Soon
Enough or Improperly. The Paint, Varnish or
Shellac Brush Becomes Hard up Next to the
Metal Ferrule Binding.........cccceceescees 32
7—Types of Brush Keepers in Use..........-+-- 33
8—Working the Brush into the Paint............ 36
9—(A) One Way to Hold a Brush for Large Flat
Surfaces. Rather an awkward hold for some sur-
faces, but a good change to rest the hand.
(B) The Common and Correct Holding of a
Brush ..ccccsceccocccers adukeCate nun'b¥ais reli <rshetn ste 37
10—A Brush Worn into a Fish Tail Shape. From
exerting too much pressure in the center...... 38
11—(A) An Oval or Round Brush. Note bristles
chiseled on two sides
(B) When the brush is allowed to turn around
in the hand while working it is worn into a
point and is then useless..... “Faces eo 39
12—(A and C) The brush used at too great an angle
(B) Keep the brush working as nearly at right
angle to the surface as is practical, not inclined
too much as in A and C
(D) Showing what happens to a brush used.
habitually at too great an angle.........++++. 40
13—A brush used in a poking manner soon gets out
of shape. The bristles get crooked and the flag
ends turned out of shape......... er Cb 42
14—A big brush which was improperly used endwise
to do the work of a small brush on narrow
MOUIGINGS ...ceeccecceceeceeceescsrerrres Cesmyae
15—Lay the brush on the surface to draw the bris-
tles out to a sharp edge. Then a clean, straight
line can be painted on sash, panels and trim.. 43
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ILLUSTRATIONS:
PAGE
16—(A) The method used to bridle brushes by
binding with twine
(B) The metal bridle put on by brush manu-
facturers; in common use NOW..........-..00- 45
17—A Flat Wall Brush....... 4 oRils.ci0 4 ee eee . 46
18—Flat. Wall Stucco Brush. 2.0... 2. scene 47
19—Flat Wall Brush with Metal Wedged Binding... 47
20—Oval Varnish or Paint Brushia2. eee eee 48
21—Fiat Sash Brush... ..os9.ls os see eeneeneee ete ee 49
22—Oval. Sash Brush. <4. 0+ «1 lee 49
23—Flat Varnish Brush. ....:s\.. <r ie eee 50
24—-Water Color or Cover Brush.................. 50
25—Flat Calcimine Brush... 22. Segre re ieee 51
26—Dutch Calcimine Brush:.. sass eee ies 52
27—Whitewash “Brush. .. 000600 sesso eneeetnle «8
28—Round Duster Brush... .<svesscs. cewek wean 53
29—Flat Duster Brush... ccc. cceeassseuenscesane 54
30—Wall Stippling Brush......... eae aib.6 Web dnaes arene 54
31—Flat Artists’ Brosh}... 2.2 ss assem ea BD
32—Fresco Angle Liners.............. Ee rt 56
33-——Flat Roof Painting ‘Brushi.>.,, 3179 eee 56
34—Round Roof Painting Brush.................. 57
35—Floor Waxing’ Brush... ..s. + sat eee 57
86—Brick Liner’ Brush... 7% o:.0 0 see eee eee 58
37—Stencil Brush 20.0.0. anen 5 50s oe 58
38—-Freseo Stencil’ Brosh. . >. ssa). sateen 59
39—Soft Flowing Brush... 2330. 59
40—Fitch Flowing’ Brush... .'.. 02s epee een 60
41—Badger Flowing’ Brush... 25 «.c.ssieeeeneee 60
42—Flat Color Brush, . . 3:1. << is ele uneeetmnnea ener 61
43-——Badger. Hair Blender. ... .i.cn)m ieee 61
44—Graining Stippler . os sshd steele ean eh ee
45—Binks No. 105 Airway Paint Gun (top)
DeVilbiss Type A Spray Gun (bottom)...... 65
46—Matthews Material Gun, Volume F, (top)
Beach Model A-1 Air Brush (bottom)........ 66
47—Wold Air Brush D-1 (top)
Paasche Air Brush Type N&S (bottom)...... 67
48—-Sprayco Model 7-A Paint Gun (top)
MaeLeod Paint Sprayer (bottom)....... ie veeoe
49—(A) Eureka Spray Gun 135
(B) Simons Paint Spray Brush......... she 69
50—Air Storage Tank, Air-Cooled Compressor and
Automatic Governor Unloader.,.. s'stss sian 70
51—Paint Storage Tank. .... 02a co.cee enee 73
52—Air and Material Regulating Device.......... ar
58—Oil and Water Separator......... 0.0 Fase 78
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ILLUSTRATIONS
PAGE
54—Air Compressor and Power Unit Mounted on
RL CG ined as a a 66 oi Widnleaeues seie-s piatats wees Pe
55—Whitewash Spray Pump........... Hie ese ste ves 80
56—Spray Tank and Pump..........sseeeeeeeees 81
57—Painters’ Trestles ........-e+sseses Walsta'a's = wis 84
58—Combination Trestle and Step Ladder......... 86
59—Steel Trestle .......-cesecsceccees Brete ola eiehe 87
60—Adjustable Steel Trestle.........seeeeeeseees 87
G1—Step Ladder .....seeeeeceereceersceererecee 88
62—Single Long Ladder............-+ seer eeeeee 89
Go extension LAdGer 8.0... ee ee eee eens 89
Peeeriattorm Ladders 2... 06 ee eee of
65—Ladder Extension Feet.......:......eeeeees 92
66—Steel Ladder Shoes.........:-.-s eee eeeeececs 93
67—Rung Ladder Repair Plate.........--+++-e+e- 93
G8—Ladder .Brackets .......6-.-- cee ene rere weece 94
69—Roof Ladder Hooks........-+-s-sseeecceceee 95
70—Window Bracket ........ceeecseecceesesccece 95
71—Adjustable Folding Scaffold.........seeeeees pee
71-A—Safety Extension Trestle........sseeeseeee 97
72—Special Scaffold Units to be Assembled for Any
OW Uae sve voices Pitestes Aig ates cele wiasn vcciciniy 69's
73—Ladder Bracket .....csesessececcessrcseseres 98
74—Safety Ladder Bracket.......eeeseseeeceees 98
75—Adjustable Leg Step Ladder..........-+++++ 99
WO—Swing Stage .....ccssvesercssrsecsresereccs 100
77—Swing Stage StirrupS......-.-+-+-sesssereees 101
78—Swing Stage Ladder Bracket........+++++++- 102
79—Cornice Hook Extension Bracket.......+.-+++- - 103
80—Pulley Block for Swing Stage Fall Ropes.....- 103
81—Swing Stage Rope Falls........seeeeeeeeeees . 104
82—Hoisting Machines ......---seseeeereeereres 109
83—Proper Placing of Cornice Hooks........-.-- 112s
84—The Rope Lookout.......eeeeeeereeeererccee 114
85—Cantilever Lookout ....seeeeeeeeeeeeeces te ees
86—Ropes, Knots and Hitches........+++eee-eees 115
86-A—Method of Rigging Fall Ropes for Swing
BtAEG i icc ha sive es tcwccoe sew ewerseccesoene 116
87—Special Built-up Scaffold......+++eeeeeeeeees 117
88—Seaffold Built up with Lumber..........+.+. 119
89-—Sawhorse Scaffold on Wheels for Spray Painting 120
90—Blow Torch Paint Burner......... Beslw alnrvlete's,« 122
91—Acetylene Gas Paint Burner.......-++-+++++- 124
92—Putty Knife ......:.-sssescessersrccrsecers 124
93—Scraping or Stopping Knife and Glass......-. 125
94—Rubbing Pad ......-sesceccescscescrsceeces 125
95—Brush Extension Handle..........-+eeee reece 126
96—Paint Strainers ......cceeeececereesrescecces 127
97—Paint Mills for Grinding.........+seeeeeeees 128
98—Paint Mixing MachineS..cesssssereresrreces . 129
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ILLUSTRATIONS
PAGE
99—Mixing Paddles .. «ci. sas. ss» «6 ene 130
100—Palette Mixing Knife.......... "sso. Oelne Seneete eee 131
101—Pots and Tubs for Paint Mixing...... Paia o taeeany 131
102—Paint Agitator of a New Type........0.2.4.. 132
103—Steel Wire Brushes for Cleaning.............. 133
104—Sand Bellows <... sos ss sds ¢ be diana 134
105—Bung Spout, Gate and Faucet................ 135
106—Moulding Seraper .525.0... sacs een Paes tloe
107—Ship Scraper... 0s cis esis stele oleae eee 136
108—Glass Cutters 2. : 3.4 ses 'ely nis 9 Geen 136
109—Glass ‘Pliers... .5'. «0 <« ¥ 3 -y1sie1s en 137
110—Glaziers’ Hammer. 0.5). \c a cee een 137
111—Automatic. Putty Guns). gi eee ee 137
112—Glass Cutting Board... .2%..)c:nmeeeeee 138
113—Glaziers’ *¢T’? “Square: 2.5: ae eee 138
114—Glaziers’ ‘*L?’ Squares, ccs eee eee 139
115—Floor Surfacing Machines. ii) 5 eee 140
116—Electric Floor Finishers.; 12. ene 140
117—Hand Made. Floor Surfacer. 2o2 eet ens 142
118—Sandpaper Holder 43... 20.5 ane 143
119—Pointing Trowel ..... 0 6 60 0:6 cnek grain ne irom beak 143
CARDS 02:15 x disbale ot eins. gt ea ae os go's sateen Mette Ligs pn as
120—Home Made Paint Scrapers....2:222.1.5..+-08 251
121—Sand-Blast and Spray Painting Machine...... 253
122—Pneumatie Air Rust Sealing Hammer.......... 254
123—Revolving Steel Wire Brush. «is sicol's: abmabibe Fapirah oust ky «ane
124—-Simple Building Outlines for Estimating...... 286
125—Surface Areas of Structural Steel............ 293
126—Weight Per Foot of ‘‘I’’ Beams............ 293°
127—Weight Per Foot of Channel Irons............ 294
128—Weight Per Foot of Angle Irons.............. 294
129—Average Steel Bridge for Estimating.......... 295
130—Simple Forms of Bridge Units..............4. 295
131—An Average House to be Painted............ 301
132—Method of Using the Paint Burner Torch...... 310
133—Fan and Cone Sprays. «sos <s0c eens 325
134—The Nozzle Cap of a Spray Gun. "Showing the
Spreader Air Passages..°. ..)).:.eeeelneenennenn 326
135—Holding the Gun at the Correct Angle Reerry: 326
136—Correct and Incorrect Angles for Holding the
Spray Gun for Best Restilts:. 2... 327
137—Rough Paint in Folds or Ripples Caused by Hold-
ing the Spray Gun at the Wrong Angle........ 328
138—The Distance of the Gun from the Surface and
the Result. . 2.6.00. ss 00s sieis ies eee 329
139—Defective Painting Done by an Unclean or
Damaged Spray Gun Nozzle.y >... opieerennenene 334
140—Dipping Shingles in Stain. 3.2. puma 345
141—A better Paint Shop Plan. For efficient opera-
tion and all year round work..........sses- coll
HOUSE PAINTING METHODS
With the Brush and Spray Gun
CHAPTER I
A SURVEY OF THE MARKET
Man’s basic need is for shelter. Home buildings are
essential, and in the United States alone, with its popu-
lation of over 110,000,000 and 24,000,000 families, the
fundamental stability of the building industry is well
established, as it is in Europe and over the entire world.
In consequence the painting and decorating business
as an important part of the building industry is in a
very strong position in its relation to economic wealth.
The market for the services of the painter and decorator
is broad and permanent. It can be made even larger
in proportion to the progress made in selling and gen-
eral business ability by painters and decorators of
today.
It is commonly estimated that out of the more than
$11,000,000,000 worth of standing physical property
in America not over twenty-five per cent is protected
with paint. So, the seventy-five per cent of this huge
sum represents a potential market of great size. And
this doesn’t include the normal increase of new build-
ings which occurs every year.
The four great markets for the services of painters
and decorators are these: (1) residences, (2) factory
1%
18 HOUSE PAINTING METHODS
and other industrial buildings, warehouses ete., (3)
retail stores and other mercantile property, and (4)
public buildings.
It was caleulated by the ‘‘Save the Surface Cam-
paign’’ that the total amount of property in the United
States needing the protection of paint and varnish, as
nearly as could be estimated, is over $111,264,783,000.
This enormous figure was divided as indicated in Plate 1.
Plate 1.—Standing Property in the United States
This is a part of the physical property in the United
States—it does not attempt to include nor is it possible
to calculate, the value of all the property in this country
which deserves the constant protection of paint and
varnish.
A further analysis graphically illustrated in Plate 2
was made in this manner:
A SURVEY OF THE MARKET 19
Plate 2.—Illustrating the Need for Painting
These pictures in Plate 2 tell the story of how badly
paint and varnish is needed and how big is the oppor-
tunity for all of us. |
Add the values together and we find that these
various kinds of ‘‘standing property’’ are worth
$84,000,000,000. Of this total amount only $21,000,-
000,000, or twenty-five per cent, is being properly pro-
tected by paint and varnish. That means there is $4.00
worth of business for you for every $1.00 worth you are
now doing.
Not long ago a survey was made in an average
American town just to see how much paint and varnish
and its allied products were needed. The population
of this town was 6,000. Here is what was actually
needed by property in that town.
20 HOUSE PAINTING METHODS
35,200 gallons of paint (all kinds)
6,600 gallons of varnish (all kinds)
5,000 gallons of enamel and bronze
$15,800 worth of putty, cleaners and supplies
55,000 hours of labor
Doesn’t it begin to look as if there is plenty of room
for all of us to grow? Of course there is, and will be,
as long as the country is under painted.
These figures, of course, present a broad, national
view of the market. In many localities there are times
when there are painters without work to do. The prop-
erty is there needing the protection paint affords but |
the painters have not developed their selling ability
to the point where they are able to convince prospec-
tive customers that it pays to paint. That is a matter
of education required by both painter and property
owner and considerable progress is being made in both
directions.
Purposes Served by Paint——Without considering the
use of paint in the industries for merchandise, paint,
varnish, enamel, stains and other coatings serve four
vitally important purposes:
(a) Preservation—Without the protection of paint
wood decays and is destroyed by the elements just as
certainly as by fire. Fire, indeed, is simply quick
oxidation of wood, while decay is slow oxidation. That
a building may be destroyed by fire is only a possibility ;
that it will be destroyed by decay is a certainty unless
protected by paint on its exposed surface. Deteriora-
tion of most things starts on the surface—paint pre-
vents the start.
Fire insurance doesn’t cover this kind of loss, yet the
annual loss by deterioration of building surfaces by
decay is several times the loss by fire destruction.
(b) Decoration is the second most important pur-
pose served by paint, varnish, enamel, stain, ete. The
appeal of beauty and pleasing decoration is a much more
A SURVEY OF THE MARKET 21
powerful force toward selling the services of painters
and decorators to most people than are the hard facts
and logical arguments based upon the need for preserv-
ing property from decay.
(c) Sanitary qualities of paint and other decorative
coatings are convincing facts. Not only does painting
have its own antiseptic value, but the cleaning which
precedes painting also is a valuable factor.
(d) Better lighting is an important purpose served
by using light colored paints and other coatings. Nat-
ural light is greatly increased thereby and also greater
efficiency of artificial lighting is noted from the use of
paint.
CHAPTER II
BRUSHES FOR PAINTERS AND DECORATORS
DESCRIPTION, USES AND CARE
Men who buy and work with these tools are not
especially interested in their history, nor yet in the
considerable detail of their manufacture. Yet there
are certain detailed facts about brush materials and con-
struction which contribute to a better understanding
of the use and care of brushes. We will, therefore,
first touch upon the outstanding facts concerning brush
materials and construction.
Bristles for’ Brushes—The most important part of
a brush is the bristle which goes into its make-up. So
far no material which is as good as hog bristle has been
discovered or manufactured. <A close examination of
bristles shows that they are composed of a horny sub-
stance of an elastic nature possessing excellent wearing
qualities. Bristles in former years came in greatest
quantity from China and in best quality from Russia.
Germany and France also supphed quite a large volume
of bristle.
Originally Russian hog bristles were used exclusively
in all of the large paint and calecimine brushes as well
as in stippling brushes. The best bristles have come
from animals reared in cold climates. The more nearly
the animals approach the wild state the better the
quality of bristles produced. The bristles of the
Russian hogs, as a rule, are longer, thicker and have
larger flag ends. Furthermore, the flag ends continue
to form by splitting the bristle shank as the bristle wears
22
BRUSHES FOR PAINTERS AND DECORATORS 23
off. This is not true, to the same extent at least, of
bristles coming from other countries.
A close study of hog bristle with a microscope shows
that in reality the bristle is a hollow tube which tapers
from a larger diameter at the root to a smaller diameter
at the tip where it branches out into the flag ends. This
flag end of each bristle is like a little brush in itself
and that is responsible for the ability of a paint brush
to pick up and carry a large amount of paint. See
Plate 3.
Hog Bristle
Horse Hair
Plate 3.—Hog Bristles and Horse Hair
French bristles in the fine, white, soft grades have
for many years been used for fine varnish and finish-
ing brushes. In later years, however, Chinese bristle
has been used and has given the best of results both
as to working qualities and durability. Some believe
the wearing quality of Chinese bristle is superior to
French bristle as the brushes do not seem to get stubby
so quickly.
The great bulk of bristle used in recent years is
black and comes from China. Oval varnish brushes
are made of practically all Chinese bristle and many
believe that there has never been better stock for the
uses to which this style of brush is put.
Chinese bristles make brushes which can be sold for
a lower price than Russian bristle, although they do not
wear as long. The long, tough Russian bristle resists
24 HOUSE PAINTING METHODS
wear and abrasion successfully, but their greater cost
would seem to offset this advantage.
Russian bristle ranges in length from 34% to 7 inches;
French bristle ranges in length from 2 to 4% inches;
Chinese bristle ranges in length from 2% to 7 inches.
As to the color of bristle there is practically no pref-
erence. Color has little bearing, so it should not matter
whether your brush is white, gray, yellow or black
or mixed colors. The qualities of bristles which count
in making of first class brushes are length, elasticity,
solidity and uniformity. The Chinese bristle is black
while the French bristle is white. Russian bristles
are white, yellow or gray. Years ago gray bristle
did not receive the care and attention in handling that
white did. All brush makers now thoroughly sort, wash
and give gray bristle a slight bleaching to insure clean-
liness.
There are substitutes for hog bristle in the brush
industry just as there are substitutes for the best raw
materials in other industries. Manufacturers are led
to a use of substitutes to some extent because some
people buy on the basis of low price and because there
is keen competition in the manufacture and sale of
brushes. The principal substitute for hog bristle is
horse hair taken from the manes and tails of horses.
A great deal of horse hair comes from the state of
Texas. The distinguishing feature between horse hair
and hog bristles is that the horse hair does not contain
the elasticity and life that we find in bristle. Horse
hair does not have the flag or split end like the bristle.
Horse hair does not retain its stiff character when
immersed in oil and, furthermore, not having the flag
end it does not pick up and hold paint like hog bristle.
It, nevertheless, has a place in good brushes when used
by expert manufacturers who know its limitations.
Another material used in cheap brushes, as a substi-
tute for hog bristle, or for mixture with bristle is known
BRUSHES FOR PAINTERS AND DECORATORS 25
as tampico. It is a grass fibre which grows in South
America and Mexico. This fibre does not compare at
all favorably in wearing quality with hog bristle. <A
brush made largely of tampico, which is a coarse fibre,
will do rough work and show brush marks. Tampico
is useful principally for whitewash brushes, dusters,
floor brushes, etc.
Artists’ brushes and those made for sign and show
card writing are made from hog bristle, from black or
red sable and from ox hair.
Materials other than high class hog bristles serve
useful purposes in some brushes. For painting metal
surfaces brushes may be better for having a proper
percentage of horse hair in their make-up. It is true
that horse hair makes brushes less elastic, but since
the paint doesn’t have to be worked into the surface
as into the pores of the wood, at least not to the same
extent, there is no objection to a certain amount of
horse hair. In fact, it is an advantage, because it
resists wear by abrasion better than hog bristle does.
The life of the brush is thus increased.
Brush Construction.—Brush making today is in the
hands of manufacturers who, fo. the most part, have
spent a great many years in developing this art to its
present state of scientific efficiency. You may depend
upon it that the reputable manufacturers of standard
advertised brands have developed brush design and
construction to gain the utmost of desirable working
qualities and durability from their tools.
A properly designed brush contains bristles of several
lengths. Note illustration Plate 4. If the bristles were
all of one length the brush would be ‘‘toppy’’—it would
flare out at the bristle ends. Many a brush is bought,
because it looks full when, as a matter of fact, it is
only a ‘‘toppy’’ one and may, in fact, contain too much
horse hair. As soon as the flag ends of the bristle wear
off the brush will leak, splatter and be so floppy as
26 HOUSE PAINTING METHODS
to be unmanageable. A brush of good construction with
several layers of bristles of different length retains
its good working qualities for a long time. When the
flag ends of the first layer of bristles wear out the
flag ends of the second layer come into use, then the
: : 1 | | if
cn
ny
Ail
i
Hd)
t
B Cc
Plate 4.—(A) Showing the Distribution of Bristles
(B) How a Toppy Brush Flares Out
(C) Showing the Shape of Good Brushes
third layer, the fourth and so on. And all through the
life of such a brush it will carry more material and
lay off a smoother surface than a toppy brush or one
having too much horse hair in it.
The use of bristles of several lengths not only has
the above practical advantages, but it enables manu-
facturers to use short bristles as well as long ones.
That decreases the price of good brushes.
BRUSHES FOR PAINTERS AND DECORATORS 27
The next important point for mention is the manner
in which the bristles are secured, or bound together
and to the handle. In past years we have used several
methods for this purpose. There were cement-set and
glue-set brushes. More recently we have the bristles
vuleanized in rubber, we have bristles set in inert chem-
ical cement and we have them compressed with metal
ferrules and held in place by force.
There are various ways of mechanically setting the
pristles within metal ferrules which are compressed by
machinery into a permanent fastening of bristle ends.
In some types the bristles are placed within the metal
ferrules and swedged or forced into a permanent hold
with plugs or wedges.
With most of the brushes on the market today it
is no longer necessary to caution against the use of
elue-set brushes in water, or of cement-set brushes in
alcohol, or shellac. The modern brush factories use
cements which are chemically inert and are not affected
by oil, turpentine, alcohol, water or other solvent liquids
in which they are commonly used.
There are other materials which enter into brush
manufacture. (Note Plate 5 for the principal parts
of a brush). Handles, ferrules, nails, paint, varnish,
paper boxes, labels, rubber, shellac, glue, rosin and
pitch, depending upon the kind of a brush and the
purpose for which it is made.
WHAT MAKES A GOOD BRUSH?
What are the differences between good and poor
brushes? One may go into a painter’s supply store and
see 414-inch flat wall brushes which sell for about two
dollars and the same size and type of brushes which
sell for six dollars. Why the difference in price?
The higher priced brushes are made carefully and
with the utmost of skill possessed by responsible, able
manufacturers. They are made to possess the finest
28 HOUSE PAINTING METHODS
working qualities and greatest durability. From that
standard on down to medium good, fairly good, to cheap ~
grades, the brushes are made as good as they can be
made to sell for the prices which mechanics are willing
to pay. It’s the same old law of compensation working
Root Ends of hat Heeb
Ferrule mn ep
Flag n isles
Plate 5.—The Principal Parts of a Brush
out here as it works out all through life; you get what
you pay for. When you pay a lower price than is neces-
sary to buy a brush with the utmost value in working
qualities and durability, you get brushes of less value in
proportion to the price paid.
A comparison of the best brush listed in a painter’s
supply catalog with the cheapest brush listed in the
same catalog at the same time should be of interest.
Take two 4-inch flat wall brushes.
The best brush listed in this size has black Chinese
bristles 484 inches long. They are clean, straight as
an arrow, bright and very springy. The design of the
brush is excellent, well balanced, feels right and has a
trim, handsome appearance. Russian gray or white
bristle is not used in and is not needed for this type of
brush. Few except calcimine and stippling brushes are
made of Russian bristles, and the cost of these is so
high as to give one pause.
The cheapest 4-inch flat wall brush listed in this same
BRUSHES FOR PAINTERS AND DECORATORS 29
eatalog has black Chinese bristles only 35 inches long
and of a quality which is noticeably poorer, even to one
not expert in bristle judgement. And while even this
cheap brush, which sells for about one-fourth the price
of the best brush listed, has a nice appearance, there are
vast differences in working qualities, by which is meant
that the best brush holds more material, doesn’t leak
and spatter as the cheaper one is apt to, cuts a clean,
sharp edge along casings and trim work generally, is
more springy and elastic and lays off a smoother coat-
ing of more uniform thickness than the cheaper brush.
And, obviously, the more select, stronger bristles 43/,
inches long in the best brush will make that brush last
longer in service than the poorer quality bristles 358
inches long. In the better brush you have bristles 1144
inches longer.
There are necessarily other differences in quality of
materials, in construction and workmanship between
high class brushes and those made to fit a low price.
Cheaper brushes are made of bristles left over after
the best grade and several next best grades have been
selected for length, size, solidity, elasticity, flag ends,
ete. Then the best bristles are given much attention to
take the natural curl out of them permanently, to clean,
dry, sort and assemble them into various lengths needed
for each type of brush. In cheaper brushes the poorer
bristles are apt to be used almost raw with only enough
treatment to take out the curl temporarily. When the
brush is used in liquids a while the bristles may go back
to their natural curl;—a crooked, shapeless, twisted
brush results, a tool which cannot be managed on first
class work.
Cheaper brushes may contain too large a percentage
of horse hair or even tampico instead of having hog
bristles predominant. They are soft and floppy. You
ean’t do good work with them.
In the matter of settings, good brushes may be set in
30 HOUSE PAINTING METHODS
cement which is chemically inert and not affected by
such solvents as alcohol and can be used to spread any
of the materials commonly used in painting and deco-
rating. Cheap brushes may have bristles set in poor
cement or shellac, glue, pitch or rosin which will not
hold them in place for a reasonable length of service;
they will continually shed bristle.
Good brushes may have bristles set in metal ferrules
so tightly compressed or wedged in place as to perma-
nently prevent any shedding of bristles. Yet cheaper
brushes may have nice appearing metal ferrules of im-
proper design or which, because of poor workmanship,
fail to hold the bristles permanently in place.
Bristles set in rubber would seem to solve all diffi-
culties from shedding, yet that is not always true.
Many high class brushes are set in rubber. If, however,
the bristles are allowed to get too hot during the vul-
canizing process they become brittle and break off,—
the brush sheds bristle the same as any cheap brush.
The rubber settings of many high grade brushes are
now made with the rubber in solution and little heat.
Except for the occasional carelessness of a workman
rubber settings prove very satisfactory in service.
The final factor to consider is the matter of brush
design. It is possible to make brushes of excellent ma-
terials and still be so faulty in design as to leak, spatter,
wear into improper shape quickly and fail to do good
work. Long experience and study have equipped most
brush manufacturers with a knowledge of correct shapes
and sizes necessary to produce successful brushes for
each type of work.
How To Care For Brushes.—As important as it is to
have and use high class brushes for first class work, it
is equally important to learn and practise the proper
care of them. Obviously, it is wasteful and expensive
to neglect through indifference or ignorance the care of
any brushes and especially good brushes. When to
BRUSHES FOR PAINTERS AND DECORATORS 31
elean brushes and how you do it are of considerable im-
portance.
The time to clean brushes is immediately after using
them, or within an hour or so of that time. If a brush
is to be used again next day in the same paint it is best
to put it into a pot of linseed oil over night. The oil
should cover the bristles and come up on the ferrule an
inch at least. The bristles should not touch the bottom
of the pot. A hole should be drilled in the handle of
every brush so that it may be suspended from a nail or
wire hook to take the weight off the bristles. When the
bristles touch the bottom of the pot or tub in which
they are kept in an oil bath, they bend all out of shape.
You will then have a crooked brush which cannot do
good work; it will not cut a clean, sharp edge.
When it is not possible to suspend a brush in an oil
bath to prevent the paint in it from getting hard, two
other means are at hand. Wipe the paint out of the
brush as much as possible on a board or with rags, then
wash out the balance of the paint—all of it—in a pail
of benzine, gasoline or kerosene. Lay the brush away
flat on its side with all bristles straight to dry.
Brushes used in shellac and shellac substitutes may be
suspended by a wire or holder in the pot of shellac, but
it is much better to wash them out clean in alcohol as
soon as you have completed the job, and every night.
These materials dry so quickly that to fail to wash out
the brushes soon after using them means a ruined brush,
or at least a ‘‘seedy,’’ ‘‘lousy’’ brush. The shellac be-
comes dry up in the root ends of the bristles, and while
you can remove most of it with alcohol, little specks will
ayways remain, making the brush unfit for any except
rough work. See Plate 6.
Brushes used in varnish or enamel may be suspended
in a bath of linseed oil or varnish over night or from
job to job. Varnish brushes kept in an oil bath should
be wiped free from oil before using in varnish again.
32 HOUSE PAINTING METHODS
If this is not done the only other safe procedure is to
wash them out clean with turpentine, lay them out flat
with bristles straight to dry. Benzine or gasoline will
clean varnish brushes only fairly well. They do not
cut some varnishes at all. Turpentine is better.
Brushes used in aluminum or other bronze paints
should be washed out clean immediately after using.
Benzine, gasoline or alcohol should be used for wash-
ing.
Keeping Brushes for Long Periods.—In the shop the
best way to keep brushes in first class condition is to
Plate 6.—What Happens to a Brush not Cleaned Soon Enough
or Improperly. The Paint, Varnish or Shellac Brush
Becomes Hard up Next to the Metal Ferrule Binding
Suspend them in a bath of raw linseed oil. If a little
turpentine is added and a little more oil from time to
time the oil will not become fatty or rancid. The oil
should be changed every few weeks. Varnish brushes
may be kept in the oil bath, too, or in a bath of spar
varnish.
Plate 7 illustrates good brush keepers. One metal
lined with galvanized iron or zine, the other a common
wash tub or half of an oil barrel. The oil or varnish
level should be kept high enough in the tub or trough
completely to cover the bristles and about one inch of
the metal ferrule or strap of the brushes. Otherwise
the oil will dry a bit about the bristles where they enter
the ferrule and a ‘‘seedy,’’ ‘‘lousy’’ brush will result.
Perhaps the most important point about a brush
keeper is that it must be so arranged as to keep the
bristles at least two or three inches above the bottom of
the tub or tank. Under no circumstances should the
BRUSHES FOR PAINTERS AND DECORATORS 33
brushes be stood on the bristle ends in the bath. Hog
bristles are by nature curly or crooked. It takes long
and expensive processes in the brush factories to make
the bristles straight. A day or two will ruin the shape
of the best of brushes when they are stood on bristle
ends. Then the brush will not cut clean, sharp edges.
It will be so out of shape as to be difficult to manage,
and will not do good work ;—it may leak and spatter
excessively.
Se etal
4 Oil Level jiisan ‘
: aa
3
: Galvanized Jror
4
Plate 7.—Types of Brush Keepers in Use
The oil ig a paint solvent. The paint left in brushes
when placed in the bath gradually drops out of the
bristles and settles in the bottom of the tank. This is
another reason for keeping the bristles off the bottom
of the tank. The tank must be cleaned occasionally
to remove this paint accumulation. If the tank is con-
structed with a false bottom or loose pan, the cleaning
ean be done quickly and without removing the oil from
the brush keeper tank.
SS
34. HOUSE PAINTING METHODS
Paint and varnish should be wiped and roughly
washed out of brushes before hanging them in the
oil bath. That keeps the oil clean longer.
Brushes used in aluminum or other bronze paints
should not be suspended in an oil bath with paint and
varnish brushes. It is quite impossible to wash bronzes
out of brushes until washed and used several times.
Some of the bronze can be shaken out when the brush
is dry. If a bronze brush is put in the oil bath the small
particles of bronze work their way into nearby brushes,
causing rough paint and varnish coats later.
Water is the one liquid in which paint and varnish
brushes should never be placed. You can find many
painters and decorators who have the bad habit of keep-
ing brushes over night and in the shop in a water bath,
but it is a vicious habit just the same, and it ruins thou-
sands of brushes for good work. An examination of hog
bristles with a microscope shows one that each bristle is
hollow like a rubber hose. When a brush is put into a
water bath each bristle fills with water. The next time
you put the brush into paint or varnish the holes in the
bristle ends are sealed and the water remains indefi-
nitely. Then you have a soft, flabby brush. « The spring
and life is gone out of the bristles and sometimes
water will swell the wood handles of a brush enough to
break the metal ferrule. Then the brush goes to pieces
shortly. Also water is not a paint solvent. It allows
the paint to dry hard in little specks up in the heel of
the brush or roots of the bristles ;—a ‘‘seedy,’’ “‘lousy’’
brush results. The little specks drop out as you brush on
the paint, varnish, enamel, etc., and a rough and dirty
surface results. So keep your brushes out of water. It
will pay in the longer life and better work of your tools,
Brushes which are not to be used for several weeks
or months should be washed thoroughly in turpentine,
benzine, or alcohol in the case of shellac tools. Be very
certain all material is washed out of the bristles at the
BRUSHES FOR PAINTERS AND DECORATORS 35
heel—up next to the ferrule. Wrap each brush in paper
held in place with string or a rubber band.
Then lay the brushes flat on a shelf with all bristles
straight. Put some moth balls about the room. Moths
lay eggs in bristles. Some painters make a thick lather
of linseed oil soap and water and work this into the
bristles and over the ferrule to keep them in good con-
dition over winter.
The room where brushes are stored should be cool
and even a little damp. Never store brushes on top
shelves in a steam heated room.
Reclaiming Hard Brushes——When a brush has been
neglected to the extent of allowing the bristles to become
cemented together with hard dry paint it is seldom pos-
sible to put the brush into first class condition to do
good work. It can, however, be reclaimed for use on
priming coats, roof painting and other rough work.
It is easy to spend more time trying to reclaim a brush
than it is worth.
There are on the market several prepared solvent
materials which clean and soften hard brushes simply
by soaking. ae
When there are several brushes to be reclaimed you
can accomplish the work by soaking them in what is
ealled Downie’s formula :—
Submerge the entire brush in a metal tank filled
with a solution made by thoroughly mixing :—
1 gal. denatured alcohol
1 gal. water white benzol 188 proof
1 gill muriatic acid
If a small quantity is to be mixed keep to the same
proportions. Soak the brushes in this solution for 24
hours. Then remove each brush and scrape out the
paint, using a putty knife or steel comb. Wash free
from grit and small particles of paint by submerging
the brush in a pot of benzine, gasoline or turpentine
36 HOUSE PAINTING METHODS
and working the liquid through the bristles with your
fingers. By this method all old and neglected brushes
may be redeemed and they will be found useful for
some purpose.
After cleaning the brushes in this manner they may
be soaked with kerosene and laid flat on a shelf where
they will remain soft. If the cleaning has been thor-
oughly accomplished the brushes may be stored and
allowed to dry ;—the bristles will remain soft.
Paint and varnish removers are successfully used for
reclaiming hard brushes but as a rule they work more
slowly than the above solution. i
The Use of Brushes.——The first consideration about
Ny
Plate 8.—Working the Brush into the Paint
using a new brush is to see that it is clean. Of course,
it looks clean and the manufacturers have made an
earnest effort to have the brush reach you in a clean
condition. They have shaken out most of the loose
bristles by machinery designed for that purpose, but
BRUSHES FOR PAINTERS AND DECORATORS 37
you may find a little dust and a few loose bristles in
a brush. Hold the brush in one hand, carefully work
your fingers through the bristles and shake the brush
gently to jar out everything. Do not pound the ferrule
of the brush on a board, as that will damage the handle
and setting. Now wash the brush out in benzine and
shake it dry.
Plate 9.—(A) ie Way to Hold a Brush for Large Flat Sur-
faces. Rather an awkward hold for some
surfaces, but a good chance to rest the hand.
(B) The Common and Correct Holding of a Brush.
When a new brush has been made clean, carefully
work the paint into it by dipping the bristles into the
paint only about an inch or two. Then wipe the paint
off on the mixing paddle. Repeat this two or three
times, as noted in Plate 8.
Holding the Brush.—The correct method of holding a
brush is the natural method. Take an easy grip, being
careful not to allow the fingers to extend too far down
on the metal ferrule or the leather strap on stucco
38 HOUSE PAINTING METHODS
brushes. See Plate 9. This is objectionable, not alone
because the fingers become smeared with paint, but
because fingers carried low on the ferrule exert uneven
pressure on the center bristles. The brush is then worn
into a fish tail shape as noted in Plate 10. Plate 9 also
indicates another way to hold a brush to rest the
muscles. There is no objection to holding this way for
brief periods, but it is awkward except for large flat
Plate 10.—A Brush Worn into a Fish Tail Shape. From exert-
ing too much pressure in the center
surfaces; also it tends to make one use the brush at too
great an angle, thus wearing the side bristles making
a wedge shape brush, as per Plate 12.
An oval or round paint or varnish brush is held the
same as a flat brush, but one must be very careful to
avoid letting such a brush twist around in the hand at
work. If that is permitted the bristles will wear all
around the outer edge and to a point in the center
as indicated by Plate 11. The brush is then useless —
for any except rough work; you cannot cut a clean edge
with it. Many such brushes are chiseled on two sides
by the manufacturers. They are, therefore, more
quickly broken in to do nice finishing coats.
BRUSHES FOR PAINTERS AND DECORATORS 39
Spreading Paint.—Every paint brush has a certain
limited capacity to carry a load of paint from the pot
to a surface. The capacity depends upon the con-
struction of the brush, upon the number and arrange-
ment of the flag ends of hog bristles in layers,—some
long and some short, as seen in Plate 4. There is,
Plate 11.—(A) An Oval or Round Brush. Note bristles chiseled
on two sides
(B) When the brush is allowed to turn around in the
hand while working it is worn into a point
and is then useless
therefore, no advantage and considerable disadvantage
in dipping one’s brush too deeply into paint. To dip
40 HOUSE PAINTING METHODS
the brush into the material an inch or two, depending
upon the size of the brush, is sufficient. When you
overload brushes, the best of them will leak and spatter
excessively. A good brush properly used will not leak
and spatter.
It is the bristle ends, not the sides, which carry and
smooth up the paint spread on a surface. Obviously,
then, the more nearly a brush can be used at right
angle to the surface the better. Of course, as you
Plate 12 mae and (C) The brush used at too great an angle
Keep the brush working as nearly at right angle
ie the surface as is practical, not inclined too
uch as in A and C
(D) enowine what happens to a brush used ha-
bitually at too great an angle
swing a brush from side to side it naturally will tilt
first one way then the other, but don’t let the angle
become too acute, nor to assume a position which makes
you lay off the paint with the side of the bristles, and
wear the brush to a wedge shape by destroying the
side bristles. Plate 12 is a diagram showing this point.
When learning to use a brush most effectively a me-
BRUSHES FOR PAINTERS AND DECORATORS 4a}
chanie should cultivate a free and easy swing, letting
the wrist do most of the work. Don’t ‘‘ride’’ the brush,
but take an easy grip and exert an even pressure at
all times to lay on a coat of paint of uniform thickness.
Spread the paint as far as one brushful covers well,
brushing with, not across, the grain of the wood; then
cross-brush the paint and lay it off by brushing again
with the grain. Pick up the sags, runs, fat edges and
run-overs on edges and corners; then let the painted
area alone. Note that the up stroke on a side wall
will lay on more paint than the down stroke, also that
you can make a lighter finishing or laying-off stroke
coming up than you can going down.
The bristles of a brush which is properly used will
wear down evenly and the brush will retain a good
Shape for cutting sharp clean edges until the bristles
become very short. As a matter of fact, the appearance
and shape of a brush, after it has been in service for
some time, is a good indication of the intelligence of
the painter who used it. But what is most important
is that brushes held and used in the correct way do
the best work by spreading the material evenly and
smoothly.
One of the bad habits developed by some mechanics
is that of poking with the brush. That is very hard
service and it soon bends the bristles so much out of
shape that the tool will no longer cut sharp edges or do
smooth and clean painting. See Plate 13. Poking turns
the flag ends of the bristles and destroys the trim shape
of the brush. On very rough surfaces like brick, con-
erete, rough plaster, ornamental iron work, wood lattice
and grills where it is absolutely necessary to do some
poking with the brush it is a good plan to use old
brushes.
Another habit which ought to be avoided is that of
using a large 4 or 41-inch flat wall brush to trim
narrow mouldings and edges. When a large brush is
°
42 HOUSE PAINTING METHODS
used endwise instead of flatwise the corners of the brush
Plate 13...A brush used in a poking manner soon gets out of
shape. The bristles get crooked and the flag ends
turned out of shape
are soon worn off as noted in Plate 14. The tool will
not then enable you to paint sharp, clean edges. It
takes about a minute to change to a flat or oval sash
tool for painting such edges and there really is no
excuse for damaging an expensive good brush in such
a Manner.
Plate 14.—A big brush which was improperly used endwise to
do the work of a small brush on narrow mouldings
The use of a paint brush seems so obvious that it
ought not to require any explanation, and yet many
brushes are badly used. More are destroyed by im-
proper use and care than are worn out in service. That
makes a very considerable expense in the average paint
shop for brushes every year. There is additional ex-
BRUSHES FOR PAINTERS AND DECORATORS 43
pense, also, when a mechanic tries to lay-off a nice
finish with a poor brush, because more time is consumed
in the attempt than if a first class, well shaped brush
were at hand. To get the most out of any brush re-
quires quite as much study and practice as the use of
any mechanic’s tool. Those who are young in experi-
ence, particularly, should practise laying the bristles
of the brush on the surface in such a way as to draw
them out to.a sharp, clean edge, since that is the only
way to spread paint in a clean and even manner along-
side of mouldings, mT etc. Note Plate 15.
\\ MN ih
hy} U it Mit f
\\t ee eo
aii ling N
; |
Plate 15 a the een: on i ate to draw the bristles
t to a sharp edge. Then a clean, straight line
an be painted on sash, panels and trim
When a brush leaks while being used on ceilings or
other overhead work, it is usually because the painter
has overloaded it. Some brushes which are made with
all or most of the bristles of the same length are
‘‘toppy.’’ These look thick and full and to one without
experience would seem to be excellent brushes. They do
not carry as much paint as brushes made with bristles
of various lengths. A toppy brush is apt to leak.
a4 HOUSE PAINTING METHODS
A brush which has been misused by allowing it to stand
on the bristle ends in a pot of water or other liquid
is likely to have its bristles so bent out of shape as to
cause leaking and spattering.
Bridling Brushes—There apparently is not as much
need for bridling brushes today as formerly, at least
the practice is not carried on to the same extent. The
mechanics of the older school considered the ability of
one to bridle a brush as a real test of his training as
a painter just as they considered his ability to mix
paints and colors to be such a test.
The purpose served by bridling is that of shortening
the bristles of a new brush somewhat, before they are
shortened naturally by wear, so that the brush will be
stiffened and not spatter paint around. A brush which
had been bridled was also thought to spread the paint
more smoothly. A brush with extra long bristles
which are a bit soft and too flexible, undoubtedly is
benefited by bridling for a while.
The most common method of putting a bridle on a
brush was to wind the brush with a rough, soft twine
made of cotton, hemp or jute. The smooth, hard twine
is not suitable because it slips off too easily. A fairly
large twine was used on large brushes while a twine of
smaller diameter was used on sash tools. The winding
of the twine is indicated by Plate 16.
DESCRIPTION OF PAINTERS’ BRUSHES
As to style and size of brushes, each painter has his
own preferences. Some prefer the flat, metal-bound
brushes while others are strong in their preference for
leather-bound, flat stucco brushes. Some still prefer
oval and round brushes for large surfaces. What
brush is used most extensively depends somewhat, also,
upon what section of the country you happen to be
BRUSHES FOR PAINTERS AND DECORATORS 45
: 3)
, |
coe 4
(IN
At
ZR"
ae
Plate 16.—(A) The method used to bridle brushes by binding
with twine
(B) The metal bridle put on by brush manufac-
turers; in common use now
located in. In the following descriptions we shall sim-
ply describe each brush and mention the purposes for
which it is commonly used by the average mechanie.
Every painter should pay particular attention, how-
ever, to the various sizes of brushes needed for differ-
ent classes of work. It is very easy to waste considerable
time painting a large surface with a 3-inch brush when
a 4 or 414 inch brush should be used.
Flat Wall Brush, Plate 17—\In this illustration is
shown a flat wall brush, with a beaver-tail handle, made
of black Chinese bristle. This is a fairly stocky brush
SSS Ee
==
<2
ara
nee ESE ES
46 HOUSE PAINTING METHODS
which is made in half-inch sizes from 3 to 5 inches
wide. The bristles vary in length from 31% to 5 inches,
depending upon the size of the brush. A 4-inch flat
wall brush having bristles 414 to 484 inches long is an
Plate 17.—A Flat Wall Brush
excellent tool. Such a brush is used for the applica-
tion of all kinds of paint on interior and exterior wall
surfaces. It is not used for varnish coatings.
Flat Wall Stucco Brush, Plate 18.—In some sections
of the country leather-bound stucco brushes are used
in preference to metal-bound flat wall brushes for the
application of all kinds of paints, sizes and, in fact,
most materials except varnish. These brushes are made,
as a rule, from black Chinese bristle and with a rather
thin pointed handle instead of a thick beaver tail
handle. It is commonly thought that the thin handle
is a bit more comfortable to use. The leather-bound
stueco brush should contain more bristle stock than
metal-bound brushes and it is made in sizes from 3 to
5 inches wide. Probably the best bristle length for a
4-inch brush is about 484 inches. The bristle should
extend all the way through the leather binding in the
best brushes. The cheaper grades of brushes of this
type are plugged in the center of the handle at the root
of the bristle. They are sometimes called solid-center
BRUSHES FOR PAINTERS AND DECORATORS 47
Plate 18.—Flat Wall Stucco Brush
brushes and are not considered by some to be as good
as brushes made without the plug.
Flat Wall Brush, Metal-Bound, Plate 19.—Some
Plate 19.—Flat Wall Brush with Metal Wedged Binding
manufacturers are making a brush today which is de-
signed to possess all of the virtues of the flat, metal
ferrule type and the leather-bound stucco brush. In
these brushes the bristles are firmly compressed and
mechanically wedged into place to assure a firm setting,
or they are set in cement which is inert and not soluble
in any of the liquids commonly used by the painter.
These brushes are made in the same widths—from 3 to
41% inches, and the 4-inch brush of the best quality is
made of bristles 434 inches long.
48 HOUSE PAINTING METHODS
Oval Varnish and Paint Brush, Plate 20.—In former
years the round and oval paint brush was much pre-
ferred for coating in large exterior wall areas. Today
the flat wall brush is used more for large surfaces and
Plate 20.—Oval Varnish or Paint Brush
the oval brush is used’for varnish and painting struc-
tural steel principally. The oval varnish brush today
is much superior to the old style round or pound brush.
It is, as a rule, made with the bristles chiseled on two
sides and with that construction it does nice work im-
mediately. With the old type of round brush it was
necessary for a painter to patiently break in the brush,
which consisted largely in using it in one position of
the hand long enough to wear the bristles on two sides
to a chiseled shape. With the old round brush, if the
painter was not careful to prevent the brush from
twisting around in his hand, the outside bristles on all
sides were worn to a chiseled edge and then the pointed
brush was quite useless for cutting clean, sharp edges.
The oval brush today is made both in solid and open-
center types. The open-center brush is, as a rule, a
better tool and has a greater working length of bristle.
It is easier, also, to keep the open-center brushes clean,
and they do not require a bridle to keep them in shape.
The oval brushes are made in several sizes from 1%
inches to 284 inches. The number 10 brush which is
234 inches wide is usually made with bristles 484 inches
4
BRUSHES FOR PAINTERS AND DECORATORS 49
long. It is an excellent tool for use on all manner of
surfaces with either paint or varnish.
Flat Sash Brush, Plate 21.—These brushes are used
Plate 21.—Flat Sash Brush
for trimming window sash, doors and the trim, gener-
ally, on exterior and interior surfaces. They are quite
similar to flat varnish brushes but have longer bristles.
The bristle is the black Chinese product and the brush
is made up with chiseled sides the same as varnish
brushes. The flat sash is also thinner than the varnish
brush. You cannot trace sash and small mouldings
with a flat brush as thick as the varnish brush. These
sash tools are made in several sizes. Those commonly
used are 1 inch, 114-inch and 2 inches wide. These
sash brushes are made with bristles from 2 to 21 inches
long for best results.
Oval Sash Brush, Plate 22.—These brushes are used
for the same purposes as the flat sash tools described
Plate 22.—Oval Sash Brush
above. They are made of black Chinese bristles in sizes
from Vg inches to 15% inches. The bristle lengths range
from 134 inches to 234 inches. There is little choice to
be made as between the flat and oval sash tools,—some
prefer one and some the other. The flat sash brushes
carry more material than the round and are to be pre-
50 HOUSE PAINTING METHODS
ferred for mouldings and surfaces which are rather
easy to reach. The oval brush on the other hand is
better for window sash and fine mouldings.
Flat Varnish Brushes, Plate 23.—These tools look
Plate 23.—Flat Varnish Brush
very much like flat sash tools, but the bristles, as a rule,
are not so long. The varnish brush, however, is thicker,
has more bristles so that it will carry more material.
These varnish brushes are made in sizes from 1 to 4
inches. The bristle lengths range from 124 inches on
the 1 inch wide brush to 3% inches long on the brush
having 4 inches width. These brushes are made with
black Chinese bristle for most grades, but the highest
quality flat varnish brushes are made with gray, white
or yellow Russian bristle of greater length and more
elasticity. These finer brushes are triple thick and are
especially desirable for spreading enamel. Flat varnish
brushes are made with chiseled sides and the handles may
be round or blunt, tapered and rather sharp, or the
Plate 24.—Water Color or Cover Brush
round beaver tail type. The 114-inch width of flat var-
nish brushes is popular for interior trim on mouldings
and small surfaces, while the 3-inch width is mostly
used for varnishing floors and other large areas.
Water Color or Cover Brushes, Plate 24.—It 1s very
difficult to get a brush which works properly with water
os ——w ee
BRUSHES FOR PAINTERS AND DECORATORS 51
eolor paints. The best brushes of this type are made of
yellow and gray Russian bristles which are 414 to 41%
inches long on the brushes which are 3 inches wide.
These brushes are often made up with yellow bristles on
the outside and gray bristles in the center.
Flat Calcimine Brush, Plate 25.—These brushes are
Plate 25.—Flat Calcimine Brush
expensive tools and, therefore, deserve exceptional care,
not only to preserve them, but to keep them in first
class working condition. The most expensive calcimine
brushes are made of all gray Russian bristles which are
extra long and stiff. The less expensive brushes are
made of medium long black Chinese bristle. These
brushes are made in widths of 6, 7 and 8 inches. The
bristle of the 7-inch finest quality brush is usually about
514 inches, while the bristles of the 8-inch width are
534 inches long. The medium grade of Chinese bristle
brushes comes in bristle lengths of 5 inches and 514
inches for the brushes 7 and 8 inches wide respectively.
The cheaper brushes have bristles from 314 to 44%
inches long. All calcimine brushes are made, as a rule,
with settings which are not injured by use in any of
the solvent liquids commonly used by painters and deco-
rators, although they must not be used in hot lime or
any substance like sal soda which will injure the bristles.
52 HOUSE PAINTING METHODS
Dutch Calcimine Brush, Plate 26.—This type of cal-
cimine brush is preferred by some painters because it
will carry more material than the common fiat type of
brush. The best quality in this brush is made from
Russian bristle of the yellow, white, gray or mixed
Plate 26.—Dutch Calcimine Brush
colors. Chinese bristle is not as good for these brushes.
This brush is made in three sizes with different lengths
of bristle for each size. The sizes are subject to a little
variation depending upon the manufacturer who makes
the brushes;—they may be 23% inches wide by 714
inches long, or 25g inches wide by 734 inches long, or
334 inches wide by 734 inches long. The bristle lengths
vary from 414 to 5 inches and you ean take the manu-
facturer’s judgment for the proper length of bristle for
each size brush.
Whitewash Brush, Plate 27—For factory walls and
other large interior, or exterior surfaces, a brush is
sometimes used on a long pole handle for the application
of cold water paint or whitewash. These brushes are
usually about 8 or 9 inches wide and with bristles 4
or 5 inches in length. The better quality brushes are
made of Russian bristle which is gray, yellow, white or
BRUSHES FOR PAINTERS AND DECORATORS 53
ee ee
VODIVLOHADOVONDGDDDO DV DODVO DNV VDDDOVO9D NN
: | |
Plate 27.—Whitewash Brush
mixed in color. Some of the brushes are made with a
leather binding, while others have a metal binding.
Round Duster Brush, Plate 28.—Painters’ dusters
are made to remove dust accumulations and the refuse
from sandpapering surfaces to be painted. The better
grades are made of Russian bristle in gray, white, yel-
low or mixed colors. The bristles, as a rule, are set in
Plate 28.—Round Duster Brush
knots or groups and are securely fastened in the handle,
sometimes by the rubber, sometimes with cement, or the
mechanical wedging means. The bristle of all except
the highest grade is black Chinese and may serve the
purpose for which this brush is intended quite as well
as the expensive brush. The bristles of dusters should
be long. For the round duster 25g inches in diameter
the bristles should be from 4 to 41% inches long,
54 HOUSE PAINTING METHODS
Flat Duster Brush, Plate 29.—These brushes are sim-
Plate 29.—Flat Duster Brush
ilar to the round type in all respects except that the
handle is flat instead of round. Some of these duster
brushes of both the round and flat types are set in
cement which should not be put into water, gasoline
or turpentine. The best types of dusters are made
with settings which will permit washing the brush in
any of these liquids. The less expensive duster brushes
are made of the mixture of Chinese bristle, horse hair
and tampico fibre. They are practical and serve the
purpose well. The flat brushes are made 4 inches wide
with bristles from 37% inches long to 484 inches long.
Wall Stippling Brush, Plate 30.—These brushes are
Plate 30.—_Wall Stippling Brush
BRUSHES FOR PAINTERS AND DECORATORS 59
quite similar to the Dutch calcimine brush, but are with-
out a handle. They are used only for stippling paint on
interior walls and ceilings. Because of the fine con-
struction necessary these brushes are expensive. They
are used to give a texture to smooth painted plaster
walls and to remove the brush marks from such painted
surfaces. The brush is used like a hammer to pound the
wet paint rather than from side to side to spread or
smooth the paint like ordinary brushes are used.
Stippling brushes are made in different sizes. Those
listed by one manufacturer measure 3 inches wide and
71% inches long and, also, of larger sizes which are 354
inches wide and 9 inches long. The length of bristles
varies from 314 to 4 inches, and as to quality, the
bristles are usually of the best grade of Russian quality
mixed as to color.
Flat Artists’ Brushes, Plate 31.—These brushes are —
Plate 31.—Flat Artists’ Brush
not much used by the painter, although occasionally one
is needed for lining sash bars inside with a different
color than is used on the rails and sash in general.
Many types of these brushes are made in sizes from
1% inch wide to 114 inches. The bristles are usually
black Chinese stock from 5% of an inch long in the small
brush to 134 inches in the brush which is 1 inch wide.
Such brushes are made both flat and round.
Fresco Angle Liners, Plate 32.—These brushes are
similar to the above artist brushes, but are made only in
the flat type from 14 inch wide to 144 inches wide with
56 HOUSE PAINTING METHODS
Chinese black bristles from 1 inch to 214 inches long.
Plate 32.—Fresco Angle Liners
The bristles are cut off at an angle, as indicated by the
illustration, so as to facilitate drawing straight lines
with these brushes.
Flat Roof Painting Brushes, Plate 33.—¥or the paint-
1006 2OCA0OC0G00C 0G
Plate 33.—Flat Roof Painting Brush
ing of metal and shingle roofs a brush with a long pole
handle is used. These are very similar to whitewash
brushes. They are made of Russian bristle and are
leather-bound in the better grades. The brush is made
from 7 to 9 inches wide. The 7 inch width with bristles
about 314 inches long is a convenient size for the aver-
age work. The brush is used like a sweeping brush and
enables the painter to work in a standing position.
a
BRUSHES FOR PAINTERS AND DECORATORS o7
Round Roof Painting Brush, Plate 34.—This 1s
another type of brush used for painting galvanized iron,
tin and shingled roofs, using a long pole handle. These
Plate 34.—Round Roof Painting Brush
are less expensive brushes made of black China bristle,
or mixtures of bristles, horse hair and tampico fibre.
The bristles are gathered in knots bound with wire and
securely fastened in a wood block. They are made in
sizes described 2, 3 and 4 knot width. The bristles are
about 314 Mens long.
Floor Waxing Brushes, Plate 35.—Several types of
Plate 35.—Floor Waxing Brush
58 HOUSE PAINTING METHODS
weighted brushes are made for polishing waxed floors.
The bristles are very short—in the neighborhood of 1
inch long, and are made of mixed bristle or tampico
fibre. The bristles are gathered in knots and fastened
with wire into a solid block or bound with various set-
tings preferred by different manufacturers. These
brushes are weighted with a cast iron block, and the
brush weighs from 14 or 15 lbs. to 23, 25 or 40 lbs.
Brick Liners, Plate 36.—Painters are often called
iia,
Plate 36.—Brick Liner Brush
upon to paint common brick and to line the mortar
joints with black or other color. This is a rather tedious
job unless a special lining brush is at hand to do the
marking. These brushes are made with short bristles
and they come in widths of 2 inches, 214 inches or 3
inches.
Stencil Brushes, Plate 37.—For use in transferring
Plate 37.—Stencil Brush
BRUSHES FOR PAINTERS AND DECORATORS 59
paper or metal stencils on interior decorating jobs and
for letter or numeral stencils on exterior work, special
short bristle brushes are most convenient. These
brushes are round, made of short bristles and bound
with metal, as a rule. They are made in several sizes
Ye of an inch in diameter to 134 inches. Both black
and gray bristles are used.
Fresco Stencil Brushes, Plate 38.—This is a rather
long-handled round brush used for transferring stencils
in water colors or distemper. It is made with longer
———
————
Plate 38.—Fresco Stencil Brush
bristles than the ordinary stencil brush. The common
size is 114 inches in diameter with the bristles 214 inches
long.
Soft Flowing Brushes, Plate 39.—This brush is used
Plate 39.—Soft Flowing Brush
largely for flowing fine enamel coats. It is made of ox
hair set in cement, as a rule, and with a metal binding.
It comes in widths from 1 to 3 inches usually double
thick as to bristle stock.
= Se
60 HOUSE PAINTING METHODS
Fitch Flowing Brush, Plate 40.—This brush is com-
monly made of soft, black Chinese bristle, or skunk
hair, which is called fitch hair. Such brushes are used
by furniture finishers for putting on flat color coats
Plate 40.—Fitch Flowing Brush
and similar finishes which require fine brushing to avoid
brush marks.
Badger Flowing Brush, Plate 41.—This brush is sim-
Plate 41.—Badger Flowing Brush
ilar to the previous two described above but is made of
badger hair for a casing and the center of the brush is
filled with soft French bristle. This is a very elastic
brush mostly used by automobile painters for flat color
coats and color varnish, or finishing coats. The house
painter has little use for these brushes except when he
turns his hand to a job of finishing on furniture or ex-
ceptional interior architectural finishing.
BRUSHES FOR PAINTERS AND DECORATORS 61
Flat Color Brush, Plate 42.—These are called camel-
hair brushes but are made of squirrel hair. They are
Plate 42.—Flat Color Brush
usually brass bound and set in cement. The sizes vary
from 1 to 3 inches and they are used chiefly for brush-
ing on Japan colors thinned with turpentine on furni-
ture and automobile surfaces.
Badger Hair Blender, Plate 43.—These brushes are
Plate 43.—Badger Hair Blender
used by the painter only when doing a job of graining.
They are finely constructed brushes of soft badger hair,
3 to 4 inches long. They are made in widths of 21% to
414 inches. The bristles are bound in knots and se-
eurely wired or cement set into the wood handle. This
brush is used to blend out the grain figure which has
been drawn in on a piece of graining work.
62 HOUSE PAINTING METHODS
Graining Stipplers, Plate 44.—These brushes are used
also by a painter when doing a job of graining, and
they are sometimes called walnut stipplers. The bristles
=a ————————————
en t—— =
. ——_=—— SS 0 —S—S—S—S—S—S=_asaoa—
See bs
=a EEG 3
Plate 44.—Graining Stippler
are very long and usually light in color. The brushes
are made in widths of 3, 344 and 4 inches. The brush
is used to stipple a job of water color graining with dis-
temper color before the grain figure is drawn in with a
fitch.
a
CHAPTER III
MECHANICAL SPRAY PAINTING EQUIPMENT
THE application of paint, varnish, enamel, calcimine,
mill whites and other decorative and protective coatings
by mechanical means, spray guns, is being done on
an extensive scale today because it is both practical and
profitable; furthermore, spray painting is an economic
factor contributing to the greater conservation of prop-
erty which must be reckoned with.
In the light of these facts it is essential that any in-
struction in house painting methods should include a
consideration of spray painting. There are a number
of scientifically designed and constructed spray guns on
the market today, and while the operation of each one is
most successful when the instructions of the manufac-
turer of the particular gun you have are closely fol-
lowed, there is considerable instruction which is common
to all.
The details concerning spray painting methods are
presented in Chapter XV. This chapter will be de-
voted to illustrations and descriptions of the various
mechanical units which are essential to a complete spray
painting outfit.
A complete spray gun outfit consists of the following
units for house painting and similar surfaces:
A. One or more spray guns supplied with air and
material from the same compressor and power unit.
B. Air compressor, or pump.
C. Automatic governor unloader.
63
64 HOUSE PAINTING METHODS
Air storage tank.
Power unit—gasoline engine or electric motor.
Paint storage tank.
Air and material regulating device.
Agitator for material which doesn’t remain in
suspension long—bronze and red lead paints, ete.
I. Air and material hose and connections.
Electric material heaters, special water and oil sepa-
rators and air dusters are used for some special kinds
of work.
Spray Guns, Plates 45, 46, 47, 48, 49.—The spray gun
of today is a far superior tool to that of only a few
years back. The better types are designed by able engi-
neers and constructed with great mechanical precision.
Such guns constructed along scientific lines handle with
ease and certainty all manner of liquids, light and
medium heavy paste paints. These tools in some plants
are spraying the new cellulose lacquers which dry so
quickly that they cannot be applied with a common
brush. And the other extreme is the spraying of heavy
enamels, varnishes, asphaltum, japans and even red
lead paint weighing up to thirty-three pounds to the
gallon. With this wide range of utility the spraying
of house paints on interior and exterior surfaces is an
easy accomplishment for the most improved spray guns.
Each of many manufacturers makes a different type
of spray gun, but all are quite similar in a general way.
Principles and details of construction of many of the
guns are covered by patents and, of course, as with other
machinery, some guns are more successful than others.
Air Compressors, Plate 50.—This machine is simply
an air pump built for heavy duty. Such compressors
have been used for a great many years for many pur-
poses. Ice-making machines, pneumatic riveters, sand-
blast machines, vacuum cleaners of large type and many
tease
MECHANICAL SPRAY PAINTING EQUIPMENT
Plate 45.—Binks No. 105 Airway Paint Gun (top)
DeVilbiss Type A Spray Gun (bottom)
65
66 HOUSE PAINTING METHODS
yy
Plate 46.—Matthews Material Gun, Volume F, (top)
Beach Model A-1 Air Brush (bottom)
other machine equipments use the same type of
compressor. The compressor simply sucks in air, com-
presses it and delivers it to an air storage tank and
from there to the spray gun through a rubber hose.
MECHANICAL SPRAY PAINTING EQUIPMENT 67.
Compressors are made in many sizes. Some are air-
cooled like a motorcycle engine and some are water-
cooled. The compressors used on house painters’ spray
equipment are driven by a belt attached to a gasoline
ee
i Sa |
Ce a
Plate 47.—Wold Air Brush D-l (top)
Paasche Air Brush Type N&S (bottom)
68 HOUSE PAINTING METHODS
Plate 48.—Sprayco Model 7-A Paint Gun (top)
MacLeod Paint Sprayer (bottom)
engine or an electric motor. When used in the shop on
a permanent location instead of as a portable machine,
the compressor may be driven by a belt from a line
shaft.
MECHANICAL SPRAY PAINTING EQUIPMENT 69
uy a
B
Plate 49.—(A) Eureka Spray Gun 135
(B) Simons Paint Spray Brush
A spray gun used for furniture and automobile paint-
ing, for decorating interior trim, walls, floors and other
surfaces of small area doesn’t require so large a com-
pressor or air storage tank as a gun used for coating
large surfaces. A compressor and air storage tank must
be larger when two or more guns are to be operated
from it at the same time. This is obvious since each
compressor has a certain capacity determined by the
size of the cylinder and the speed at which it is run.
Air compressors are equipped with a hand unloader,
or valve, which enables you to take the compression off
of the cylinder while starting the engine or motor.
The air intakes on the compressors are covered with
fine wire screen to prevent entrance of dust and other
foreign substances which might clog the air line or
spray gun valves.
i
i
:
{
70 HOUSE PAINTING METHODS
An air compressor is called upon to do heavy work.
The bearings of the better machines are die-cast bush-
ings of bearing metals or bronze and are easily replaced
or scraped and refitted when wear occurs. The ecrank-
shafts are dropforged steel, accurately machined and
balanced. Lubrication is the life of this machine. The
crankcase is oil tight and lubrication is automatic by the
splash system, like automobile engines, and requires only
that you keep the case filled with oil up to the overflow
Plate 50.—Air Storage Tank, Air Cooled Compressor and Auto-
matic Governor Unloader
cup level. Then the bearings, piston and cylinder walls
are lubricated by splash.
Automatic Governor Unloader, Plate 50.—As a means
of safety a blow-off or pop valve is provided on com-
pressors. If neglected, a compressor might be run by
the engine or motor until a pressure is built up in excess
of the strength of the pipe line or air storage tank and
something would blow up, just as a steam boiler would
blow up if it were not kept within its capacity by the
blow-off safety valve on it. The automatic governor
MECHANICAL SPRAY PAINTING EQUIPMENT 7
opens up of its own accord when the pressure reaches
the safety limit.
Aw Storage Tanks, Plate 50—A spray gun can be
operated by air connection direct to the compressor. In
fact, some of the small spray gun outfits for furniture,
automobile and interior house trim are so constructed.
Spray guns used on large surfaces and which are op-
erated to capacity for many hours at a time, however,
require an air storage tank with a reserve air supply.
An air storage tank furnishes an air supply reserve
and allows a temporary consumption of compressed air
in excess of the capacity of the compressor. Then when
you shut off the spray gun for a few minutes to refill the
paint storage tank or do a bit of cleaning or bristle
brushing on a window sash, the compressor keeps right
on running and thus builds up a reserve air supply in
the air storage tank.
The air storage tank also prevents pulsations in the
air line, making a steadier flow of air. Such a tank pro-
vides a condensing chamber where oil and water in the
air can be precipitated and drained off. The air com-
pressors sucking in damp air are bound to squeeze
out some water by condensation which if it got into
the material storage tank, hose or spray gun would cause
a little trouble. Also the compressor using oil as it must
to lubricate the piston and cylinder walls is apt to dis-
charge a little oil spray with the air storage tank. So
water and oil separators are essential in one form or
another.
Air storage tanks are made in many sizes, but, of
course, you can depend upon spray gun manufacturers
to supply tanks of proper capacity to balance up your
equipment. That is a simple engineering problem.
A pressure gauge is attached to the air storage tank
to indicate the supply of air at hand.
Power Units, Plate 50.—The air compressor requires
power supplied by an engine or motor. The portable
72 HOUSE PAINTING METHODS
spray gun outfits are usually equipped with an electric
motor or gasoline engine which drives the compressor
with a belt as a rule.
For an outfit having the air capacity to supply one
spray gun a gasoline engine of 114 horsepower is used.
A 8-horsepower engine is needed to drive the larger
compressor used for outfits supplying two spray guns
with air. Some manufacturers supply horizontal en-
gines and others supply the vertical type. Both water
and air-cooled engines are used. The better outfits have
magneto equipment to supply the spark for the engine
and also speed control of a positive type with the gaso-
line throttle to assure steady power.
Electric motors are more convenient to use and all
manufacturers supply them. The small spray gun out-
ts for shop and building interior use on furniture,
walls, wood trim, signs and automobile finishings are
operated by small motors of 14 or 144 horsepower which
can be connected to any electric light socket. The larger
equipment using motors 1144 horsepower for one-gun
outfits and 3-horsepower for two-gun outfits must be
connected to power lines rather than to ordinary light
sockets. This is possible in factory and other large
buildings, as a rule, and also in residence buildings in
which electric ranges are used for cooking. For farm
painting and painting in general with portable spray
gun equipment the gasoline engine power is most useful.
Paint Storage Tanks, Plate 51.—The paint or ma-
terial supply tanks are made in various sizes. The cup
type which is connected to the spray gun directly will
usually hold 14 pint, 1 pint or 1 quart of paint or other
material. The larger portable tanks which may be
carried up on to a scaffold or roof or allowed to remain
on the ground are made to hold 1, 4, 7, 8, 14, 20, 30 and
50 gallons of paint. All manufacturers do not make all
sizes, but each one offers ample choice of sizes for all
practical needs.
MECHANICAL SPRAY PAINTING EQUIPMENT 73
Most paint storage tanks are made of seamless pressed
steel with welded bottoms, but some have riveted seams.
The interiors are smooth and bright and the openings
at the top are of ample size to permit easy and rapid
Plate 51.—Paint Storage Tank
cleaning. Some tops are screwed on with accurately
machined threads while others are clamped down tightly
with levers. Usually the pressure regulating device
and pressure gauge are part of the tank cover unit.
Some of the larger paint storage tanks are mounted
on wheels and are equipped with a handle while others
are made with convenient handles so that they can be
easily carried up on to a scaffold or roof.
These tanks are also made in the form of a knapsack
to be carried on the painter’s back. A convenient ar-
rangement for staining or painting roofs, domes, smoke
stacks, columns, steeples, ete. A 3-gallon capacity is
about as large a load as a man wants to work with for a
tank of this kind.
74 HOUSE PAINTING METHODS
The tanks having a capacity of 1, 4, 7, 8, 13 and 14
gallons are the most commonly used for house painting
purposes, depending upon the size of the job, quantity
of paint mixed, ete.
A moderate air pressure is placed upon the paint in
the storage tank, usually just enough to force the paint
to run out of the spray gun nozzle in a steady stream.
Such pressure can be regulated usually by the valve on
top of the tank.
Air and Material Regulating Devices, Plate 52.—The
material which may be paint, stain, varnish, enamel or
other protective or decorative coatings is put into the
paint storage tank and from there is forced through the
rubber material hose to the spray gun. Some materials
require considerable pressure—up to 50 or 60 pounds
for the very thick, heavy pastes, while thin stains and
light weight paints require very little pressure to force
them to the spray gun. More pressure on the material
in the tank is needed when the spray gun is working
high up on a two or three story wall or roof than when
working on the ground, no matter what material is being
used. To make it unnecessary to carry high pressures
in the paint supply tank the tank is usually carried up
on the scaffold or roof so that the spray gun is not used
more than 25 or 50 feet above the material supply.
Much less air is needed to force the paint up to the
spray gun than is required to atomize the paint at the
nozzle for spraying purposes. Your spray gun has two
rubber hose lines leading to it. One hose earries the
paint and the other nothing but air.
For the best work it is necessary to maintain a steady
pressure of air on the paint in the storage tank. Your
air storage tank will deliver to the paint storage tank
much more air pressure than can be used. It is, there-
fore, necessary to have a regulating device on a paint
tank to admit a steady flow of air and maintain the de-
sired pressure.
MECHANICAL SPRAY PAINTING EQUIPMENT 75
The paint storage tank on most of the spray gun
outfits has mounted on the cover an air controlling
device and a pressure gauge which indicates the pres-
sure of air on the material in the paint storage. On this
regulating head is also mounted, as a rule, a second air
pressure control device and a pressure gauge which
control and indicate the amount of pressure carried in
the air line hose which leads from the air storage tank
to the spray gun. The trigger on the spray gun will
control the air pressure and paint supply to better work-
ing results when both air and material are regulated to
a steady flow before reaching the gun.
In other words, instead of carrying an air line hose
from the air storage tank directly to the spray gun, this
line is usually carried to the regulator and pressure
gauge on the regulating head which is a part of the
paint storage tank. Then, one air line hose and ma-
terial line hose are carried to the spray gun from the
regulating head. Some manufacturers use a somewhat
different mechanical arrangement, but the result is the
same in the respect that both the air pressure and the
material supply to the gun are regulated for a steady
flow. What this regulating device does is to take this
high pressure of 100 or 200 lbs. of air in the air storage
tank and reduce it to any desired pressure from 1 or 2
pounds to 20, 50 or 60 pounds commonly used.
The regulating or control head not only distributes
air pressure and prevents paint from backing up into
the air line hose, but also controls the speed at which
your spray painting is done. You can set the air and
material pressures so that you can paint a surface
slowly or with great speed.
Material Agitators—Some kinds of paints, when be-
ing used with a common bristle brush, must be stirred
every few minutes to prevent the pigment from separa-
ting from the liquid. Materials which have a pigment
that does not remain in suspension—such as bronze
76 HOUSE PAINTING METHODS
paints and red lead metal paint—must be agitated in a
paint storage tank of a spray gun equipment. This agi-
tation to prevent the pigment from settling in the
bottom of the tank is usually accomplished by intro-
ducing a stream of air which is discharged at the bottom
of the tank and which, consequently, keeps the pigment
and liquid stirred and in suspension all the time. Some
paints require more agitation than others. For this
reason the agitating device can be regulated by a valve
or thumb screw device which may be set in whatever
position you find necessary to keep the paint thoroughly
mixed.
Extension Spray Gun Handles—When using the
spray gun in an ordinary manner it is not necessary to
get as comfortably near to the surface as when using the
common type of brush. To reach out-of-the-way places,
however, without extra scaffold equipment, extension
handles in various lengths of about 3, 6 and 9 feet are
supplied. With such a handle attached to the regular
spray gun the painter can reach high places comfort-
ably without risk and do a good job of spray painting
without building up more scaffold.
Extension handles are especially useful for reaching
surfaces in back of pipes on interiors, for painting flag
poles, steeples, domes, and for reaching high ceilings of
room interiors, while working from the floor without
scaffold. In the latter kind of work a great deal of time
is saved by working from the floor and, of course, the
cost of handling the scaffold is saved. The spray gun
is controlled from the lower end of the extension handles
quite as effectively as when operating the guns with the
regular handles.
Hose and Connections, Plate 52.—To carry the air
supply from the air storage tank to the paint storage
tank a flexible rubber hose usually red in color is used.
Then, to carry the air supply from the regulating head
on the paint storage tank to the spray gun another red
MECHANICAL PRAY PAINTING EQUIPMENT oF
AIR REGULATORS, GAUGES AND SAFETY VALVE
FOR BOTH TANK AND MAIN LINE AIR PRESSURE
G FLUID HOSE TO GUN
AIR HOSE FROM COMPRESSOR
FLUID HOSE TO GUN ww) iD AIR HOSE
0 = son TO GUN
AIR HOSE TO GUN \ ya) ae ay" IBS
HANDLE FOR
CARRYING
TANK ANDO
DETACHING
HEAD
FILLING PLUG
Plate 52.—Air And Material Regulating Device
rubber hose is commonly used. To carry the paint or
other material from the paint storage tank to the spray
gun a third hose usually black is needed. Such hose is
assembled in 25 and 50 foot sections with tight fitting
connections. Any number of these sections can be con-
nected in order to assemble any desired length of hose
for reaching high roofs or for operation when the com-
pressor and power unit is placed in a basement while
the spray guns are being used in the upper floors.
Hose which is specially constructed for this purpose
should be used. Common garden hose soon goes to
pieces on the inside when in contact with paints and
other materials sprayed. Then, little pieces of rubber
78 HOUSE PAINTING METHODS
break off and clog the spray gun, causing loss of time
for cleaning.
Oi and Water Separators, Plate 53.—Moist air when
compressed and stored in the air storage tank is apt
to liquify to some extent and condense water in small
amounts in the air line. Accumulations of such water
I]
ii Mt
Plate 53.—Oil and Water Separator
and of oil, dust or dirt coming through the air com-
pressor, are a detriment to fine finishing, especially of
varnish and enamel surfaces.
Some spray gun outfits built for the painting con-
tractor to use on exterior and interior surfaces to be
coated with ordinary paint, enamel, mill white, calci-
mine, stains, ete., do not require a separate oil and
water filtering device, because oil, water and dirt are
separated from the air by the air storage tank construc-
tion. Other manufacturers furnish the oil and water
separating device as a separate unit for all ordinary
painting purposes as well as for fine finishing with
varnishes and enamels. It is essential that oil, water,
MECHANICAL SPRAY PAINTING EQUIPMENT 79
dust and all gritty particles be removed from the air
spray going to the spray gun in order to avoid clog-
ging and to secure clean coatings without discolora-
tions.
Trucks and Skids, Plate 54.—The portable spray gun
equipment in which the painting contractor is interested
is assembled in two ways by the manufacturers. One
outfit composed of the air compressor, engine or motor,
air storage tank and pressure gauge is mounted on a
truck having small wheels and a handle by which this
Plate 54.—Air Compressor and Power Unit Mounted on a Truck
unit can be easily and quickly moved from place to
place.
The other assembly of the same units is secured to
heavy wood or steel skids so that the complete outfit
ean be installed on an automobile truck for transporta-
80 HOUSE PAINTING METHODS
tion. With such an outfit the truck is usually run as
near to the building as possible and only the spray
eun, air and material hose and paint storage tank
are taken into the building or upon the scaffold from
which the building is being painted on the outside.
Whitewash and Spray Pumps, Plates 55 and 56.—
Such machines have been in use for many years. As
constructed today with brass cylinder, bronze valves,
seats and other working parts to guard against cor-
rosion from any liquids sprayed, these pumps are sub-
stantial and successful, indeed, for certain classes of
work. They are not, however, designed for spraying
oil paints or any heavy liquids and do not operate satis-
factorily in such service.
The machine pictured in Plate 55 is a convenient
type which is equipped with an air chamber to assure
a steady pressure at the spray nozzle. The pump
Plate 55.—Whitewash Spray Pump
handle, of course, is operated by hand and when in
motion the pump sucks in the material and forces
it through the discharge hose line to the end of which
the spray nozzle is attached. This nozzle has a lever
MECHANICAL SPRAY PAINTING EQUIPMENT 8]
shut-off cock control which allows the material to be
fed to the nozzle only as fast as it can be atomized
and sprayed onto the surface as wanted.
These machines are used extensively for decorating
large rooms in factory, warehouse and other industrial
buildings with whitewash, cold water paints, calcimines,
ele:
The machine sprayer shown in Plate 56 operates by
compressed air and in a different manner than the
whitewash pumps just described.
These tank sprayers are useful to the painter in
Plate 56.—Spray Tank and Pump
many ways. They are used to spray a fine water mist
on to wall paper to be scraped off and that speeds up
the work considerably. They are used by some deco-
rators to spray on glue size and also for coating new
walls with caleimine. They do not operate satisfac-
torily, however, for coating old dark walls with ecalc1-
82 HOUSE PAINTING METHODS
mine. This sprayer has also been used for the applica-
tion of stain coats on shingle roofs.
This type of sprayer is operated by putting the ma-
terial to be sprayed into the tank. The top is screwed
on tightly and the tank is pumped up to the air pres-
sure needed to force the material out in a spray through
the hose and nozzle control on the end of the hose.
The strap secured to the spray tank permits the op-
erator to carry the outfit on his back while spraying.
This sprayer is not suitable for oil paints or any thick
liquids.
CHAPTER IV
LADDERS, SCAFFOLDS AND SWING STAGES
Cuatm to the interest of painters and decorators in
correct scaffolding and ladder equipment and the proper
use of it is made for more than one reason. Knowledge
along this line is very important.
One may devise various methods for reaching sur-
faces to be painted and decorated, but not all of these
means are safe, convenient or profitable.
The first essential is to learn to avoid unnecessary
risks to life and limb. The first law of nature—self-
preservation—one might think should be sufficient to
make men take the necessary care and be foresighted
enough to eliminate dangerous scaffolding. It is not,
however, as is abundantly proved by the many news-
paper reports one sees of accidents in the building
trades. Most accidents are preventable and would not
occur except for carelessness, for the human trait which
proves that familiarity with danger breeds contempt
for it.
The largest part of the cost of doing the average
job of painting and decorating is labor cost. Much time
and expense are wasted, often, in getting scaffold equip-
ment to the job and erected in place in time to avoid
having high priced mechanics standing around waiting
to get at the surface.
A painter works most efficiently in a space not higher
than his breast, nor lower than his knees. He paints
more surface working from the ground than from scaf-
fold. Therefore, the more nearly these ideal conditions
83
84 HOUSE PAINTING METHODS
Plate 57.—Painters’ Trestles
° LADDERS, SCAFFOLDS AND SWING STAGES 85
ean be approximated by having sufficient scaffolding
correctly placed to give a mechanic a sense of security
and solid footing the more work he will do; and he
will do his work with less loss of his physical energy
than when he must constantly over-reach to coat some
surfaces of the job.
In the most efficient paint shops of the larger size
a specially trained crew of men put up all the scaf-
folding on the jobs; these helpers also remove the equip-
ment, leaving the painters only the task of preparation
of surfaces and painting them.
DESCRIPTION OF EQUIPMENT
Painters’ Trestles, Plate 57— While doing a job of
interior painting and decorating the scaffold most com-
monly used to reach ceiling and upper side walls are
those made by placing 2, 4, or any number of trestles
required in position and then locating planks on the
top or lower rungs, as indicated in the illustration.
These trestles are similar to the common type of step-
ladder except that trestles are made with round rungs
instead of flat steps and, of course, a trestle has no
platform at the top. Trestles are made practically with
a hinge joint at the top. These trestles are made in
lengths of 6, 7, 8, 10, 12, 14 and 16 feet.
Some trestles are now made with steps on one side
like a stepladder and round rungs on the other side.
See Plate 58.
Trestles are also used for outside painting to some
extent for carrying planks to reach upper side walls
of one-story cottages.
Steel Trestles.—Trestles are being used to consid-
erable extent now which are made of steel similar to
that pictured in Plate 59. These trestles are collaps-
ible, rather light in weight and will support great loads.
They are, of course, fireproof and have a much longer
life than wood trestles. It is easier to transport them
86 HOUSE PAINTING METHODS
Plate 58.—Combination Trestle and Step Ladder
from one place to another and they require less room
for storage. They are practically unbreakable. The
standard steel trestle is made in the following sizes:
2 ft. high x 3 ft. wide
3 ft. high x 8 ft. wide
4 ft. 6 ins. high x 5 ft. wide
5 ft. high <5 te wide
Steel trestles are also made in an adjustable type,
as indicated by Plate 60. These trestles are made 3
ft. high x 5 ft. wide with a 2 ft. adjustable raise; also
4 ft. high x 5 ft. wide with a 3 ft. adjustable raise.
87
LADDERS, SCAFFOLDS ‘AND SWING STAGES
Trestle
Plate 59.—Steel
Plate 60.—Adjustable Steel Trestle
88 HOUSE PAINTING METHODS
Stepladders, Plate 61.—For the use of paperhangers
and decorators the common stepladder with flat steps,
instead of round rungs, is most convenient and, of
Plate 61.—Step Ladder
course, the flat steps are more comfortable to stand
on where one must work from the steps for any con-
siderable length of time. The best types of stepladders
are made with steel rod reinforcements through or
under each step. Step ladders are made in sizes of 5,
67, 8. and 10ttlong:
Single Ladders, Plate 62.—The long ladder commonly
LADDERS, SCAFFOLDS AND SWING STAGES 89
used by painters is familiar to all and it is indis-
pensable for exterior painting. It is possible, of course,
to paint practically all of the surface of the average
one- or two-story residence by using long ladders, but
|
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Plate 62.—Single Long Ladder
Plate 63.—Extension Ladder |
q
90 HOUSE PAINTING METHODS
it is more comfortable and convenient and saves time
to work from planks extended from ladder jacks or sus-
pended by other means. When working from a ladder
the painter cannot reach much surface from one
sitting and, consequently, is compelled to climb up and
down the ladder a great many times every hour when
working in this manner. A man can work much faster
and more comfortably from planks resting on trestles,
on ladder jacksfastenedtolongladders and upon a swing
stage platform for the higher buildings with large sur-
faces. Long ladders are not, therefore, used for large
surfaces even though they easily reach such areas.
High class long ladders are made of sound Norway
pine or spruce, as a rule, and have turned hickory
rungs. The rungs are mortised into the side rails and
securely nailed, screwed or bolted in place with long
bolts which run the full length through the center of
the wood rungs. Long ladders are made in lengths of
8, 10, 12, 14, 16, 18 and 20 ft. The best design is that
having a bottom which is much wider than the top.
Extension Ladders, Plate 63.—Such ladders are made
practically the same as long ladders described above
except that they are the same width at the top as at
the bottom. These extension ladders are made to at-
tach to long ladders, using a mechanical device, shown
in the illustration, with which to fasten the two or
more sections together.
Extension ladders of the two-section type reach from
20 to 40 feet, while the three-section type reaches from
30 to 60 feet.
Scaffold Planks——The planks most commonly used
are 8 and 10 inches wide, preferably the latter, and they
must, of course, be first class sound lumber of consid-
erable strength. The lumber must be free from knots
and other imperfections which lessen strength.
Extension Planks.——There are on the market exten-
sion planks which are decidedly convenient to use.
LADDERS, SCAFFOLDS AND SWING STAGES — 91
They occupy half the storage space of ordinary planks,
are lighter in weight and are just as strong. These
planks are made in three sizes: 6 ft. long which opens
to 1014 ft.; 8 ft. long which opens to 14 ft.; 10 ft. long
Plate 64.—Platform Ladders
which opens to 1714 ft. These planks are 11 inches
wide. See Plate 57.
Platform Ladders, Plate 64.—This modern form of
extension ladder enables two or more men to work on
the two platforms with safety, speed and comfort. By
using two or three of these ladders with extension
planks a scaffold is erected quickly from which a great
deal of surface can be reached conveniently. The
planks used with these platform ladders are 14 ft. long
92 HOUSE PAINTING METHODS
and are trussed with steel. These trussed planks are
also made in 12, 16 and 18 foot lengths.
The platform ladder has a lower section 14 ft. and
an upper section 10 ft. long. The upper section carries
two platforms about 2 feet square, 614 feet apart. The
ladders are light enough to be handled by one man and
yet strong enough to carry the load of several men.
Ladder Extension Feet, Plate 65.—When ladders
Plate 65.—Ladder Extension Feet
are used on exterior work where the ground is
not level, because the lawn is terraced, it is often dif-
ficult to gain a secure footing for both legs of the ladder
without digging a hole in the grass or blocking up one
leg more or less insecurely. The extension feet illus-
LADDERS, SCAFFOLDS AND SWING STAGES 93
trated here may be used under these circumstances
and will permit you to place the ladder level and se-
curely.
Steel Ladder Shoes, Plate 66.—These are simple metal
Plate 66.—Steel Ladder Shoes
plates to be securely fastened on the bottom of long and
extension ladders so that the ladders may be safely
placed upon cement sidewalks, drives and roads where
a footing is not always safe.
Rung Repair Plate, Plate 67,—One who makes care-
Plate 67.—Rung Ladder Repair Plate
94 HOUSE PAINTING METHODS
ful inspection of ladders often finds need for these little
metal plates which enable the painter to make a per-
manent repair of a rung which has been broken out
of a ladder by some unusual shock or strain.
Ladder Brackets, Plate 68.—There are several styles
of metal ladder brackets made for the purpose of sus-
Plate 68.—Ladder Brackets
pending planks from extension ladders and long ladders.
Some of these brackets are attached to the rungs of the
ladder, while others are secured to the side rails and
would seem to be safer if there are any defective rungs
in the ladder used. These brackets may be fastened
to the underside of ladders, as indicated, or they may
be used on the outside from which to suspend planks
in that position.
Roof Ladder Hooks, Plate 69.—Such metal hooks as
are shown are fastened to the top of the ladder used
on roofs which have considerable pitch. The hook is
fastened over the ridge of the roof.
Window Bracket, Plate 70.—This device is simply a
LADDERS, SCAFFOLDS AND SWING STAGES 95
Plate 69.—Roof Ladder Hook
Plate 70.—Window Bracket
plank which can be extended from a window sill to
enable a painter to work on the outside of the window
without a swing stage. These are used, of course, only
where the windows are too high to reach with a long
ladder and where the windows are numerous enough in
a straight line on a wall to make the use of a swing
stage the most convenient method of reaching the sur-
face.
96 HOUSE PAINTING METHODS
Adjustable Folding Scaffold, Plate 71.—In this equip-
ment the painter is supplied with folding adjustable
scaffold which is very strong and useful in many ways.
Plate 71.—Adjustable Folding Scaffold
Used for both interior and exterior surfaces as indi-
cated in the illustration. The legs may be extended.
They are made in three sizes:—314, 61% and 12 foot.
The 314 ft. scaffold extends to 6 feet high; the 614 ft.
scaffold extends to 101% feet high; the 12 ft. scaffold ex-
tends to 21 feet high.
Plate 71-A shows a new safety extension trestle.
Plate 72 shows special scaffold units to be assembled
for any job.
LADDERS, SCAFFOLDS AND SWING STAGES 97
Plate 72.—Special Scaffold Units to be Assembled for Any Job i
Ladder Bracket, Plate 73—An attachment of recent i
design which, when secured to the top of any rung of
a ladder, makes a secure platform. Planks may be ex-
tended from two or more of these platforms to make a
secure stage from which to paint. Useful also on steep i}
pitched roofs.
98 HOUSE PAINTING METHODS
Safety Ladder Bracket, Plate 74—These are mal-
leable iron attachments which fasten to the top of long
Plate 73.—Ladder Bracket
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Plate 74.—Safety Ladder Bracket
LADDERS, SCAFFOLDS AND SWING STAGES 99
ladders and extension ladders with thumb screws. They
are designed to straddle windows enabling the painter
to trim sash and frames easily. They also steady the
ladder.
Adjustable Stepladders, Plate 75.—Similar to ordi-
nary trestles except that they are made with flat steps
like stepladders securely fastened in place with irons.
Also one side of this ladder has no steps, but is made
with legs adjustable in length, so that the ladder may
be used on:stairs as indicated in the illustration.
Plate 75.—Adjustable Leg Step Ladder
SWING STAGES
See Plate 76. The scaffold equipment needed to reach
the upper surfaces on buildings of the three story
height and higher is usually a platform suspended from
roof or cornice with ropes—swing stages, they are
called. This equipment is a very old type used for
generations. Little change has been made in swing
100 HOUSE PAINTING METHODS
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Plate 76.—Swing Stage
101
LADDERS, SCAFFOLDS AND SWING STAGES
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Plate 77.—Swing Stage Stirrups
102 HOUSE PAINTING METHODS
stages in general design in years, but many needed im-
provements in details have been made.
Swing Stage Stirrups, Plate 77—In the illustration
the new improved stirrup with safety guard rail and of
all metal construction is shown. These new stirrups are
made of wrought iron to comply with safety regulation
laws and are quite generally used in place of the old
wood stirrups.
Swing Stage Ladder Bracket, Plate 78.—Swing stages
are sometimes placed where there is no opportunity to
use cornice hooks, or where such hooks placed on cor-
nices with wide overhang would swing the platform too
far away from the wall to be coated. Under these con-
Plate 78.—Swing Stage Ladder Bracket
ditions the ladder bracket illustrated is placed on the
top of each of two extension ladders, blocks are then
hooked into these brackets and the platform is swung
in the usual manner as when cornice hooks are used.
Cornice Hook Extension Brackets, Plate 79.—Cer-
Plate 79.—Cornice Hook Extension Bracket
a as
LADDERS, SCAFFOLDS AND SWING STAGES 103
tain types of store front buildings are made with a
cornice dropped a few feet below the top of the brick
wall, thus making it impossible to throw cornice hooks
over wall or cornice and allow the rope falls to run
freely in the blocks. The extension brackets illus-
trated are made to overcome this difficulty as pictured.
The extension brackets are secured to the bottom of the
cornice hooks. They project out beyond the cornice.
Pulley Blocks, Plate 80.—Four blocks are needed for
each swing stage. <A set consists of two single wheel
blocks, each with a becket wheel at the bottom to which
one end of the rope is tied, and two double wheel blocks
as pictured. The blocks reinforced with iron straps are
the only safe kind to buy. These blocks are made in
Plate 80.—Pulley Block for Swing Stage Fall Ropes
various sizes for different sizes of rope. A rope %
inch in diameter uses blocks with a five-inch shell; the
3/, inch rope uses six-inch blocks; the / inch rope uses
seven- or eight-inch blocks. The larger ropes and blocks
104 HOUSE PAINTING METHODS
are much to be preferred because they carry much
greater loads and so the factor of safety is greater.
Swing Stage Rope Falls, Plate 81.—These ropes may
be had in any length and only high grade rope should
be used,—this is no place to economize. Manila rope
is most commonly used. Sisal rope is not safe. The
best grade of Manila rope will safely carry these loads:
5g inch rope—4,000 pounds
34 inch rope—4,700 pounds
Yz inch rope—6,500 pounds
100 feet of 5g inch rope weighs about 138 pounds
100 feet of 34 inch rope weighs about 1644 pounds
100 feet of 7% inch rope weighs about 25 pounds
Ropes are subject to variation in quality the same
as other merchandise and it is not safe to buy ‘‘just
ropes.’’ Know what kind and quality you are buying
Plate 81.—Swing Stage Rope Falls
and deal only with responsible dealers and manufac-
turers.
Manila fibre from which good rope is made is not
all of the same high quality. Also there are some struc-
LADDERS, SCAFFOLDS AND SWING STAGES 105
tural differences in ropes. Manufacturers make various
grades of Manila rope for various purposes. The lower
grades are good enough for some purposes but not for
swing stages. Be careful, therefore, to name the pur-
pose for which you want to use any rope purchased.
The ropes used in the building trades pass through
many hands before reaching the men who are to use
them. There is more or less ignorance and confusion
as to grades and qualities of ropes. The names “‘stan-
dard,’’ ‘‘commercial’’ and ‘‘best’? may mean anything
and not necessarily high quality. Private brand names
may also be misleading. The most responsible manu-
facturers, however, are careful to list ropes also as first,
second and third quality. The man who really wants
to know what he is buying can learn such information
from manufacturers’ catalogs in the hands of dealers.
In the illustration, Plate 81, are shown three types
of rope. The one on the left is the common three-
strand type of Manila rope of good quality used by
painters for swing stages. It is satisfactory when the
larger sizes—?4 and % inch—are used. The rope pic-
tured in the center is a five-strand rope which costs
only about one cent per foot more than the common
grade and is much better. The fifth strand is called
the heart or core and it adds considerably to the strength
of the rope. The rope type shown on the right is a
superior rope used a great deal in hoisting and marine
service. It should be used more by painters. This rope
costs quite a little more than common quality, but is
a good investment at that because in addition to its
greater strength and safety it has much longer life.
This is a fibre-clad steel wire rope made of five strands.
Each of the five wire strands is completely covered
with the best grade of tarred Russian hemp marline.
The center core or heart has no wire in it. This rope
is not too stiff to handle. It will coil down as easily
as Manila rope. The fibre covering protects the hands
106 HOUSE PAINTING METHODS
from injury by the steel wire cables. Such rope is
waterproof, rustproof and needs no lubrication. It
cannot swell from moisture and jam in the pulley
blocks. Dirt and dust cannot get in between strands
and grind up the fibres. Fibre-clad rope is much
stronger than Manila rope of the same diameter. Fibre-
clad rope is about one-third the diameter of Manila
rope having the same strength. Smaller blocks are,
therefore, used with fibre-clad rope. The weight of
fibre-clad rope is about one-half of that of Manila rope
of the same strength.
Rope Materials.—Manila hemp and sisal are used for
rope making. Sisal is satisfactory for ropes which are
not subjected to great loads. Sisal has about 25 per
cent less strength than Manila hemp. Sisal makes
rope which is less flexible than Manila rope and it
also casts off splinters of fibre which injure the hands.
The length of this fibre is considerably less than that of
Manila. It is usually about three or four feet long
while Manila fibre is three or four times that length.
Sisal fibre deteriorates in the presence of moisture.
Ropes made from Manila hemp are much superior to
sisal ropes in strength, flexibility and length of life.
Taking Care of Ropes.—No need to cite the wisdom
of caring properly for ropes, the necessity is too ob-
vious. But how to take care of them is not as well
known as it should be. Ropes wear out and break
for more than one reason. There is internal wear on
ropes due to friction of the fibres and strands with each
other. Such friction and wear are greatly increased
when ropes are not lubricated and when ropes are
given sharp twists and bends around square corners.
The external wear on ropes is due largely to ac-
cidents ;—ropes are pinched tnder heavy loads, they
are squeezed between metal or other hard surfaces.
Wear also comes from friction by running the rope
through pulley blocks which are too small. Only, blocks
As!) Se
LADDERS, SCAFFOLDS AND SWING STAGES 107
with large sheave grooves should be used ;—then the
rope runs freely even when swollen with moisture.
Ropes should not be permitted to scrape against window
sills, stone cornice projections, wood beams, scaffold, ete.
Also the pulley blocks must be kept lined up. When
not in alignment the ropes chafe and wear. Ropes
deteriorate from exposure to acids and the weather.
Internal wear on ropes can be greatly lessened by
keeping them free from dust, sand and mud. Ropes
should not be dragged around but picked up and
earried, if you would avoid having dirt grind up the
internal fibres.
Storing Ropes.—A clean, well ventilated room is best
for storing ropes. Heat is not necessary. Especial care
should be taken to keep all acids away from rope.
Normally Manila fibre contains a small percentage of
moisture and it should not be allowed to get bone dry.
This fibre will, however, absorb as much as 30 per cent
or 40 per cent of moisture in a damp storehouse. That
is too much, although it is not true, as popularly be-
lieved, that moisture promotes decay in Manila rope if
there is not too much moisture present. An occasional
wetting of ropes in very hot, dry weather is beneficial.
Water soaked ropes ought not, however, to be covered
up;—permit them to dry out naturally. Hang them
up to dry. Manila fibre is made more brittle by a freez-
ing temperature. What is called dry rot in ropes is
induced by allowing water soaked ropes to be covered
rather than hanging them up to dry out to the normal
moisture content.
Lubricating Ropes——Ropes which become too dry get
fuzzy and brittle. It is the part of wisdom to lubricate
and waterproof ropes and that at the same time seals up
the strands so that dust and sand cannot enter between
fibres and grind them up by friction. Probably the
best lubricant and waterproofing agent is common beef
tallow. Melt it in a kettle and while hot swab the ropes
108 HOUSE PAINTING METIIODS
with it. Such lubrication of ropes increases their life
to twice that of ropes which are allowed to get dry,
‘dirty, water-logged and fuzzy. Lubricated ropes are
also much more comfortable to handle and run more
freely in the blocks.
Inspection and Use of Ropes.—Ropes may have been
put into excellent condition at the beginning of a busy
season, but it will pay just the same to look them over
every time they come back to the shop from a job.
A rope which has been snubbed around a small square
post or a sharp corner and been subject to an over-
load will come through more than likely with a weak
spot—the frayed and thinner strands indicate such
weaknesses. And when a rope is thrown over a sharp
cornice or other square roof projection to support a
heavy swing stage without taking the precaution of
using a pad of burlap or carpet on the edge, the rope
fibres are sure to be ground together with such force
as will weaken the rope.
Ropes running through blocks should not be allowed
to touch anything except the pulley wheels in the blocks,
—don’t let them scrape against the sides of the block
sheaves. Don’t let the ropes vibrate unnecessarily nor
slip over pulley wheels which need lubrication so much
that they no longer revolve.
Injury to ropes occurs from a sharp nip of any kind
whether due to a bad splice, a bad lead, hitch or short
bend around a pin or post. Under these stresses the
tension on the outer fibres is very great while the com-
pression on the inner fibres is also great. This unequal
distribution of the strain is bad for the life of the rope.
Likewise, kinks and knots in ropes are very injurious;
—hbreakage, then, will often occur when only a small
strain is put upon the ropes.
Rope fibres have a tendency to slip against each other.
The fibres gradually lose their cohesion when subjected
to excessive loads repeatedly or in a sustained manner.
LADDERS, SCAFFOLDS AND SWING STAGES 109
It is well to provide against this by using rope hav-
ing a generous factor of safety; that is, rope rated too
large for the load put upon it.
The internal friction between fibres of ropes increases
with the speed when running over pulley wheels. Heat
caused by friction of rope rubbing against something
also injures and weakens the rope. Small ropes become
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Plate 82.—Hoisting Machine
unsafe much more quickly than large ropes. It is
not easy to detect weak places in ropes caused by ex-
cessive strain, decay or otherwise. Your only protection
is to buy high quality ropes and then use and eare for
them in the best possible manner.
Hoisting Machines, Plate 82.—In this machine the
110 HOUSE PAINTING METHODS
painter has one of the greatest improvements recorded
in favor of swing stages. It not only makes this type
of equipment much safer to use but also decreases the
labor required by one-half or two-thirds. Hoisting
machines using steel cable instead of ordinary rope
are used by painters, bridge builders, building cleaners,
ship yards and by others.
~The hoist locks itself in position. It cannot let go
or unreel the cable and cannot be unreeled until you
turn the handles a little to raise the stage shghtly and
then raise the locking lever at the same time turning the
handles backward. The brake then goes into action im-
mediately. On leaving a stage at night the handles
cre removed and the machine is locked. The hoisting
machine is used on swing stages and for boatswain’s
chair tackle used on steeples, chimneys and high col-
umns.
The Use of Swing Stages.——The illustrations in Plates
76, 77, 78, 79, 88, 84, 85 and 86-A show better than
words the manner in which swing stages are rigged.
Study the illustrations as it is important that the
tackle be correctly rigged. The place to begin when
rigging a swing stage is to place the platform stage on
the ground at the bottom of the first stretch of wall
to be painted. Place the stirrups or bumpers under the
platform and lay the single blocks on the platform
under each stirrup.
Get out the coils of rope and carry them to the roof
together with the cornice hooks and tie-back rope lines
which should be at least one-half inch ropes.
Place the cornice hooks securely over the capstone of
the brick wall or over the cornice. Securely fasten
the ends of the tie-back ropes to the rings in the upper
end of each cornice hook. Carry the tie-back ropes
straight back and secure them to the base of a chimney,
soil pipe or any securely attached projection. The pur-
pose served by these tie-back ropes is simply one of
LADDERS, SCAFFOLDS AND SWING STAGES 111
safety. They steady the hooks, and if the capstone or
bricks should crumble or tear out of place by the load
of the swing stage, the ropes will still hold the hooks
in place to sustain their load.
The cornice hooks may now be lifted up to the roof
again and the two double-pulley wheel blocks should be
hooked into place; the hooks on the blocks go through
the eyes on the lower ends of the cornice hooks.
Before lowering the cornice hooks into place again,
bring the two single-wheel blocks up to the roof and
proceed to rig the block and tackle outfit. Tie one end
of the rope securely to the becket, which is the loop
hole at the opposite end from the hook of the single
wheel block. Put the other end of this rope through
one pulley wheel of the double block. Carry the end
down through the wheel of the single block; then up
again and through the second pulley wheel of the
double block; let the free end of the rope slide down
over the cornice to the ground.
The next task is to get the single block down to
the ground so you can hook it into the eye hole of the
stirrup. This single block is not heavy enough to go
down of its own weight, so it is necessary to hang a
weight onto the hook—a bucket of sand or stones serves
this purpose well. Of course, some one must hold the
free end of the rope fall which you dropped over the
side to the ground so the bucket and block will not go
down with a rush.
Having the single block down and hooked onto the
stirrup eye, place the cornice hook again firmly so it
will rest on the top point where the tie-back rope is
secured and on the lower end where the double block
is hung. The arched center of the hook should have no
bearing unless located as in Plate 83.
When both sets of blocks and hooks have been lo-
eated and rigged, go down and pull at the free ends of
both ropes to lift the stage platform two or three feet
HOUSE PAINTING METHODS
Plate 83.—Proper Placing of Cornice Hooks
te pe
LADDERS, SCAFFOLDS AND SWING STAGES 113
off- the ground and level for testing. The free end
of the fall rope should be tied securely to the upper end
of the metal stirrup rod, using a knot which is both
secure and easily untied. Plate 86 illustrates various
knots used for this and other scaffold rigging purposes.
Place on the scaffold the full load of men and ma-
terials and proceed to test it by springing it up and
down. Then examine the cornice hooks and if all is
secure you are ready to raise the stage to the top level
and begin work.
Before going up place the guard rail in place in its
iron supports which are a part of the metal stirrups.
There are a number of precautions which every pru-
dent workman will observe when using swing stages.
It is especially necessary for new men to observe these
precautions.
The very first rule to observe is to be careful to
keep a man’s weight on the outside of the stage and
hands off the wall. But a comparatively light push
against the wall will swing the stage out and may throw
one or more men off.
It is a good plan to have one man on the roof to
observe the action of cornice hooks while the first test
is made of the setting. Sometimes the hooks squirm
around and need more secure footing. Keep in mind
also that the strain pulls outward more as the stage is
raised nearer the roof.
Cornice hooks ought never to be located with the
upper sharp points resting on metal gutters ;—a block
of wood under each point makes a safer hold, but even
then there is some doubt.
There are other ways to secure the upper tackle block
to the roof or cornice, but none is so good as the use
of cornice hooks. Some of the older painters simply
throw the looped end of a double rope over the cap-
stone of a brick wall or over a cornice as noted in Plate
84. The ends of the rope are carried back and secured
114 HOUSE PAINTING METHODS
like a tie-back line to a chimney base or other projection.
There is more risk in this proceeding than one should
take, especially if a pad of carpet or a bag of sand are
not used under the rope, where it turns sharply over
the edge, to prevent the cutting of the rope. Nothing
smaller than a new one-inch rope should be used for
the tie-back, and the hook of the block should be secured
Plate 84.—The Rope Lockout
in the loop of the rope with an artificer’s knot, similar
to the clove hitch shown in Plate 86.
Another device used sometimes in the absence of roof
cornice hooks is called a cantilever lookout. It, too, is
dangerous. A plank is run out of a window two or
three feet and a rope or metal band is used to attach
the pulley block to the end of the plank, as in Plate 85.
Plate 85.—Cantilever Lookout
If the plank is long and sound, if enough weight, in
the form of boxes, barrels or bags, is put on the inside
LADDERS, SCAFFOLDS AND SWING STAGES 115
end and if some one doesn’t come along and remove
the weight, the painters on the scaffold are fairly safe.
But why gamble on so many risks when good cornice
hooks eliminate them?
A real source of danger lies in the hitches neces-
sary to hold the scaffold in position. Particular care
should be taken to see that every man working on the
scaffold understands fully the safest means of making
the necessary hitches to insure the scaffold remaining in
place. Carelessness on the part of one man handling
the falls may result fatally not only to himself but
others on the scaffold with him, and to people passing
underneath, where the scaffold is swung over a sidewalk.
Rope, Knots and Hitches, Plate 86.—In former years
it was more necessary to know all about knots and
hitches, because ropes were more used in rigging scaf-
Plate 86.—Ropes, Knots and Hitches
folds than they are today. Now mechanical devices are
performing these functions much better and safer.
Knowing some of the more common hitches and knots
is still of considerable value to a painter. There are
probably two dozen different hitches and knots in use,
but the several shown on Plate 86 are sufficient, no
doubt, for needs today.
METHODS
PAINTING
HOUSE
116
Sr roo ———_———
Plate 86-A.—Method of Rigging Fall Ropes for Swing Stage
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LADDERS, SCAFFOLDS AND SWING STAGES
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—Special Built-up Scaffold
Plate 87
118 HOUSE PAINTING METHODS
The hitches and knots shown are: The backwall hitch
used for making the loose rope fall fast to the lower
hook; the clove hitch for making a loose rope end fast
to a rail or turning a tight double strength eye in
the bight or loop of a rope; the timber hitch used to
make a rope end fast to a plank or timber being hoisted
up or lowered from a roof; the square reef knot used
for tying two rope ends together; the bowline used
to make an eye loop which will not run; the round turn
and two half-hitches for making a rope end fast to
any part of an object with a large diameter like a
barrel. All of these knots and hitches are easy to
learn to tie and they will not jam tight under a load.
A painter who knows how to tie all these knots and
hitches is able to make himself useful for any scaffold
work encountered.
Special and Built-up Scaffolds. Plates 87, 88 and
89.—There are various types of patented scaffolding in
use which can be built up with ladders of common
kinds and fastened with braces and irons with bolts.
to hold them in place. Plate 88 indicates one way in
which this sort of scaffold can be built up. Wherever
there are high porch columns, as on colonial homes and
public buildings, and where there are interiors with
very high ceilings, as in public buildings, this sort of
scaffold is very useful. In some sections of the country
there are firms which are organized for carrying on a
scaffolding business. They erect and remove such seaf-
folding on a contract basis.
Plate 88 illustrates the common way of building up
scaffolds with two-by-four and four-by-four and four-
by-six timbers. Painters, interior decorators, car-
penters and plasterers use this type of scaffold for
interiors of churches, banks, theaters and other large
interiors. The cost of such scaffolding is great, not only
because of the large amount of lumber used, but because
considerable labor is necessary.
119
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120 HOUSE PAINTING METHODS
Large factory interiors with ceilings of moderate
height are often spray painted without scaffold other
than two saw horses mounted on truck easters, as indi-
cated in Plate 89. Very rapid progress can be made
by this simple arrangement when painting ceilings.
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Plate 89.—Sawhorse Scaffold on Wheels for Spray Painting
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CHAPTER V
MISCELLANEOUS PAINTERS’ TOOLS
Tim ability of any mechanic to do first class work
and a reasonable amount of it every day depends upon
his having good tools, upon his ability to keep those
tools in first class condition and upon his inclination
to care for his tools. The trade of painting and deco-
rating has made considerable progress in the design and
construction of tools during the past few years and it
is to the advantage of every skilled worker to acquaint
himself with improvements in tools as rapidly as they
are made. One of the best ways to gain this knowledge
is to cultivate the habit of reading the advertisements
in trade papers and elsewhere. For the benefit of those
who have not followed the development in improved
tools, the author believes that it will be interesting to
many to note the following descriptions of standard
tools and of those which are of more recent invention.
Blow Torch Paint Burners, Plate 90.—The gasoline
torch has, of course, been on the market for many years
and the general appearance of all types is not much
changed. There have been minor improvements, how-
ever, in the burner generating unit, which make some
torches much more effective tools than others, because
the flame is hotter and the better torches produce a
steady flame without clogging and the consequent ne-
cessity for tinkering.
The common blow torch is filled with gasoline, pref-
erably high test. It is pumped with just enough air
to assure a steady flow of gasoline up through the
121
122 HOUSE PAINTING METHODS
burner needle valve. Care should be taken to avoid
putting in more air than is necessary. It is possible to
put in so much air that the bottom will be blown out
and the solder joints broken. Care should also be taken
to avoid turning the valve wheel too tight. If this is
done the valve seat will be injured and the toreh will not
work as efficiently thereafter.
To light the torch it is simply necessary to fill it with
gasoline through the plug at the bottom, replace the
plug in the opening and turn it fairly tight with the
fingers or a short rod—do not use a wrench. As a
rule about a dozen strokes of the pump handle will
supply enough air. The valve is then opened a little
by turning the valve wheel to the left until liquid
gasoline flows out and fills the little cup under the
Plate 90.—Blow Torch Paint Burner
burner and generator. Light this gasoline with a
match, place the burner in a location protected from the
wind and allow the gasoline to burn out completely.
Just before the last bit of gasoline has been consumed
open the needle valve by turning the wheel to the left
a little and the gasoline vapor which issues from the
generator will take fire and burn rather unsteadily
until all of the gasoline in the cup has been consumed
and until the burner gets hot. The torch depends upon
a hot burner to generate gas from the liquid gasoline
MISCELLANEOUS PAINTERS’ TOOLS 123
forced up through the needle valve by the air pressure.
When the fiame turns blue and ceases to flare up
yellow you may open the needle valve a little more by
turning the wheel to the left. The more you turn
the valve open the hotter the flame will be.
The principal use to which the gasoline blow torch
is put by painters is that of removing cracked and
scaled paint from the outside of buildings. Occasion-
ally, the blow torch is used on interior surfaces, but not
often.
Acetylene Gas Paint Burners, Plate 91.—This is an
improved tool used for the same purposes as the gaso-
line blow torch. The outfits consist simply of a steel
tank loaded with gas, the same kind of tank as was
originally used for automobile lighting and is still used
for lights on automobile trucks. A long hose extends
from the valve control on the top of the tank to a
metal nozzle end having a wood handle. The flame at
the nozzle of the burner may be regulated easily so as
to produce a thin sheet of flame with a spread of 3
inches, or one of only about 1% of an inch. The flame
can be accurately directed along a straight line when
desired. The heat is very intense, much more so than
can be secured from the ordinary type of paint burner.
This type of burner weighs only 10 ounces; it can be
lighted or relighted instantly without generating and
so saves fuel and time.
The use of the burner is simple. It is necessary
only to attach the hose to the tank, attach the metal
burner to the other end of the hose, adjust the flame
to the size wanted and then direct it on the surface.
The burner is held in the left hand and a broad knife
scraper is used with the right hand. The flame is held
onto the paint and as the paint blisters up the flame
is moved onto another spot while the blistered paint is
scraped off with the scraper in the right hand. It is
claimed that this type of paint burner saves about one
124 HOUSE PAINTING METHODS
third of the cost of removing old paint. It saves both
on fuel and labor.
When the tank is empty it can be returned to the
Plate $1.—Acetylene Gas Paint Burner
gas service station where a new tank will be supplied
at the cost of the gas only.
Plate 92.—Putty Knife
Putty Knwes, Plate 92.—This tool is known to all
mechanics and is used by painters and decorators for
a great many purposes. Its original purpose was, of
MISCELLANEOUS PAINTERS’ TOOLS 125
course, that of placing putty into holes and cracks on
surfaces and for placing the putty on the outside of
window frames to hold the glass securely in place.
Many styles of putty knives are made, but in general
they are very much alike. Some blades are more flex-
ible than others, some are made of better steel than
others. Likewise there are differences in shapes and |
styles of handles depending upon the ideas of the
many manufacturers of this tool. The putty knife is
used to a large extent for scraping off paint, plaster
accumulations, etc. Scraping knives which are much
broader of blade are more effective when working on
- large surfaces.
Scraping or Stopping Knives, Plate 93.—This tool is
Plate 93.—Scraping or Stopping Knife and Glass
virtually the same as a putty knife except that the
blade is wider and usually more flexible. While putty
a
KC
Plate 94.—Rubbing Pad
knife blades are, as a rule, about 114 inches wide, stop-
ping or scraping knives are made with blades from
214, to 4 inches wide. These knives are made for serap-
ing off paint or other materials and for filling holes and
eracks with putty.
Rubbing Pads, Plate 94.—This tool is used for rub-
126 HOUSE PAINTING METHODS
bing enameled or varnished surfaces with fine pumice
stone or rotten stone, using water or oil. The purpose
of the rubbing is to remove the gloss and to produce
a very smooth, satin-like finish. Pads are made up in
many sizes, but the one shown is 214 inches wide and
6 inches long. <A piece of thick felt fastened onto a
wood block with tacks is often used for the same pur-
pose.
Brush Extension Handle, Plate 95.—While working
Plate 95.—Brush Extension Handle
in factory building interiors, and sometimes in office or
store buildings, there are some surfaces which are very
difficult to reach because of obstructions consisting of
pipes usually. Such surfaces are often reached by using
a long pole as an extension handle for a common brush.
An extension handle is also handy for reaching high
MISCELLANEOUS PAINTERS’ TOOLS 127
places such as chimney stacks, flag poles, ete. The
extension handle enables you to reach such surfaces
without scaffolding.
Paint Strainers, Plate 96.—There are on the market
Plate 96.—Paint Strainers
various tools designed for straining of paint. The il-
lustration shows the two types commonly sold. The one
at the top and to the left is a paper strainer of cone
shape and it is intended for use only once or twice.
They cost little. The other strainer is made of tin and
it is provided with a wire screen bottom which can be
taken out for cleaning and can be replaced with new
128 HOUSE PAINTING METHODS
screen when needed. The painter, of course, commonly
uses a piece of fly screen for straining paint and this
is all right when used simply to aid \the mixing opera-
tion. If the paint is rather clean to begin with and
is being mixed for exterior surfaces, the fly screen
strainer serves the purpose. However, when straining
varnish, enamel or paint for fine interior surfaces, fly
screen is not fine enough. A double thickness of cheese
cloth when tied over the top of a clean paint bucket
makes a much better strainer.
Paint Mills, Plate 97—Years ago the paint mill was
very essential equipment for every paint shop. Then it
Plate 97.—Paint Mills for Grinding
was customary to buy dry white lead, dry colors and
erind the dry pigments with oil by hand. That is a
waste of time today and it is not possible to produce by
that method paints and enamels which are equal to
the high class manufactured products. The paint mill
has but minor uses in the modern paint shop. The
mixing of putty, fillers and grinding up old paint skins
constitute the principal use to which the paint mills
are put today. Paint mills are made in four sizes, from
14-gallon to 3-gallon capacity; they are made to be
MISCELLANEOUS PAINTERS’ TOOLS 129
Plate 98.—Paint Mixing Machines
130 HOUSE PAINTING METHODS
operated by hand or by belt power from an electric
motor or gasoline engine.
Paint Mixing Machines, Plate 98.—The mixing of
rather large batches of putty, floor fillers, paints and
colors is most economically done by using paint mills
of the same type as are used by manufacturers. Every
well equipped paint shop should have at least a hand
power paint mill and the mills which run by motor or
engine using a belt easily pay for themselves in the
larger shops by the time saved. Often the reclaiming of
the small amounts of paint in the bottom of pots
brought back from jobs will pay for a paint mill in
a year’s time. This reclaimed paint is run through the
paint mills, being careful to keep the light and dark
colors separate. With proper handling such paint is
very useful for many purposes, especially for brick and
other rough areas. Paint mixing machines do not grind
the paint, they simply do a thorough job of mixing
and break up the pigment much more effectively than
ean be done by hand. These machines are made in
various sizes from 5-gallon capacity to many times
that quantity. The machines are easily cleaned and the
tanks may be lifted out of position quickly.
Plate 99..—-Mixing' Paddles
Mixing Paddles——The paddle most commonly used,
of course, is one which is made of wood and, as a matter
of fact, most any kind of a stick is considered good
enough. As a matter of fact, a paddle which is carefully
made does the work more quickly. An ideal paddle is
one which is shown in Plate 99 and one which is plenty
4
MISCELLANEOUS PAINTERS’ TOOLS 131
long enough to permit the use of both hands when
large batches of paint are being mixed. The metal
paint mixer is used to some extent and is effective.
Palette Mixing Knife, Plate 100.—This tool is used,
as a rule, only in the shop for mixing small batches of
Plate 100.—Palette Mixing Knife
fine pigments or colors on a stone or glass mixing slab.
With such a tool the mixing can be thoroughly done
and color matches are easily made in this manner.
Pots and Tubs, Plate 101.When mixing paint it
is well to have a pot or tub which is at least twice as
itn | a
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Plate 101.—Pots and Tubs for Paint Mixing
large as is necessary to hold the quantity of paint
being mixed. Empty barrels are used for large batches
of paint, sometimes a barrel is sawed through the middle
to make two mixing tubs. These are very handy for
SSS
—— SSS
ISE Ye HOUSE PAINTING METHODS
use in the shop. Empty 100-lb. white lead kegs and |
also the 5-gallon size of prepared mixed paint con-
tainers make excellent mixing pots. The 1-gallon pre-
pared paint pails and 25- and 50-lbs. white lead buckets
are the best possible pots to carry around on the job.
Paint Agitator, Plate 102.—This is a tool of recent
desigr. and it is used for the rapid mixing of paints,
Plate 102.—Paint Agitator of a New Type
enamels and other materials as indicated by the illustra-
tion.
Wall Scraper.—For removing cracked, scaled and
blistered paint and also old wallpaper this tool is an
improvement over the small hand scrapers because the
handles are made in lengths of from 9 inches to 28
inches, thus enabling one to use both hands in the work.
MISCELLANEOUS PAINTERS’ TOOLS 133
Where large surfaces are to be scraped a man can do
more and better work using two hands.
Steel Wire Brushes, Plate 103.—These tools are made
in various sizes and shapes with many grades of wire.
TTT ATA TATTAT
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Plate 103.—Steel Wire Brushes for Cleaning
Some brushes have long flexible wire of considerable
strength and thickness while others have short wire.
Some brushes are made up with rather soft flexible wire
also. We are illustrating the three types of brushes
most commonly used by painters for removing scaled
paint, rust and dirt on brick and metal surfaces. Some
brushes cannot be used on wood surfaces because they
will injure the wood by scratching.
134 HOUSE PAINTING METHODS
Sand Bellows, Plate 104.—A tool which has been used
to a greater extent in the past than the present. The
purpose served by the sand bellows is that of blowing
fine dry beach sand into wet paint. Such a treatment
Plate 104.—Sand Bellows
of paint has been used more extensively on railroad
stations than elsewhere to prevent the boys from eutting
their initials in the wood with pocket knives. Paint
loaded with sand in this manner is very apt to scale off
and for that reason the sanding of paint is not done as
much as formerly.
Bung Spouts, Gates and Faucets, Plate 105.—These
devices are simple metal spouts to be attached to the
hole in a barrel of oil, turpentine, benzine or varnish.
They enable you to keep the hole closed and to drain
out the barrel completely. They are made of metal
and are easily attached and removed from barrels.
Moulding Scrapers, Plate 106.—For the removal of
paint from curved mouldings these serapers of various
Shapes prove to be handy, time saving tools. They are
made of good steel, properly tempered and can be
sharpened when necessary.
Ship Scrapers, Plate 107.—For the removal of heavy
coats of paint, iron rust, ete., the large scraper used for
seraping down the sides of ships is a handy tool which
is being used in many places by painters. This scraper
is 17 inches long and has a comfortable handle. The
blade is 414 inches wide, bevelled and extra thick.
Ee
MISCELLANEOUS PAINTERS’ TOOLS 135
Benzine & Turpentine Faucet
Plate 105.—Bung Spout, Gate and Faucet
Glass Cutters, Plate 108.—The glass cutter is a tool
known to every one. There are various styles of handles
and sizes, all of which accomplish the same purpose with
136 HOUSE PAINTING METHODS.
AG OA
Plate 107.—Ship Scraper
ae
ee
Plate 108.—Glass Cutters
more or less efficiency. The illustration shows a com-
mon type of cutter, the real diamond point cutter and
the circle glass cutter. The effectiveness of a glass
cutter depends to a large extent on holding the tool cor-
MISCELLANEOUS PAINTERS’ TOOLS 137
rectly in a vertical position and between the first two
fingers, using the thumb to steady the tool.
Glass Pliers, Plate 109.—Where any considerable
amount of glazing is done it is necessary to have glass
——————
Plate 109.—Glass Pliers
pliers to handle the cut off edges of glass. They save
time and make more certain of clean cut edges.
Glaziers’ Hammers, Plate 110.—This tool is used for
driving the little triangular glazing points into position
nr
a
Plate 110.—Glaziers’ Hammer
quickly without danger of breaking the glass.
Automatic Putty Guns, Plate 111.—When a great
number of windows are to be glazed and puttied the
putty gun shown in the illustration speeds up the work
because it enables the glazier to run out just the right
i
Plate 111.—Automatic Putty Gun
amount of putty and place it in the proper position.
The putty gun holds a quantity of putty in good con-
138 HOUSE PAINTING METHODS
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Plate 112.—Glass Cutting Board
dition for several days and it may also be used to drive
the glazing points into position.
Glass Board, Plate 112.—A level board marked off
in inch squares. The board is square and level. By
using a ‘‘T’’ square you can be sure of cutting glass
square on this board, or by using an ordinary rule and
following the square lines of the board the cutting can
be made with sufficient accuracy.
Glazier’s ‘‘T’’? Square, Plate 113.—A tool similar to
the ‘‘T’’? square used by mechanical draftsmen. It is
Plate 113.—Glaziers’ “TT” Square
used on a square glass board for a guide to be followed
in cutting glass.
MISCELLANEOUS PAINTERS’ TOOLS 139
Glazier’s ‘‘L’’ Square, Plate 114.—This is a tool used
on a square glass board for cutting glass to true dimen-
sions.
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Plate 114.—Glaziers’ “L’’ Square
Drop Cloths.—These are large pieces of light weight
duck or canvas used to cover up floors, furniture, mer-
chandise in stores and factories and cement sidewalks,
etc. Any size can be secured but the sizes commonly
carried in stock are 9x12, 12x12, 12x15, 14x16.
Electric Floor Surfacing Machines.—The painting
and decorating industry needlessly expends a great deal
of human energy doing by hand numerous tasks which
can be done better, cheaper and with a saving of time by
electric power.
Plate 115 illustrates two machines of the floor sur-
facing type which are operated by electric motor. The
motor drives a revolving cylinder, or drum, covered
with a large sheet of coarse or fine sandpaper. These
machines are easily directed and controlled in any
room. They quickly strip off old paint and varnish
finishes. Furthermore, they grind down rough areas
and high board edges, making a floor much superior to
140 HOUSE PAINTING METHODS
Plate 115.—Floor Surfacing Machines
the original hand scraped surface as to color and
smoothness.
Plate 116 illustrates two machines which are useful
to the painter and decorater in many ways. Various
Plate 116.—Electric Floor Finishers
kinds of revolving tools are attached to these machines:
—a fibre brush for scrubbing floors; a wax spreading
brush; a wax polishing brush for floors, table tops and
other polished surfaces; steel wire brushes for heavy
a ee eS ——
ae
MISCELLANEOUS PAINTERS’ TOOLS tat
scrubbing of wood, marble, tile and terrazzo floors and
for removing accumulations of grease, oil, dirt and old
coats of paint, wax and varnish from any floor; a sand-
papering dise to which fine sandpaper is attached for
smooth finishing of floors; a polishing pad; a pumice
pad of felt for removing stains and rubbing floors and
furniture to a smooth and level surface; a carborundum
dise for grinding down marble and terrazzo floors.
In this type of machines you have tireless workers
which ean be connected with any electric light socket
and which will scrub, sandpaper, wax and polish.
Sandpaper.—Of the many grades of sandpaper on
the market the common product is useful only for dry-
sanding surfaces. There is no doubt, however, that the
better grade of papers and those which can be used for
wet rubbing with water, turpentine or oil are much to
be preferred. They prepare a surface just as well and
with some of the better papers much faster than dry
sanding. At the same time they avoid raising dust
which is so injurious to health.
The fineness or coarseness of sandpaper is rated as
Pies (or 000), 2/0 (or 00),.0, %, 1, 1%,
2, 214, 3, 314, 4, 41%. No. FF is the finest and No.
41% the coarsest.
Most of the sandpaper used by the house painter
comes in sheets 9 x 11 inches or thereabouts. The finer
grades used on automobiles, furniture finishing and on
interior wood trim of houses is cut into small sheets
about the right size to fit the hand. For the sanding
of floors it is well to remember that large sheets of sand-
paper can be secured for use on a board. A piece of
plank about 10x18 inches having a broom handle
secured to the center to work like a waxing brush and
with a brick or two on top for weight saves a great deal
of labor. <A large sheet of sandpaper is secured to the
board, being lapped over at both ends and fastened with
thumb tacks. <A brick or two may be placed on top for
142 HOUSE PAINTING METHODS
extra weight. With such a tool floors are quickly sur-
faced without working on hands and knees. Note
Plate 117.
A ream of sandpaper is 480 sheets of single-faced
paper of any size, or 240 sheets of double-faced paper.
A quire of sandpaper is 24 sheets,—any size.
Sandpaper can be secured also in rolls 50 yards long
and from 4 to 28 inches wide. Rolls are used chiefly in
factory and millwork as belt sanders.
Steel Wool.—This abrasive is used for the same pur-
hae SANOPAPER
TACKED ON |
END WITHA
WOOD LATH |
CLEAT.
ca,
Plate 117.—Hand Made Floor Surfacer
ep ayrey eh
poses aS sandpaper and pumice. stone. It is made in
these grades.
No. 00,—equal to FF pumice stone
No. 0,—equal to F pumice stone
No. 1,—equal to No. 0 sandpaper
No. 2,—equal to No. 7 sandpaper
No. 3,—equal to Nos. 11% and 2 sandpaper
Fine steel shavings
MISCELLANEOUS PAINTERS’ TOOLS 143
Medium steel shavings
Coarse steel shavings
Felt Rubbing Pads.—You can buy sheets of rubbing
felt about 18 inches square or cut to any size desired
and which is one-fourth or one-half inch thick. Two
grades are sold—hard and soft. This felt can be cut up
and secured to a wooden block of a convenient size to fit
the hand. See Plate 94. The felt is cut about 1 inch
longer than the block, the ends are curled up and tacked
onto the ends of the block. There are various types of
rubbing pads on the market which are convenient and
which do effective work.
Sandpaper Holders, Plate 118.—Mechanics who are
Plate 118.—Sandpaper Holder
very particular about having first class tools often pre-
fer sandpaper holders which are made by manufac-
turers especially for this purpose. One type of holder
is pictured in the illustration. A plain block of wood
of a convenient size to fit the hand is often used for
sandpapering and it will, of course, do a better job
than when no block is used, because it exerts an even
pressure on the paper and surface.
Pointing Trowels, Plate 119.—A tool preferred by
i
Plate 119.—Pointing Trowel
some painters for filling holes and large cracks in plaster
walls. It is better than a putty knife or stopping knife
for some fillings. The steel blade is 4 x 21% inches.
i)
CHAP DERBVa
PAINTER-MIXED HOUSE PAINTS
ALTHOUGH there is a rather wide division of opinion
among painters in their preferences for one kind of
paint or another, it is the author’s idea that when you
eliminate personal preferences and prejudice there is
often little choice to be made, based on facts, as between
one kind of paint and another; that is, when the very
best quality of each type of paint is considered. The
author does not presume to advise painters to use one
kind of paint or another. Each has its advantages and
some disadvantages. Some painters prefer and use
pure white lead paint mixed in their own shops and
nothing else; some use only factory-made prepared
paint and others are equally strong in their preference
for shop-mixed paint, using white lead and zine in com-
bination, sometimes, with a moderate amount of inert
pigments.
On one point it is suggested that you be very careful,
that is, that while most brands of strictly pure white
lead are equal in quality, from the standpoint of dura-
bility at least, the various brands of prepared or fac-
tory-mixed paint are far from equal to each other in
durability, hiding or spreading qualities. When you
compare the very highest quality of mixed paints, the
best brands made by each of the leading and responsible
manufacturers, with each other you are apt to have dif-
ficulty in choosing one paint in preference to others or
in preference to shop-mixed white lead or white lead
and zine paint. When you compare the medium priced
and low priced factory-made mixed paint, or so called
144
—_—— -—
—————
PAINTER-MIXED HOUSE PAINTS 145
combination lead paints, with the best quality of pre-
pared paint, or white lead paints, the differences are
very marked as to hiding qualities, durability and the
amount of surface covered per gallon. A great deal
of the differences of opinion among painters as to the
preference for one type of paint over another are pos-
sible only because of unfair comparisons, that is, by
comparing cheap and medium grades of factory-made
prepared paints with high grade prepared paint or
shop-mixed white lead, or white lead and zine paints.
To sum up, then, it is the author’s idea that you. can
do first class jobs of painting with high quality paint
of the white lead, white lead and zine, or factory-made
prepared paint, and that where your trouble begins is
when you use cheaper brands of prepared paints or
shop-mixed white lead paint which has been extended
by mixing into it too large a percentage of zine, silica,
whiting, barytes, asbestine, etc. Unless a painter knows
considerable about chemistry and the peculiar charac-
teristics of paint pigments he is apt to run into trouble
when he tries to mix paint which departs from a
standard of pure white lead and linseed oil with from
10 per cent to 15 per cent of zinc oxide added. The
other paint pigments have certain values, but unless
used with exact knowledge and science they will make
trouble, Titanium oxide is another basic paint pigment
which is new and which is the subject of much experi-
ment today. It is interesting because of its great
capacity, but its merits have not been definitely proven
as yet.
The subject of basic paint pigments, oils, thinners
and driers is one which is very large, too large, in fact,
to present in a thorough manner in this book. Full
information concerning these paint ingredients is found
in the author’s book ‘‘ The Mixing of Colors and Paints.”’
General Mixing Facts—When either raw or boiled
linseed oil is mixed with white lead the resulting paint
146 HOUSE PAINTING METHODS
will have a gloss finish unless the surface is exceedingly
dry and porous.
When turpentine, mineral spirits or benzine are
mixed with white lead or other paint pigments, the
resulting film will dry flat without any gloss.
When flatting oil is mixed with white lead or other
paint pigments the paint film will dry flat or semi-flat,
depending upon how much oil is in the pigment base.
The film will have a slight sheen to it and will not be as
nearly dead fiat as when turpentine or benzine is the
liquid.
When a varnish is mixed with white lead or other pig-
ments you produce an enamel which will dry with a
gloss unless you have used flat varnish, and in that event
it will dry semi-flat.
Japan drier mixed with white lead or other paint
pigments in the small quantities which are proper and
in connection with raw linseed’ oil will not influence the
film noticeably toward drying gloss or flat. If, how-
ever, a japan drier is used which has not sufficient
strength, excessive quantities will be put into the paint
and then the gloss will be increased. When mixing flat
paints it is especially necessary to use the least possible
amount of drier when it is necessary to use it at all. As
a rule, drier is used only with raw linseed oil and it is
used in greater amount with paint having rather large
quantities of slow drying colors lke lamp black and
chrome green.
PURE WHITE LEAD
In this basic paint pigment we have one of the oldest
materials and one which has been the mainstay of
paints for over 200 years. Its virtues are many and
for that reason practically all high class paints,
whether made in a factory or in the painter’s shop,
contain a very large percentage of white lead. This
is true, of course, only of white and light colored paints
:
|
PAINTER-MIXED HOUSE PAINTS 147
used for exterior surfaces. The very dark browns, reds,
and blacks may have no lead in them at all.
The distinguishing qualities of white lead are that it
is the most opaque white pigment of proven durability
for exterior surfaces. It hides the surface very well,
works easily under the brush and is very stable chemi-
cally with linseed oil, turpentine, driers and most tint-
ing colors. When a job of white lead painting wears
out the surface is usually in perfect condition for re-
painting without any expensive burning and scraping
off of cracked and scaled paint. Lithopone and titan-
ium oxide are fully as opaque, but lithopone is used
only for interior flat wall paints, enamel undercoaters,
ete., and titanium oxide aione chalks off excessively
when used for exterior surfaces. In combination with
zine it is much more serviceable.
White lead is made by treating lead metal with car-
bonic acid gas and acetic acid. This combination
changes the lead metal to a soft white very fine powder.
This dry lead powder is mixed with pure linseed oil
in the proportion of about 8 per cent of oil to 92 per
cént of lead to form the paste which the painter re-
ceives.
The one weakness of white lead as a paint is that
white paint mixed from it and used on some surfaces
under certain conditions may chalk off a bit too soon.
This chalking or dusting off of the pigment is retarded
considerably when colors are mixed with such paint,
and chalking may be retarded in white paint by the
addition of from 10 to 15 per cent zine oxide to the
lead. The zine should be mixed only in the second and
third coat, never in the prime coat.
A perfect paint, if there were such, would be a film of
paint which was hard enough to avoid chalking excess-
ively, or prematurely, and yet soft and elastic enough
to avoid cracking and scaling. It is obvious that a paint
which chalks is preferable to one which cracks and
148 HOUSE PAINTING METHODS
seales. Chalking paint is a good foundation for new
coats, whereas cracked and scaled paint usually must be
removed by burning and scraping.
White lead is made by many manufacturers and by
different processes for the control and speed of manu-
facture. All processes, of course, use the same elements
—lead, metal, acetic acid and earbonie acid gas. The
differences between the brands of white lead are not
great and they consist principally of superior whiteness,
fineness and hiding capacity.
MIXING METHODS FOR WHITE LEAD
White lead is marketed to the painter chiefly in the
form of a thick paste made up of 8 per cent of pure raw
linseed oil and 92 per cent of white lead. It may be pur-
chased in tubes and in 1, 3 and 5 lb. press top cans; it is
sold also in steel kegs which hold 1214, 25, 50 and 100
Ibs. each net; it is, likewise, marketed in wood casks
weighing 300 lbs. and 500 lbs. A 100-lb. keg of white
lead bulks 2.85 gallons. Dry white lead is marketed but
is not much used by the painter except for making putty.
Most of the dry white lead marketed is sold to manu-
facturers of prepared paints.
The proper mixing of any paint has a much greater
influence upon the success of that paint than is ap-
parent on first thought. No matter how finely ground
white lead, zinc or prepared paint may be from the
factory process, they will not work as freely under the
brush, spread as far, or hide the surface as well when
carelessly mixed as when a careful job of mixing has
been done. It is not more difficult to do a good job of
mixing than a poor one. It is the method of procedure
which counts the most. It is well to remember that
lumps of paint can be broken up much more easily when
only part of the oil or turpentine has been added than
when all of the liquid is poured into the container with
all of the pigment.
PAINTER-MIXED HOUSE PAINTS 149
Breaking Up White Lead Paste-——If you are mixing
only two or three gallons of paint, take an empty, clean
100-lb. white lead keg and place in it all of the white
lead paste you will need for the batch. Next pour in
only about a quart of linseed oil or turpentine. Stir
the lead paste until all the liquid has been taken up by
it. Now add another pint or quart of liquid and stir
that in until it disappears. The time to do the most ef-
fective mixing is when you have put into a keg about
one half of the oil needed. The paint in this state can
be stirred readily and the lumps broken up, whereas
if you added all the oil at once you would find lumps
of pigment swimming around in the oil and dodging
your paddle with the result that you would work harder,
take a longer time and even then not do as good a job
of mixing as if a small amount of oil is put in from
time to time. ;
When about half of the oil has been mixed in add
your turpentine and also the japan drier if raw oil
is used,
The tinting colors, if any are to be used, should. be
mixed separately with oil or turpentine and may be
added to the white lead paste before or after the final
thinning with oil.
This procedure described for the mixing of white
lead paste with liquids should be followed in the mixing
ofs any paste with liquids—zine, red lead, colors, ete.
When it comes to mixing a dry pigment like dry white
lead or zine with liquids it is better to reverse the op-
eration by putting part of the oil in the keg first and
adding the dry pigment to the liquid, stirring the paint
all the while.
Straining the Paint.—After the most thorough job
of mixing has been done with white lead zine or color
pigments it will be found that if the mixture is allowed
to stand over night™or longer it will be thicker than
when you finish the mixing and you can add more
150 HOUSE PAINTING METHODS
liquid to it. Straining the paint is a considerable ad-
vantage whether paint is allowed to stand for some
time, or whether it must be used immediately, because
by straining you not only remove any skins, sediment,
wood splinters or metal scales, but you break up the
paint pigment into finer particles and incorporate the
liquid more thoroughly. Straining enables you to add
more liquid, it makes the paint brush out more freely
and hides the surface better.
The straining operation is simple. If you are sure
that the pigment is clean it is necessary only to strain
it. through fly screen. Paint used for finer interior
jobs should be strained through a metal screen which
is much finer than fly screen or through a single or
double thickness of cheese cloth which has been tied
over the top of the paint pot. The paint should have
all of the liquid mixed into it before straining as it
will then go through the strainer with greater freedom.
It will take time to do a job of straining and painters
who are young in experience are impatient about this
work because it may seem to be useless. The time is
well spent, however.
Adding Tinting Colors——After your batch of white
lead or other white pigments has been properly mixed
with linseed oil and turpentine the tinting colors should
be added. Use tinting colors ground in oil to paste form
rather than dry colors, japan colors or distemper colors.
The color paste should be mixed with a little linseed
oil or turpentine in a clean pot and when thoroughly
broken up the color should be strained into the white
paint through cheese cloth, or fine metal screen. When
tinting paint to match samples add your color cau-
tiously. Each batch of color added to the white should
be stirred thoroughly and the paint should be tested
by brushing a little of it out on a board. The color of
paint always looks darker in the pot than when brushed
out. If you note little streaks of darker color when
PAINTER-MIXED HOUSE PAINTS 151
the paint is brushed out, that is a sure sign that you
have not mixed the color thoroughly into the white
paint.
If you have added too much color to your white paint
it will take considerably more white to lighten up the
color, and when you get through you will have quite a
little more paint than you need.
Dry colors are used by the painter mostly for the
tinting of white in the mixing of calcimine and for tint-
ing putty to the proper color to match woodwork. If
it becomes necessary to use dry color for tinting paint
in an emergency the dry color should be thoroughly
rubbed out and mixed with a little oil on a board, stone
or piece of glass using a flat wood paddle or putty knife
to thoroughly work the oil into the color. Strain the
color through a double thickness of cheese cloth to re-
move any grit or coarse color particles.
Quantities of Lead and Liquids Needed.—It is not
possible to state an exact formula for mixing a gallon of
paint which will be suitable for use on all kinds of sur-
faces, such as wood, plaster, brick, cement and metals.
It is obvious that some surfaces are more porous and
absorbant than others,—that when mixing paint to be
spread on to such dry and porous woods as white
pine, cedar shingles, poplar and fir, your paint will
require a larger proportion of oil than when you are
mixing paint to be spread upon well filled surfaces like
yellow pine or cypress, both of which have pores that
are saturated with resin or other oil substances. When
mixing paint for the latter group of woods, and for all
non-porous surfaces, more turpentine and less oil are
needed.
Another consideration which governs the proportions
of oil and turpentine to be added to basic paint pig-
ments, or color pigments, is that which concerns the
amount of gloss wanted on the paint. For exterior sur-
faces, as a rule, the more gloss you can produce the
152 HOUSE PAINTING METHODS
better, which means that you want to use as large a
proportion of oil as possible.
When a semi-gloss or a dead flat finish is wanted for
interior painting, it may be secured by using less oil
and more turpentine, or by using what are called fiat-
ting oils in place of linseed oil. The flatting oils are
useful for interior surfaces only.
The mixing formulas for white paint which follow at
the end of this section give quantities of lead, oil, tur-
pentine and drier needed for new and old exterior
and interior surfaces. They are as accurate as they can
be made for average conditions. The paint mixer must,
however, size up the surface to be coated and mix his
paint accordingly.
The best way to determine whether your paint is
mixed too thick or too thin, is to dip a brush into it
and spread a little of the paint onto the surface to
be coated. If the surface is a very dark color, your
paint must be mixed thicker, or stouter, than if you
are painting on top of a white or lght-colored sur-
face. Dark colors may be mixed thinner and will or-
dinarily be brushed out to a greater extent than white
paints, and still they will hide the surface well.
The condition of an old painted surface is a factor
which will govern to some extent the amount of oil
put into a new batch of paint to be used on such
a surface. If the old paint is quite hard and the sur-
face well filled, it will absorb less oil than if the old
paint is chalking badly and, consequently, is quite
porous.
Other points which should be kept in mind about the
quantities of oil and turpentine needed in paint mixing
are that you will find some slight variations in the thin-
ning qualities of the different brands of linseed oil,
depending upon what manufacturers made it and from
which of the world’s markets the flaxseed came. The
white lead which has been mixed with part of the ln-
PAINTER-MIXED HOUSE PAINTS 153
seed oil a day or two before the final thinning will be
found to absorb more oil than when freshly mixed.
In other words, you may mix a batch of lead paint
today and thin it down to what seems to be the correct
brushing consistency, but if you allow it to stand a day
or so it will be too thick and you must add more oil.
Less turpentine than linseed oil is needed to thin 100
pounds of white lead to brushing consistency. For in-
stance, 100 pounds of white lead mixed for new outside
work will take up 314 to 4 gallons of linseed oil and 1
gallon of turpentine before it is thin enough for a dry
and porous surface, while the same amount of lead
will take up only about 214 or 3 gallons of turpentine
to bring it to brushing consistency.
In the mixing formulas which follow, raw linseed
oil is specified. When a brand of high-class boiled
linseed oil can be secured it is better to substitute
boiled oil for raw in all these formulas and eliminate
the drier.
The modern thought concerning the best quantities
of oil and turpentine to use with white lead was well
expressed by Robert L. Hallett, chemist for the National
Lead Company, as follows:
‘*A slight reduction of the oil in the paint produces
a paint film which still has a very satisfactory gloss,
has even greater durability and is sufficiently hard to
prevent the adherence of the dirt which is blown
against it, although still elastic enough to prevent crack-
ing and scaling. By hardening the paint film in this
way a remarkable improvement in permanent appear-
ance is secured without any detriment to the paint in
durability or working qualities or any of the other
characteristics. A reduction in the oil results in paint
having greater hiding power, which is a marked advan-
tage, and the permanent good appearance .and freedom
from discoloration have proven a great satisfaction to
those who have adopted this practice. If the oil reduc-
a
154 HOUSE PAINTING METHODS
tion produces a paint which is too thick to be readily
applied with a brush, a slight amount of turpentine
may be added to take the place of the oil and give any
desired consistency.
‘This discussion does not so much refer to the prim-
ing coat applied on new lumber, concrete, brick or
stueco, because the priming coat must be so designed
as to have sufficient oil to fill the pores of the material
which is to be painted and furnish a firm foundation
for the subsequent coats.
‘‘The oil reduction begins with the body coat, which
must be fairly hard to furnish a firm support for the
finishing coat. Long experience has shown that paste
white lead should be reduced with a mixture of about
half oil and half turpentine for the body coat to give
the best results.
‘‘Perhaps the greatest difference of opinion is in
connection with the finishing coat, where we find
painters using all the way from three to five gallons
of linseed oil to 100 pounds of paste white lead. Five
gallons of linseed oil, or even four gallons of linseed oil,
iS an excessive amount, and, while the preliminary gloss
obtained with such paint may be fairly high, the gloss
is lost within a comparatively short time and the paint
is so soft that it may become discolored by dirt blown
against it. If the amount of the oil is reduced to three
and a half gallons, three and a quarter gallons or, in
exceptional cases, even three gallons to 100 pounds of
paste white lead, the results are markedly improved,
and it has been the universal experience that painters
who have conscientiously tried out this practice have
been well pleased with it and it has been a great satis-
faction to them to realize that one more bit of knowl-
edge has been added to paint technology and the master
painter has been given the means whereby he ean readily
correct the dirt discoloration which he may have en-
countered in some places.
PAINTER-MIXED HOUSE PAINTS 155
““Tt is sometimes difficult to make sure that the man
who actually mixes the paint follows any definite for-
mula, because necessary measuring containers are not
always available when they are needed. There is a
very simple method of overcoming this practical dif-
ficulty, which is to reduce the paste white lead for the
body coat with a mixture of half oil and half turpen-
tine, and reduce the paste white lead for the finishing
eoat with a mixture of linseed oil to which turpentine
has been added at the ratio of from one to two pints to
each three gallons of linseed oil. If this practice is
followed the desired formulas are more or less auto-
matically secured, because when this thinner mixture
is used for reducing the paste white lead it will not be
possible to add an excess of oil without obtaining paint
which is too thin to be of brushing consistency. It
has been found that white lead paint containing these
smaller proportions of linseed oil is not lacking in
durability, and while the original gloss may not be
quite as high as when more oil is used, the gloss will last
longer and the paint will have better appearance and
give greater satisfaction throughout a reasonable life-
time. We know that a coat of linseed oil is not very
durable in itself, and when exposed to the weather
becomes destroyed within a comparatively short time.
‘‘The white lead pigment itself is, of course, not a
paint, but we realize that a mixture of white lead pig-
ment and linseed oil together form a very much more
durable coating than either the oil or the pigment alone ;
in other words, it requires the oil or binder to cement
the particles of pigment together and produce a paint
film, but it also requires the particles of pigment to in-
erease the weather resistance of the paint film and
give greater durability. The only question which can
arise is, therefore, what is the optimum mixture of lin-
seed oil and white lead which will give the greatest dura-
bility and best results.’’
156 HOUSE PAINTING METHODS
STANDARD FORMULAS FOR WHITE PAINT
NEW OUTSIDE WOODWORK
First Coat
100 Ibs. pure white lead
4 gal. pure raw linseed oil
1 gal. pure turpentine
1 pt. japan drier
Makes akout 734 gal. of paint
Second Coat
100 Ibs. pure white lead
114 gal. pure raw linseed oil
114 gal. pure turpentine
1 pt. japan drier
- Makes about 6 gal. of paint
Third Coat
100 lbs. white lead
314 to 415 gal. pure raw linseed oil
1 pt. pure turpentine
1 pt. japan drier :
Makes 614 to 714 gal. of paint
On the sea coast, where paint is subjected to salt air
and hard, driving rains, some painters add from 10 to
15 per cent of zine oxide to the last coat only.
OLD OUTSIDE WOODWORK
First Coat
100 lbs. pure white lead
2 gal. pure raw linseed oil
2 gal. pure turpentine
1 pt. Japan drier
Makes about 7 gal. of paint
PAINTER-MIXED HOUSE PAINTS 157
Second Coat
100 lbs. pure white lead
3 gal. pure raw linseed oil
1% gal. pure turpentine
1 pt. Japan drier
Makes about 614 gal. of paint
Third Coat
100 Ibs. pure white lead
34% to 41% gal. pure raw linseed oil
1 pt. pure turpentine
1 pt. japan drier
Makes 61% to 714 gal. of paint
For two-coat jobs simply omit the second coat above.
On weather-beaten and very dry surfaces use more oil
and less turpentine in the first coat.
BRICK, STUCCO, CONCRETE SURFACES
First Coat
100 lbs. white lead
4 gal. pure boiled linseed oil
1 gal. turpentine
Makes about 734 gal. of paint
Second Coat
100 Ibs. white lead
4 gal. pure boiled linseed oil
1 gal. turpentine
Makes about 634 gal. of paint
Third Coat
Same as for new outside woodwork.
Before painting new plaster or cement walls which
have not been allowed to age more than 30 days, the
causticity of the surface should be neutralized, or it
may burn out the life of the oil in spots. Active alkali
158 HOUSE PAINTING METHODS
spots will change the color of some paints, notably tints
and shades mixed from chrome yellow. A wash com-
posed of four pounds of zine sulphate crystals dis-
solved in one gallon of water should be brushed onto
this surface. When the surface is dry brush off any
loose particles with a broom before painting.
Extra Drier Needed.—Under certain weather condi-
tions—on cold, damp winter days and during humid
days in the middle of the summer—it is sometimes dif-
ficult to mix your paint so that it will dry as rapidly
as it should. During such weather additional japan
drier to the extent of about 14 to 1% pint should be
added to 100 pounds of lead when raw oil is used. It
is not often necessary to add any drier to boiled linseed
oil, but there are some extreme conditions where a little
is needed. During difficult drying weather a little
extra turpentine will accelerate the drying.
When using slow drying color pigments such as
lampblack, chrome yellow, chrome green and ordinary
yellow ochre in considerable quantities to make dark-
colored paints, additional turpentine and drier are
needed.
How Much Paint from a Mix?—In order to deter-
mine the number of gallons of paint which you will
have as a result of mixing white pigment, color pig-
ment and liquids together calculate with the following
facts. It is necessary only to add together the bulking
values of each ingredient.
One hundred pounds of white lead in paste form,
as it comes to the painters, bulks approximately 2.85
gallons, which is a little more than 234 gallons. There-
fore, if in the mixing of 100 pounds of lead you use
4 gallons of linseed oil, 1 gallon of turpentine, 1 pint of
japan drier, you will have a bulk of approximately 8
gallons of white paint. The amount of tinting color
added usually is not enough to materially increase the
amount of paint, although if the color mixed is quite
PAINTER-MIXED HOUSE PAINTS 159
dark you must take into consideration the bulk of the
tinting color too. The following tabulation will be of
assistanee to you in calculating the amount of material
mixed from a batch of paint:
Per cent of Per cent Bulking
Maye (hs COLOR pigment in of oilin values in
paste paste gallons
Venetian Red (40% FeO). 78 22
CORT i 78 2 4.7
so rr 70 30 6.8
Tepe a... see 55 45 7.8
Pepeeemienna .........-: ao 45 (ie
Peewee? ..........4.. 54. 46 8.3
PE WET, os. as a /e o's 54. 46 7.6
Peeper sTOwn .... 2.5. 75 25 5.9
Peteeet ae ed oe... cs. 30 70 13
Piitramearive bine’ ........ 65 30 7.8
Pree ere,.'. sy ss 43 57 10.1
eam 6. ees se 20 80 2 a
bossa) 80.) ih era 50 50 8.7
C. P. Green (average) .... 77 23 5.0
C. P. Yellow (average) ... 80 20 4.2
20% Green (Barytes base) 88 12 3.9
20% Yellow (Barytes base) 85 ie 4.1
10% Para Red (Lime and
Barytes base) ......... 82 18 6.0
ny a a a ae 94 6 2.13
(000 sie ns 80 20 4.8
Basic Sulphate White Lead 91 9 2.86
Basie Carbonate White Lead 92 8 2.85
PUICMTINICIE og ccs ks ce os 82 18 4.05
Titanium Pigment BXX .. 80 20 4.6
The Amount of Paint in Pounds.—In calculating
the weight of the paint in pounds you must follow the
same procedure by simply adding to 100 pounds of
160 HOUSE PAINTING METHODS
white lead the number of pounds of oil, turpentine and
color mixed into the batch. <A gallon of linseed oil
weighs approximately 734 lIbs.; a gallon of turpentine
weighs approximately 634 pounds. A gallon of japan
drier will vary considerably depending upon the com-
position of the drier. When you have added all these
weights together divide the result by the number of
gallons produced and you will have the weight per
gallon. White lead paint, as a rule, weighs from 20 to
22 pounds per gallon. Prepared paints weigh from 14
to 15 pounds per gallon. The weight per gallon of
paint, however, is not necessarily an indication of its
quality.
ZINC OXIDE
From zine ore mined in America, Europe and the
Orient zinc metal is smelted. Although zine oxide, the
white paint pigment, is of modern origin, zine metal is
very ancient; the Chinese smelted ores and made zine
metal slabs 2000 years ago.
Zine oxide paint pigment is made by two processes;
one, the French, or indirect method, converts zine ore
into zine metal by smelting and then converts zine metal
into zine oxide by combustion. The zine metal is melted
in a crucible and as the heat is continued a vapor is
drawn off through long flues. When this vapor comes
in contact with more air it flames up and forms a very
fine white powder—zine oxide—which is collected in
cloth sacks of special construction. This powder after
being graded by fine screens is mixed with linseed oil
and the paste is ready for the painter.
The American process for producing zine is the same
in principle but differs in method of application. The
zine ore 1s burned directly without first smelting it
into zine metal. The ore is mixed with fine coal and
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PAINTER-MIXED HOUSE PAINTS 161
burned in furnaces. <A great deal more zine is made
by the American process than by the French process.
Zine oxide is a combination of one atom of zine
metal with one atom of oxygen. Zine oxide has been
considered the finest in texture of all white pigments
and the best qualities of zine are the whitest of all white
paint pigments.
This pigment, being so very fine in texture, is also
very bulky. One pound of dry zine fills a space about
three times larger than is filled by a pound of dry
white lead. The consequence of this great fineness and
bulk is that zine oxide absorbs more oil than white lead
when it is mixed to brushing consistency.
Usually zine oxide is ground with linseed oil in the
proportion of from 15 per cent to 19 per cent of oil
to 85 per cent or 81 per cent of pigment; while white
lead is ground in the proportion of 8 per cent of lin-
seed oil to 92 per cent of pigment.
One hundred pounds of zine oxide paste bulks 41%
gallons; while one hundred pounds of white lead bulks
2.85 gallons—or a little more than 234 gallons.
These differences in proportions of oil and pigments
and in bulk values must be kept in mind when mixing
paints and enamels using these pigments. More oil is
needed to thin 100 lbs. of zine to brushing consistency
than is needed to reduce 100 lbs. of white lead to the
same brushing consistency.
And again, because of these differences you cannot,
for instance, mix a paint in the proportion of 20 per
cent zine to 80 per cent white lead by mixing 20 pounds
of zine oxide with 80 pounds of white lead paste. To
mix paint having a pigment content of 20 per cent zine
and 80 per cent white lead, you must mix together
22 pounds of zine and 78 pounds of white lead. The
following table will serve you as a ready reference
162 HOUSE PAINTING METHODS
for mixing the correct proportions of lead and zine:
PROPORTION WANTED
Zine White Use Zine Use White
Oxide Lead Oxide Lead
5% 95% | 6 Ibs. 94 lbs.
10% 90% 11 lbs. 89 Ibs.
15% 85% 17 Ibs. 83. Ibs.
20% 80% 22 Ibs. 78 lbs.
29% 75% 27 Ibs. 73 Ibs.
30% 70% 33. Ibs. 67 lbs.
39% 65% 38 Ibs. 62 lbs.
40% 60% 43 lbs. 57 lbs.
45% 59% 48 lbs. 52 Ibs.
00% 50% 53 Ibs. 47 lbs.
55% 45% 58 lbs. 42 Ibs.
60% 40% 63 lbs. 37 lbs.
65% 35% 68 Ibs. 32 lbs.
70% 30% 73 Abe 27 Ibs.
75% 25% 77 Ibs. - 23 Ibs.
80% 20% 82 Ibs. 18 lbs.
85% 15% 87 Ibs. 13 lbs.
90% 10% 91 Ibs. 9 Ibs.
95% 5% 96 lbs. 4 Ibs.
Use zine oxide ground in oil paste and white lead
ground in oil paste, to make these batches of 100 lbs.
of mixed pastes.
Zine oxide is a harder white pigment than white
lead. Along with its many virtues, zine possesses one
defect considered as a paint niguienteey is rather
too hard and inelastic to be used alone with linseed oil as
an exterior paint. It is too hard and brittle to expand
and contract sufficiently with the wood or other sur-
faces during temperature changes. Such paint would
crack and scale off, but when mixed with lead in the
correct proportions, zine makes good paint. Its hard-
ness is balanced by the softness of the lead and the de-
PAINTER-MIXED HOUSE PAINTS 163
fect of lead—being too soft—is balanced by the merit
of zine.
Zine is chemically stable and mixable with other
pigments, oils and colors. It is not affected by gases
in the air.
Zine is used, as such, by painters principally for
enamels and enamel undercoatings where it produces
a fine, hard surface. It is also mixed with white lead
in the proportions of 15 per cent to 20 per cent in
the finishing coat only for making a harder wearing
surface on exterior white paints to overcome excessive
chalking,
The best method for use in breaking-up and mixing
zine paste with oil is that described in this chapter
for breaking-up white lead.
When mixing lead and zine, break up your two pig-
ments separately reducing each to brushing consistency
with linseed oil, then pour one batch of paint into
the other. Pour the paint mixture back and forth
from one pot to the other several times and stir well
with a mixing paddle to assure thorough mixing.
Necessary turpentine and japan drier may now be
mixed into the paint. Tinting colors in oil paste
form should be thinned enough to break up the lumps
before being mixed into the paint. Then when all
ingredients have been mixed together stir the paint
well and strain it as described in this chapter for white
lead paint and for the same reasons.
Use of zine for interior paints may be made without
thought of durability as to cracking and sealing. For
enamels, enamel undercoaters and wall paints, zinc may
be freely used wherever its virtues are needed. Good
painters commonly agree that for exterior white paint,
and in the last coat only, from 15 per cent to 20 per
cent of zine with 85 per cent or 80 per cent of lead
makes the best proportions to overcome any tendency
of the lead to chalk off.
164 HOUSE PAINTING METHODS
Zine is marketed in 1214, 25, 50 and 100 pound steel
kegs and in tubes for artists and decorators.
Floor Paints.—Porch floors exposed to the weather
are usually painted for protection and to improve ap-
pearances. A serviceable job of floor painting begins
before the painter is called to the job. In the first
place, construction of the floor should be such as will
allow ample ventilation, at least one hole should be
placed so the moisture from the ground can escape.
This isn’t necessary, of course, when the area under the
porch opens into a warm basement.
One quality which floor paints must possess is the
ability to dry hard and form a tough coating. The
erinding wear of heels and furniture soon destroys soft
paints, yet if the paint is too hard and brittle it will
erack and scale off. There are on the market a number
of brands of factory-made prepared floor paints which
give good service. In using them it is simply necessary
to mix these paints thoroughly according to manufac-
turers’ directions.
When floor paint is to be mixed by the painter, his
proportions using white lead and zine are as follows
for new floors which are usually yellow pine well filled
with sap:
First Coat
25 lbs. white lead
714 pts. turpentine
214, pts. boiled linseed oil
Tinting colors
Makes about 2 gal. of paint
Second Coat
184 lbs. white lead
614 lbs. zine oxide
3/4, gal. turpentine
Tinting colors
Makes about 114 gal. of paint
a
K
PAINTER-MIXED HOUSE PAINTS 165
Representing the proportion of 34 lead and 14 zine
approximately
Third Coat
1834 lbs. white lead
614 lbs. zine oxide
3 qts. boiled linseed oil
1 qt. floor or spar varnish
ty pt. turpentine
Tinting colors
Mix the varnish and turpentine together before add-
ing to the paint.
Makes about 134 gal. of paint
For repainting old exterior porch floors use only the °
second and third coats as specified for new floors. The
eracks should be cleaned out first and filled with putty
made with white lead, dry whiting and linseed oil.
In the mixing of floor paints your aim should be that
of producing a paint film which will dry hard—a tough
film into which dirt will not lodge, one which can be
washed clean and one which will withstand the grind-
ing wear of many feet and the scraping of furniture.
Enclosed porch floors ought, of course, to be painted
like any interior floors. The first and second coats
specified for new exterior floors are suitable for new
interior floors. The third coat should be clear floor
varnish which when dry may be waxed and polished.
Old interior floors may well receive the second coat as
specified for exterior floors, a clear varnish coat and the
wax which may be polished.
Mixing Putty.—A great deal of the putty sold as
commercial grade material is not good for painters’
needs. Much of such material is marble dust and min-
eral or fish oil, making a putty too brittle to remain
long where you put it.
The best putty for exterior surfaces is made by mix-
ing dry bolted whiting with white lead in oil paste.
166 HOUSE PAINTING METHODS
Add dry color to tint it to the color wanted. Small
amounts may be mixed and kneaded by hand. Large
batches may be placed on a stone mixing slab or board
and pounded with a mallet or a club. When the putty
gets too stiff a very little linseed oil may be added. If
a little varnish—spar or floor—is added the putty will
dry even harder. Lead and whiting putty will stick
tightly where you put it and is good for all manner of
exterior work on wood and for setting glass into win-
dows and doors. <A coat of paint should always be
put on before the putty.
For setting glass in steel sash the best putty may be
made from dry red lead, white lead in oil paste and
dry litharge, using a little linseed oil for a binder.
Mixing Whitewash.—Whitewash deserves a more ex-
tensive use than it enjoys at present because it is an
inexpensive, Sanitary and light reflecting paint. For
some purposes it is even better than other paints.
Painters can find much employment coating basement
interiors, stables and other buildings with whitewash
when the weather prevents outside painting. In warm
and dry climates whitewash coatings are also used on
exterior surfaces to some extent. It may be used on
wood, brick, plaster or stone surfaces.
There are many formulas for mixing whitewash.
Some are better than others for some purposes. The
following formulas will serve every purpose.
Interior Whitewash
1 bushel (62 lbs.) Lime in lump form unslaked—
quicklime. Air-slaked lime is not as good.
15 gallons water. Put in a barrel with the lime
and stir occasionally to prevent scorching.
_ 21% pounds rye flour. Mix the flour with 14 gallon
of cold water, then add 2 gallons of boiling water.
214 pounds rock salt. Dissolve the salt in 214 gallons
of hot water.
_ PAINTER-MIXED HOUSE PAINTS 167
Mix the flour paste with the salt water solution and
then add the mixture to the lime and water in the
barrel. Let stand over night and strain. The above
whitewash is much used in factory buildings, ware-
houses, ete.
Exterior Whitewash
(Weatherproof )
1 bushel (62 lbs.) lime lumps (quicklime).
12 gallons of water. Put lime and water in a barrel
and cover top of barrel.
2 pounds table salt and 1 pound dry sulphate of zine.
Dissolve the salt and zine in 2 gallons of boiling water.
2 gallons skimmed milk.
Mix the salt solution into the lime and water, then
add the milk and stir the whole batch well. Let the
mixture stand over night if possible and strain it
through fly screen before applying to a surface with a
wide brush or a spray gun.
Y% bushel lump lime slaked in boiling hot water, keep
covered to retain steam. Air slaked lime is not as good.
Common practice is to add cold water a little at a
time until lime crumbles up into a soft paste. Then stir
and add more water until the lime cools down indicat-
ing that it will absorb no more water—it is completely
Slaked. Hot water hastens this process.
Next thin with water to brushing consistency and
strain to remove lumps and dirt.
1 peck of salt—(15 Ibs.) which has been dissolved
in hot water. |
3 pounds rice boiled in water to a thin paste; strain
it and add to the lime and salt mixture while hot.
1 lb. of good glue soaked in cold water over night.
Pour off excess water and add 3 quarts of boiling
water and stir well. Then add 14 pound of dry whiting
to the glue. Now add this glue and whiting mixture
to the lime, salt and rice mixture. Add about 5 gallons
168 HOUSE PAINTING METHODS
of hot water and stir the whitewash well, cover up and
let stand a few days. Apply the whitewash hot for
best results with a wide brush or spray gun.
Inghthouse Whitewash
1 bushel (62 lbs.) quicklime lumps
12 gallons hot water
12 pounds rock salt dissolved in 6 gallons of water
6 pounds Portland cement
Mix the lime and water in a barrel and stir until
the lumps are broken up and the mixture is cool. Add
the salt solution, then add the cement.
To prevent whitewash from rubbing or dusting off
add one ounce of alum to each gallon of whitewash. The
flour paste in the above formulas serves the same pur-
pose but a little sulphate of zine is necessary to preserve
the flour from decay.
Some people like to add 1 pint of molasses to 5
gallons of whitewash, believing that the lime is then
more soluble and that such whitewash anchors more
firmly to the surface.
When silicate of soda (85 degrees Baume) water is
added to whitewash in the proportion of 1 pound of soda
to 10 pounds of whitewash a fireproof coating is ob-
tained.
A gloss surface may be put onto a whitewash coating
by mixing with the whitewash 1 pound of yellow
laundry soap.
When a damp basement or other damp interior is to
be whitewashed the formulas containing glue, flour or
milk are not as good as whitewash made without these
ingredients. Such organic matter may decompose, dis-
coloring the surface and perhaps giving off an unpleas-
ant odor.
The appleation of whitewash whether done with a
brush or spray machine should aim to put as much ma-
PAINTER-MIXED HOUSE PAINTS 169
terial on the surface as will remain there without run-
ning off. No attempt should be made to stretch out such
mixture as is necessary with oil paint.
All whitewash mixtures gain a greater anchorage on
the surface and are more serviceable When put on hot.
The most practical equipment for such work is a port-
able kettle like a stock food cooker or similar to tar
kettles on wheels used by roofers.
Colored Whitewash—Any of the whitewashes may
be colored with limeproof or mortar colors made for
tinting brick mortar, concrete and cement surfaces.
Painter’s dry colors such as yellow ochre, Venetian red,
lampblack, raw and burnt umber, raw and burnt sienna
may be added to whitewash to make light tints and
Shades. It is not wise to mix dark colors in this manner
because so large a percentage of color must be used that
the durability or adhesive ability of the paint may be
impaired. Chrome yellow, chrome green and Prussian
blue must not be used with whitewash since they are ad-
versely affected by alkali.
“Paint for Weather-beaten Surface.—Oceasionally a
painter is called upon to paint a building which has
stood in the weather for years. The joints, nail holes,
cracks and even the pores of the lumber have opened up
wide. Such a surface will absorb an unbelieveable
amount of paint mixed in the ordinary manner,
The problem is to fill up such a surface and stop
suction to make a good appearance, and in doing so a
good foundation for the finishing coats must be made,
a foundation which will firmly anchor itself and avoid
cracking and scaling later on. Many methods are of-
fered for such work but most of them have serious
defects, principally that they are only temporary and
offer an insecure foundation and one which will not
avoid scaling off.
Because so much paint is required by such a surface
—it usually soaks up paint like a sponge—the search is
«170 HOUSE PAINTING METHODS
for a cheap paint. That would be logical if it were not
for the fact that the coat of paint next to the wood is
the most important of all, it is the very foundation of
the job. If cheap paint is to be used, far better to put
it on last, not first.
Some painters go to the extreme of soaking such a
dry weather-beaten surface with water, using a garden
hose. Thus the wood is swelled enough to close the pores
temporarily while the paint is put on. Then there is
a risk of having the sun draw the water out and blister-
ing the paint. And, of course, as soon as all the water
drys out of the wood the pores and cracks open up
again. It is a bad method.
Undoubtedly the best way to paint such a surface is
by spreading on a second coat of paint mixed this way:
50 lbs. white lead
50 lbs. bolted whiting
3 to 4 gal. boiled linseed oil
1, gal. turpentine
-Tinting colors
This paint should be mixed as thick as is necessary
to fill the pores and yet it must be thin enough to brush
out. Such a paint is in reality a thin putty, just such
as is used for holding glass in place on window sash.
If you ever had to dig such putty off of old window
sash you’ll remember that it took a sharp chisel to do
it. So there is no doubt that such paint will attach
itself firmly to the weather-beaten wood which, of course,
offers more opportunity for anchorage. But on the
other hand, if this paint were put on to pitch pine or
any other wood filled with sap or gum there is just as
much certainty that it would crack and scale off.
Again, we see that paint must fit the surface it is to
protect and decorate.
Paint so mixed is cheaper somewhat than usual be-
cause the whiting costs less than lead or zine. It should,
PAINTER-MIXED HOUSE PAINTS 171
however, be used only on the second coat. The first
coat, and the third when put on, should be mixed as
usual.
Keeping White Lead in Good Condition—To keep
white. lead paste in good condition after the keg has
been opened and some of the contents used, simply cover
the remaining lead with water. Carefully scrape the
lead off the sides of the keg first, however. Before using
the lead again, pour off all the water.
CHAPTER Wai
TINTING COLORS AND THEIR USE
A stupy of this subject may approach the many
eolors used by the painter and decorator from various
angles. The subject is, indeed, a large one, but the
author believes that the purposes for which this book
is written will be best served if the colors commonly
used are simply enumerated and described as to uses
rather than as to composition, origin and chemical
characteristics.
The subject of tinting colors was considered at length
in the book ‘‘The Mixing of Colors and Paints’’ by the
author. In that work various colors were grouped and
described as earth colors, chemical colors, aniline and
coal tar colors, lake colors, vegetable colors, animal
colors and metallic bronze colors.” Color pigments were
further grouped according to color hues and a full de-
scription of the characteristics of each color was given.
The list of colors used by interior decorators and by
artists includes a great many color pigments which are
not commonly used for exterior painting purposes.
Many of these colors lack permanency in strong light;
although satisfactory for interiors, many of them are
far too expensive to be used for large exterior surfaces.
The tinting colors made for house painters are also used
by decorators and artists, but such colors are then
ground finer and are usually more transparent than is
necessary for tinting house paints. Most of the tinting
colors used for exterior house paints:are mined from
the earth like coal, or are made by chemical manufac-
172
TINTING COLORS AND THEIR USE 173
turing processes. The umbers, siennas, ochres and Vene-
tian red are the most notable of the earth pigments,
while Prussian blue, chrome yellow, chrome green and
lampblack are the best known color pigments made by
chemical manufacturing processes.
The tinting colors made for coloring white paint, are
put up in a thick paste form and sold in tubes, 1 and 5
pound cans and in 1214 and 25 pound pails. Larger
packages can be had for special purposes. This paste
is thinned down with linseed oil or turpentine to brush-
ing consistency and may, of course, be used as a paint
in itself, but usually such colors are used for mixing
with white paint to produce tints and shades.
Nothing is gained by buying lower grade colors be-
cause the tinting strength is reduced by the addition of
extenders and, consequently, a greater quantity of such
tinting color must be used to secure the tints or shades
wanted. It will pay the painter to buy the best grade
of tinting colors because they are brighter, clearer and
have greater tinting strength than colors made to fit a
low price. Cheap grades of tinting colors not only lack
tinting strength, but they are apt to be muddy or
cloudy.
Below is a list of the tinting colors most commonly
used by painters for exterior paints and to a large ex-
tent for interior paints. 'There are some variations in
names of tinting colors, because some manufacturers
give special names to certain grades or shades of earth
and chemical colors.
TINTING COLORS GROUND IN OIL
Reds
Searlet Vermilion Indian Red.
English Vermilion Tusean Red
Unfading Vermilion Turkey Red
Permanent Red Venetian Red
174 HOUSE PAINTING METHODS
Blues
Prussian Blue Chinese Blue
Ultramarine Blue Cobalt Blue —
Yellows
Dutch Pink Light or Canary Chrome
Golden Ochre Yellow
Yellow Ochre Medium Chrome Yellow
French Yellow Ochre Orange Chrome Yellow
Blacks
Lamp Black Coach Black
Carbon Black English Blue Black
Black Iron Oxide Ivory Drop Black
Greens
Forest Green, light, me- Light Chrome Green
dium and dark Medium Chrome Green
Emerald Green Bottle Green
Olive Green Bronze Green
Browns
Burnt Umber Raw Sienna
Vandyke Brown Burnt Sienna
Brunswick Brown Raw Umber
CHARACTERISTIC OF COLOR PIGMENTS
Opaque Colors.—These are such as hide the surface
more or less completely. The blacks are the most con-
Spicuous, of course, in this group.
In the red group of tinting colors for house paints
all cover well; Venetian red, Indian red and American
vermilion hide the surface very well.
Among the blue pigments all are quite opaque, except
when mixed thin for glazing and staining.
Of the yellows, the chrome yellows being made on a
white lead base, are the most opaque. In fact, the other
yellows are commonly used as glaze colors pecans they
possess a degree of transparency. Yellow ochre, except
Se Se ee ee ee
TINTING COLORS AND THEIR USE 175
in the high grades of French ochre, is rather opaque and
too muddy, as the decorator puts it, to be used for glaz-
ing or mixing stains.
Greens are rather opaque, yet they are transparent
enough in most grades to be used for glazing when
mixed thin. Browns are also fairly opaque when finely
ground and used in a thick film, but all are excellent
glaze colors, because of their degree of transparency
when mixed thin.
_ White pigments which are really opaque are limited
innumber. White lead has held first place in the matter
of opacity for hundreds of years and its many virtues
may keep it in first plate indefinitely.
Of recent years titanium oxide has made claim to
honors as the most opaque white pigment, but its case
has not yet been fully substantiated as an all-around
equal to white lead.
Zine Oxide has held second place for opacity among
white pigments suitable for outside painting and it has
held first place in the matter of fineness for years. It is
not so opaque as white lead, however.
Then, considering only the quality of opaqueness and
not general utility as a paint pigment, china clay and
whiting, silica and barytes are les$ opaque white pig-
ments, but are very useful for some purposes in interior
decorating.
For interior wall paints, window-shade paints and
enamel undercoaters, lithophone has first claim to popu-
larity, because of its very great opacity and moderate
cost. It is not suitable for exterior paints, however.
Transparent Colors——These are not really trans-
parent in the sense that glass is transparent, but they
are semi-transparent when mixed thin. The glaze colors
and especially the lake colors and aniline colors are the
best examples of the transparent class, but even the
commonly good grades of tinting colors for house paints
are satisfactorily transparent for some jobs of glazing,
176 HOUSE PAINTING METHODS
mottling, blending and Tiffany finish. For mixing
stains, only the transparent colors are suitable. The
aniline colors, being especially transparent, are very
fine for both staining and glazing.
The Fading of Colors—Among all the colors
used some are very permanent, some fairly permanent
and others are quite fugitive when placed in strong
light or subjected to the elements on exterior sur-
faces. And it should also be remembered that many
colors which prove quite fugitive and unsatisfactory
when used for the wrong purposes are really suit-
able and satisfactory when used for the purpose for
which they were manufactured. For instance, the
beautiful lake colors made for superfine automobile
painting and to be protected by many coats of varnish,
would not give satisfactory service if used to tint out-
side paint. Bright colors made with Prussian blue,
chrome green and certain anilines will not hold their
eolors long in direct sunlight, yet there are no more
permanent colors of their kind to take their place. If
judgment is shown about using fugitive colors, placing
them out of strong light or on interior surfaces, they
are completely satisfactory.
Earth colors such as Venetian red, raw and burnt
umber, raw and burnt sienna, yellow ochre, and some
few others are, generally speaking, more permanent
than chemical colors like Prussian blue, chrome green
and chrome yellow; but, as stated, the latter are suffi-
ciently permanent for the purpose of house decorating,
and there are no others to take their place. If blues
and greens are to be used for exterior exposure, mix
them with earth colors to increase their permanency ;
that will dim their brightness, but when added to white
or black, pleasing tints and shades are secured.
Following is a tabulation of colors arranged accord-
ing to their permanence in light:
TINTING COLORS AND THEIR USE A Wy bs
NON-FADING
Raw Sienna ~ Venetian Red
Burnt Sienna Chromium Oxide Green
Lamp Black Toluidine Red
Ivory Drop Black Yellow Ochre
Carbon Black Tusean Red
Black Oxide of Iron Vermilion
Indian Red Ultramarine Blue (except
Raw Umber when used with white
Burnt Umber lead) i
Vandyke Brown Cobalt Blue
FAIRLY PERMANENT
Chrome Green, Light Chrome Green, Dark
Chrome Yellow, Light Chrome Yellow, Orange
Chrome Green, Medium Cadmium Yellow
Chrome Yellow, Medium Para Red (aniline)
FUGITIVE
Prussian Blue Yellow Lake
Antwerp Blue Carmine
Chinese Blue Crimson Lake
Duteh Pink Searlet Lake
Red Lead Purple Madder
Aniline Reds Madder Lake
(except Toluidine) Rose Madder
Indigo Purple Carmine
Indian Yellow Violet Carmine
MIXING COLORED PAINTS
The first operation necessary to mixing tints and
shades of colors and all except the very dark colors
is to mix a white paint as described in Chapter VI.
The white paint may be thinned to its final brushing
consistency or only to a very thin, workable paste be-
fore the tinting colors are added. The colors should
be added before the white paint has been finally
strained. The tinting colors to be used should be mixed
178 HOUSE PAINTING METHODS
with oil or turpentine until the paste is thoroughly
broken up and is thin enough to be strained through
fine screen or cheese cloth. One or more tinting colors
are then added to the white paint and thoroughly
stirred in so that each amount of tinting color added is
well incorporated and shows its full tinting strength
before more color is added. If a thorough job of mixing
is not done little dark streaks of color will appear in
the paint when it is being brushed out on the surface.
- A batch of white paint being tinted always looks
darker in color in the pot than when brushed out on the
surface. You should, therefore, test your color by
brushing it out on a board. The tinting color should
be added in very small amounts because it is very
easy to put in too much and then a considerable amount
of white paint will be required to bring the color back
to where you want it. Before adding the final amount
of tinting color, it is a good plan to strain your paint
if the tinting color has not been previously strained,
and if there is any doubt about the paint being thor-
oughly mixed. The straining will catch any lumps of
color, break them up and make them exert their tinting
strength on the white paint.
Dry tinting colors are not suitable for tinting paint,
as a rule, although in emergency they are sometimes
used. The dry color should be mixed with oil or tur-
pentine and rubbed out on a piece of glass or board
with a spatula, putty knife or smooth mixing paddle
and then strained well before adding to the white paint.
This precaution is necessary to break up the lumps of
color and to eliminate any grit.
Mixing Dark Colors.—Light tints and shades of paint
are simply white paints having a small amount of tint-
ing color mixed in with them. As the paints are made
darker the amount of white paint in the composition,
of course, decreases. When it comes to mixing very
dark colored paint like chocolate brown, deep reds, dark
TINTING COLORS AND THEIR USE 179
greens and blues, there is little or no white paint in
such compositions.
When only small amounts of dark colored paints are
needed, the most convenient way often is to mix them
from regular tinting colors ground in oul, thinning
such color pastes down with linseed oil or turpentine
and adding a little japan drier. This makes a rather
expensive paint, however, with certain colors and the
tinting strength of such paint is lost to some extent or,
at least, a paint with less tinting strength would serve
the purpose quite as well. Consequently, when many
gallons of dark colored paint are needed it is often more
economical to purchase the colors wanted in the form
of factory-made ready-mixed paint.
First class tinting colors are necessarily stronger in
tinting quality than dark colored ready-mixed paints
which are made only for coloring and protecting a sur-
face. Paint manufacturers are able to mix the dark.
colored paints in a less expensive way by using chem-
ically pure tinting colors with less expensive basic pig-
ments not commonly available for painters’ use.
Proficiency in Color Mixing—Some painters and
decorators are most skillful in the mixing of colors to
match or harmonize with other surfaces, and there is
a common expression to the effect that a good color
mixer is born, not made. As a matter of fact, there
is little truth in these words, although, of course, a
mastery of color mixing comes more easily to some than
to others simply because the environment and associa-
tions in the life of some people are such as educate them
to a greater appreciation of color values. |
The two prime essentials in a study of color to make
one proficient in mixing and matching are: first, an
understanding of color theory as it relates to primary
and secondary colors of the spectrum, the influence of
one color on another; secondly, a thorough knowledge
of color pigments commonly used,—as to their prop-
180 HOUSE PAINTING METHODS
erties, tinting strength, opacity or transparency and
other characteristics. One need not go deeply into the
theory of color and light reflections, but it is absolutely
necessary to study diligently everything which relates
to the color pigments available to the painter and deco-
rator.
One of the best ways to become acquainted with color
pigments, their influences and values is to secure a
pound ean, or small tube, of each of the colors listed
in this chapter. Then, take a piece of plate glass and
a spatula or a putty knife and make a study of one
color at a time. Suppose you take the first color on
the list—Indian red. Place a small amount of the
color paste on the glass and rub part of it out to a
thin coating to note how the color hue changes when
the light passes through it. Then, add a very small
bit of white lead or zine to a part of this red and mix
the two together in varying proportions to note the
tinting strength and the character tints made by such
mixing. Then, take a little of the same red and mix it
with lampblack and note the character of the shades
so produced. Next, mix with the Indian red a little
blue and note the result. Continue these mixings with
yellow, green, brown, ete., until you have fixed in your
mind the particular color hues which result from the
use of Indian red. Now take another red—perhaps
American vermilion. Note that Indian red has a bluish
character and is rather dull in hue, while vermilion has
a yellow character and is much brighter. Note for
instance that the pinks mixed from Indian red and
white are rather dull and uninteresting, having a bluish
cast, while the pinks mixed from American vermilion
are clear, bright and more interesting. Note, also,
that the purples and violets mixed from Indian red and
blue are quite different from those mixed from ver-
milion and blue.
a i
» |
TINTING COLORS AND THEIR USE 181
COLOR CARDS AND FORMULAS
For the mixing of house paints there really is no
need for a painter to have for reference an extended list
of color formulas, at least this is true after a painter
learns the color hue and characteristics of each of the
most common tinting colors. The formulas and color
cards which follow are prepared simply to give the
student a foundation upon which to build a more ex-
tensive knowledge of color mixing formulas.
Black Paint.—For exterior surfaces ordinary lamp-
black is commonly mixed to dry with a gloss by re-
ducing lampblack ground in oil to a paste form with
linseed oil, a little turpentine and a little japan drier.
In this case the drier should be used whether raw or
boiled linseed oil is used, because lampblack is a slow-
drying pigment.
If the paint is to dry flat, use no linseed oil, but
thin the lampblack entirely with turpentine using a
little japan drier, or thin the black with flatting oil.
When a black is wanted for a finer job of painting
such as for furniture or automobile surfaces use drop
black, which is sometimes called ivory black. If the
surface is to be gloss, ivory black ground to a paste
in oil and thinned with linseed oil or turpentine and a
little varnish will give you the black paint wanted.
If the surface is to be flat without any gloss, use ivory
black ground to a paste in japan and thinned with tur-
pentine, or with flatting oil or with flat drying varnish.
Gray Paint.—Any white paint to which lampblack or
ivory black is added will give you a gray which is
not so very interesting. If you will add to the black
and white a little raw umber or, in fact, a very little
of umber, raw sienna and a touch of red or blue you
will produce gray shades which are much more inter-
esting than the crude raw color resulting from black
and white.
182 HOUSE PAINTING METHODS
Brown Paints, Color Card No. 1.—In the list of tint-
ing colors printed in the first part of this chapter
six browns are given. From this number burnt umber,
Vandyke brown and Brunswick brown are the only ones
which are really of a pure brown tone. Raw sienna in
the paste form is a light brown, but when mixed with
white it produces yellow tints. Burnt sienna is a red-
dish brown in the paste form, but when mixed with
white it gives pink tints. Raw umber is a grayish
brown in the paste form and when mixed with white
it produces warm gray or drab tints.
An uninteresting chocolate brown paint results from
mixing burnt umber with boiled linseed oil and a little
turpentine. Vandyke brown mixed in the same manner
gives a more interesting brown and one with a warm
hue.
A very good dark brown may be mixed from 25
pounds of burnt umber, 10 pounds of burnt sienna and
1 or 2 ounces of chrome yellow, all of which are used
to tint 100 pounds of white lead. Color card No. 1
shows burnt umber in the paste form, which you will
note, is a very dark brown, almost black.
Color Card No. 2.—Browns and tans may be mixed
in many ways with different combinations of burnt
umber, raw umber and raw sienna. The color shown on
ecard No. 2 may be mixed by the use of 1 pound of
burnt umber with 40 pounds of white lead or a com-
bination of 40 pounds of white lead and zinc.
Yellow Paints, Color Card No. 3.—The two most
commonly used yellow paints for exterior surfaces are
mixed from chrome yellow, medium light or dark, and
from raw sienna. The chrome yellows are much
brighter and are satisfactory from the standpoint of
durability, but raw sienna makes yellow paints which
are among the most durable of colors when exposed
to sunlight and the weather. Color ecard No. 3 shows
medium chrome yellow tinting color without any white
Burnt Umber (only)
1 lb. Burnt Umber
No. 40 Ibs. White Lead
No. 3 Medium Chrome Yellow (only)
1 lb. Medium Chrome Yellow
No. 4 20 Ibs. White Lead
1 lb. Medium Chrome Yellow
No. 5 609 Ibs. White Lead
No. 6 Raw Sienna (only)
N 1 lb. Raw Sienna
0-7 10 lbs. White Lead
N 1 lb. Raw Sienna
0. 8 60 Ibs. White Lead
No. 9 French Yellow Ochre (only)
Ret 1 lb. French Yellow Ochre
©. 10 19 Ibs. White Lead
No. 11 Venetian Red (only)
|
5
eS eS es a
1 lb. Venetian Red
10 lbs. White Lead
Z
°
=
NS)
1 lb. Venetian Red
0. 13 60 Ibs. White Lead
Z
Z
o. 14 Burnt Sienna (only)
1 lb. Burnt Sienna
0. 15 10 lbs. White Lead
Z
1 1b. Burnt Sienna
0- 16 60 Ibs. White Lead
Z
Z
o. 17 Prussian Blue (only)
1 lb. Prussian Blue
100 lbs. White Lead
Zz
°
rar
00
1 lb. Prussian Blue
0. 19 160 Ibs. White Lead
a
Z
o. 20 Light Chrome Green (only)
TINTING COLORS AND THEIR USE 183
or other pigment mixed with it. This color paste mixed
with boiled linseed oil and turpentine makes a paint
which covers and hides a surface exceptionally well.
It makes a rather expensive paint, however, and it
is, therefore, customary when painting large surfaces
with chrome yellow, or a mixture of chrome yellow
and white called colonial yellow to use but little yellow
in the undercoats. In other words, the first and second
coats are white paint tinted to an ivory or cream color
with medium chrome yellow, or raw sienna and then
only the finishing coat is mixed from medium chrome
yellow principally. In this way some of the expensive
tinting color, chrome yellow, is saved with no detriment
to the job.
Color Card No. 4 is a yellow paint made by mixing
1 pound of medium chrome yellow with 20 pounds of
white lead or white lead and zinc paste.
Color Card No. 5 is a cream color mixed with 1 pound
of medium chrome yellow and 60 pounds of white
lead paste or white lead and zinc. A more durable
color of a very similar character, color card No. 8, is
made from raw sienna.
Color Card No. 6.—This is raw sienna tinting color
paste as it comes from the can without any addition
of white or any other color.
Color Card No. 7.—In this we have a very interesting
light tan color made by tinting 10 pounds of white lead
or white lead and zine with 1 pound of raw sienna.
This is both a very attractive color and one which is
exceedingly durable when subjected to sunlight and the
elements.
Color Card No. 8.—A cream color which is a most
durable and substantial color for exterior surfaces.
It is mixed by using 60 pounds of white lead, or lead
and zine, with 1 pound of raw sienna. Some very at-
tractive ivory tints can be produced in the same manner
by using less sienna with the same amount of white.
184 HOUSE PAINTING METHODS
Color Card No. 9.—This is yellow ochre tinting color
in the paste form without admixture of white or other
colors. It is an earth color which is very durable in
the weather and when exposed to strong hight. French
yellow ochre is much superior to the common grades
both in the brilliance of its color and tinting strength.
The best of yellow ochres are very similar to raw sienna.
Color Card No. 10.—An interesting light tan or buff
color mixed by tinting 10 pounds of white with 1 pound
of high-quality yellow ochre. Tints and shades mixed
with cheap grades of yellow ochre which are muddy
and lack tinting strength are decidedly uninteresting
and should not be used. Raw sienna tints and shades
are much to be preferred. All of these color paints
are to be mixed with boiled linseed oil and a little tur-
pentine. If raw linseed oil is used, a small amount
of japan drier is required. Chrome yellow and raw
sienna dry well, but yellow ochre is a slow-drying
pigment, as a rule, and requires more drier.
Red Paints, Color Card No. 11.—Very few exterjor
surfacés require red paints which are brilliant of hue.
The red shown on color ecard No. 11 is rather bright
and it is permanent as to color when exposed to bright
sunlight and the weather. This color is mixed, using
only Venetian red and boiled linseed oil in the pro-
portion of about 31% to 414 gallons of oil to 100 pounds
of red. About 1 pint or 1 quart of turpentine may be
added to make the paint work more freely under the
brush and penetrate a little more. If raw oil is used
a bit of japan drier is needed. The color which is
widely known as brick red is mixed in the proportion
of 4 pounds of white lead, 2 pounds of Venetian and
1 pound of Indian red.
Color Card No. 12.—Rather a dull, light red mixed
with 1 lb. of Venetian red and 10 lbs. of white lead.
Color Card No. 13.—A pink of pleasing hue and
durable even in bright sunlight, For interior purposes
TINTING COLORS AND THEIR USE 185
pinks made with American vermilion are brighter and
more pleasing as a rule.
Color Card No. 14.—This is burnt sienna tinting
color paste without any white or other color mixed
with it. It is a decidedly permanent paint and will
hold its color when subjected to the weather and bright
sunshine for years. When the oil in the paint finally
perishes, the color will be somewhat dulled and grayish,
but if more oil were added to the surfaces its bright
eolor would return.
Color Card No. 15.—A yellowish pink mixed with 10
pounds of white lead, or lead and zinc, and 1 pound
of burnt sienna.
Color Card No. 16.—A light pink made from 60
pounds of white lead or lead and zine and 1 pound of
burnt sienna. More interesting pinks result from tint-
ing white with American vermilion.
In addition to the above reds we have Tuscan and
Indian red and vermilion all of which produce tints
and shades with white which are of a slightly different
character. When real bright reds are wanted American
vermilion may be used with white paint. American
vermilion is made on a lead base and is better for
many purposes than English, French or Chinese ver-
milions which are made on a sulphur base. American
vermilion, also, is less expensive and it is usually
identically the same in color hue. There are several
other reds on the market made from coal tar and aniline
colors. Some of them are very permanent as to color
and are called perma red, unfading vermilion and per-
manent red. The vermilion made on a sulphur base
should not be used with white lead, because there is
an unfavorable chemical reaction which results in turn-
ing the lead dark in color. The sulphur reds may, how-
ever, be used with zine without such action.
All of these tints and shades are mixed into paint
by the addition of boiled linseed oil and a little turpen-
186 ‘HOUSE PAINTING METHODS
tine, and when raw linseed oil is used, a small amount
of first class japan drier is required.
Blue Paints, Color Card No. 17.—This ecard which
appears to be black is painted with Prussian blue tint- .
ing color paste without the addition of white or other
color. Prussian blue is one of the strongest tinting
colors made and, in fact, it is so strong that a painter
usually makes his first few mixes too dark. This blue,
while extensively used, is not permanent in color when
exposed to the sunlight, although it is satisfactory for
tinting interior paints and for light blues used on porch
ceilings.
Color Card No. 18.—A medium dark blue mixed with
100 pounds of white lead, or lead and zine, and 1 pound
of Prussian blue.
Color Card No. 19 is a blue paint mixed from 1
pound of Prussian blue and 160 pounds of white lead
or lead and zine.
All of these colored paints are made by thinning the
colors and white lead with boiled linseed oil and a little
turpentine. When raw linseed oil is used a small
amount of japan drier is essential.
While Prussian blue is most extensively used by
painters, there are several other blues, among them
ultramarine and cobalt blue, which if anything are more
interesting in hue than Prussian. These blues do not
have the greenish hue which is characteristic of Prus-
sian blue. Ultramarine and cobalt blues ought not to
be mixed with white lead, because they have a sulphur
content which turns white lead carbonate to lead sul-
phide which is black. These blues may be mixed with
zinc, however, without this chemical action.
Green Paints, Color Card No. 20.—The color shown
is a light chrome green, a color made chemically in a
way similar to that used for producing Prussian blue.
Chrome green may also be had in darker hues ealled
medium and dark. The color card was made from light
TINTING COLORS AND THEIR USE 187
chrome green without the mixture of white. The
chrome greens are called fugitive colors, because they
are not aS permanent in strong light as such earth
colors as the umbers and siennas. The chrome greens,
however, are valuable color pigments which cannot be
dispensed with, because there are no better colors to
replace them. Dark chrome green is commonly used
on window blinds and sometimes on roofs. A dark
green paint which is more permanent to the light may
be mixed, however, from raw umber, a little yellow
ochre or raw sienna and just enough medium or dark
green to add the color tone wanted. You can also mix
green paints, of course, by using chrome yellow and
Prussian blue and raw sienna. These green paints are
likely to fade out in places more quickly than those
made from chrome green, because there is a separation
in the colors as they wear. Chrome green is a rather
slow drying color and requires a little more japan drier
than others.
There are other greens which are available for tint-
ing paints and each has a slightly different color hue.
They are bronze green, bottle green and emerald green.
Green paint is, of course, mixed by adding boiled
linseed oil and a little turpentine to the color pigments.
When raw linseed oil is used, a little more japan drier
is needed. Light greens are mixed by tinting white
lead or lead in zine with medium chrome green.
Dark Colors at Less Cost—When only a little dark
colored paint is needed the mixing formulas suggested
above will provide the paint. When a gallon or more
of dark colors is needed it is probably wiser to buy a
factory-made prepared paint of a suitable color. Such
paint can be made a little lighter by adding white to it,
if desired; or its color may be slightly changed by the
addition of tinting colors in small amounts. Manufac-
turers are in position to make dark colored paints of
good quality at less cost than that made by painters,
188 HOUSE PAINTING METHODS
because they are able to tint less expensive pigments
with very strong chemically pure colors and by the
use of greater skill and knowledge of paint chemists.
More Attractive Colors—We have considered so far
the mixing of colored paint simply by adding a tint-
ing color to white. Such a procedure seldom produces
tints which are as attractive as those made by tinting
white with more than one color. For instance, a tan
may be mixed by adding burnt umber to white. Such
a tan is rather lifeless. If you add a very little chrome
yellow and a very little red you produce a tan which
holds a great deal more of interest. In the mixing
of grays the same thing is true. A much more in-
teresting gray than that produced by a mixture of
black and white are those grays which are made by
mixing black and white and a little blue, or a little
vellow, or a little red or all of these tinting colors
to the black and white. The part to remember, then,
is that colored paints mixed from two or three tinting
colors and black, or white, are much to be preferred
over two-color combinations. When you add a second
or third color you may not be able to see that color in
the paint, because such a small amount is used, but
you may be sure that it has a favorable influence upon
the paint.
CHAPTER VIII
FACTORY READY-MIXED PAINTS
THERE are many honest differences of opinion among
men in the painting business and among men in the
manufacturing business as to the merits of one paint
over another. And like all other industries the paint
trade is not made up of 100 per cent of honest men,
so there are many. good paints and some poor paints
made to fit a low price usually. But the vast majority
of men in the paint trade are sincere, honest and
forward-looking individuals building business upon the
firm foundation of merit and quality of their products.
We have large groups of painters and manufacturers
who firmly believe in the single pigment paint, that is,
in White lead and linseed oil. Another group believes
that such paint is good but is made better by the ad-
dition of a second basic pigment—zine oxide. Their
belief is that white lead is a bit too soft and chalks
or dusts off a surface too readily, that while zinc is
too hard and brittle to be used alone as an exterior
paint because it cracks and scales off, it does, neverthe-
less, add to white lead the quality it lacks. The theory
is that each pigment—lead and zinc—adds to the other
its desirable qualities and each eliminates the other’s
defects, and that when mixed together in correct pro-
portions a better paint is made than that resulting from
the use of either pigment alone.
The third group believes substantially what the other
two groups believe about the value of lead and zine
as basic paint pigments, but believes also that the ad-
189
190 HOUSE PAINTING METHODS
dition of certain inert pigments such as barytes, mag-
nesium silicate (asbestine) or whiting in some form,
reinforces the basic lead and zine pigments and makes
a more durable paint.
The point of greatest difference of opinion between
these three groups is as to what percentages of zine
and inert pigments are best. And it is obvious to all
who know the characteristics of lead, zine, barytes, whit-
ing, silica, clay, asbestine, titanox, ete., that paint is
good or poor from the standpoint of durability without
scaling, depending upon the proportions of various
pigments used in it.
The author has no desire to tell you what is the
best paint. You probably would not agree if he did.
But by placing before you the characteristics of basic
paint ingredients you are put in position to judge the
values of paints more intelligently. But, after all,
good service given by any particular brand or kind
of paint, your own favorable experience with it, and the
name of a reputable manufacturer on standard, well
advertised brands count for most.
One outstanding fact about ready-mixed or prepared
paints for exterior surfaces is that the best quality of
such paints contains large percentages of white lead
and zine and small percentages of inert pigments.
Whereas cheap, low quality paints for exterior sur-
faces contain small percentages of, or no, lead or zine.
In substance the statements commonly made by
manufacturers of factory-made mixed paints is that
mixtures of white lead and zine oxide properly bal-
anced with moderate percentages of reinforcing pig-
ments, such as magnesium silicate (asbestine), barytes,
silica and calcium carbonate are most satisfactory from
every standpoint, and are superior to mixtures of basic
pigments not reinforced with inert pigments.
The perfect paint, of course, is that which protects
and decorates a surface for a reasonable number of
FACTORY READY-MIXED PAINTS 191
years, and when repainting is necessary leaves a sur-
face with a firm foundation for the new coats. Perfect
paint is neither so soft as to chalk off prematurely or
excessively, nor so hard as to crack and scale, neces-
sitating the expense of burning and scraping before
repainting can be successfully done.
The better grades of prepared paints for exterior
surfaces show that about 85 per cent of the total pig-
ment is white lead and zine oxide, that the maximum
amount of inert pigments is 15 per cent of the total
pigment content, that the liquid portion is composed
of linseed oil, turpentine or equivalent mineral spirits
and the necessary drier and color.
It is evident that with so many variable factors pre-
pared paint can be made which is good and serviceable
and also such paint as is not good nor serviceable.
To make good paints requires:
(a) The honest desire and intent to make the best
of serviceable paint;
(b) The necessary chemical knowledge, skill and
experience to make the most of available materials, be-
cause both good and poor paints can be made from
the same materials;
(ec) The use of the best pigments and liquid ma-
terials for the purpose and in correct proportions,
making use of the cheaper inert or reinforcing pigments
only to such extent as actually improves the paint by
balancing up basic pigments and in accord with general
experience of the trade.
The standard by which the value of exterior pre-
pared paint may be fairly judged is:
1. It must cover 300 square feet or more per gallon
of good surface with two coats, producing a uniform,
evenly-colored surface with no dark or thin places.
2. It must produce a paint film which is not so
hard and brittle as to crack and scale off when the
wood expands and contracts with temperature changes,
192 HOUSE PAINTING METIIODS
nor so soft as to chalk off rapidly on exposure to the
sun, nor wash off by the rain.
3. It must have an average life of three to five years
of protection for the surface. And under favorable
circumstances to wear much longer.
4. It must be durable in color, neither fading too
rapidly in the sun, nor changing color, bleaching or
discoloring, due to chemical reactions. The color of
the paint under the dust and dirt accumulations to be
the color judged.
dD. It must leave the surface of the building in suit-
able condition for repainting, without the necessity for
burning and scraping off the old paint. Only dusting
off and puttying should be needed.
MIXING PREPARED PAINTS
These paints whether made for exterior or interior
surfaces are thoroughly ground in the factories both
to make the pigment fine and to incorporate the oil
with the pigment, just as white lead and zine are
ground through powerful mills to incorporate the oil.
But after a can of prepared paint has stood on the
shelf for some weeks or months the oil comes to the
top and the pigment settles to the bottom. In high
quality paints the pigment should not, however, get
hard, even after separating from the oil. More or less
mixing is required to make prepared paint ready for
the brush. The best way to go about this mixing
follows :—
1. Before opening a can shake it well;
2. Cut the top out with a putty knife and
pour the liquid off into a clean pot;
3. With a clean, flat paddle stir the pigment
left in the can with a little of the liquid
until it is soft and all pigment has been
raised off the bottom.
4, Now pour back the liquid removed, a little
FACTORY READY-MIXED PAINTS _ 193
at a time, stirring each lot until it dis-
appears into the pigment.
do. When all the liquid has been stirred into
the pigment strain the paint through fly
screen and pour it into another clean pot.
Repeat two or three times, pouring the
paint from one pot to another and it will
be ready for the brush.
Adding More Liquids.—Factory prepared paints are
made thick enough to cover well in one coat over a
surface of similar color, When used for the priming
coat on new wood the paint should be thinned about
25 per cent for the first coat only. To each gallon of
paint, therefore, add about 114 pints of boiled linseed
oil and 1% pint turpentine when the wood is of average
fairly absorbent character. When the wood is yellow
pitch pine, cypress or any wood which is well filled
with gum, resin or sap streaks, it is better to add to
each gallon of paint about 1 pint of boiled linseed oil
and 1 pint of turpentine for the priming coat only.
On two-coat jobs use the paint without thinning for
the second coat.
For three-coat jobs the paint for the second coat
requires a little thinning to make it dry semi-flat and
permit the third coat to take hold and dry without run-
ning, sagging or creeping and crawling, as it will when
put onto a second coat of high gloss. Thin the second
coat with about 1 pint of turpentine for each gallon
of paint on three-coat work. For the third coat use
the paint without adding more liquid.
Changing Colors.—Any factory-prepared paint may
be changed as to color simply by adding the correct
tinting colors or other colors of prepared paint. Tint-
ing colors should be mixed well with a little turpentine
or linseed oil and be strained before adding to the
paint. White factory-prepared paints may be tinted
194 HOUSE PAINTING METHODS
the same as white lead and zine white paints, using
the same tinting colors in the same way.
Characteristics of Pigments-——White paints and light
tints which necessarily contain large percentages of
white pigments, are more expensive than dark colored
paints. This is true because there are only a few basic
white pigments which are opaque when mixed with oil.
White lead (carbonate), white lead (sublimed) zine
oxide, leaded zine, lithopone and titanium oxide (ti-
tanox) are opaque—they hide a surface well—when
mixed with oil and when dry.
Whiting, silica, barytes, clay and one or two others
are quite as opaque as the above group when compared
in the dry form, but this latter group is made up of
white pigments which are too transparent when mixed
with oil to serve as basic paint pigments.
There are, of course, many dark colored pigments
which make durable and satisfactory paints and which
are even more opaque than the basic white pigments.
Some of these are: lampblack, raw and burnt umber,
raw and burnt sienna, graphite, aluminum bronze, Vene-
tian red, etc. |
White pigments are usually divided into two groups,
depending upon their character when mixed with a
liquid like linseed oil.
In the first group of white pigments which are noted
for their property of imparting a white color, opacity
or hiding power, to paints are these pigments which are
commonly known and used:—white lead, zine oxide,
lithopone and titanium oxide.
In the second group are the pigments which are
called extender or reinforcing pigments. In the dry
state they are white, but when mixed with a liquid
like linseed oil and spread as paint they have very
little opacity or ability to hide the surface. In this
second group are the following pigments:—
FACTORY READY-MIXED PAINTS 195
Barium Sulphate—(barytes, blanc fixe, permanent
white)
Silica—(silex, silicious earth)
Magnesium Silicate—(asbestus, asbestine, pulp, talc)
Alumina—(China clay, precipitated alumina, feld-
spar, kaolin, alumina hydrate)
Calcium Sulphate—(gypsum, terra alba)
Calcium Carbonate—(white mineral primer, Paris
white, whiting)
Bulking Values of Pigments, Dry—The following
figures are commonly used to indicate the values of pig-
ments and are useful only to those who do more or less
grinding of paints for various purposes:
Weight |100 lbs. pig-
Opaque Pigments, Dry Specific] per solid|ment bulk
Gravity|U.S. Gal.| in gallons
Basic Carbonate W. Lead..... 6.8 57 1.76
Be i ee ce ee 5.7 47 2.12
Zine Oxide, high leaded....... 5.9 49 2.00
Se 4.3 36 2.80
OME ork cs ce eee 4.3 36 2.80
Extender Pigments
oy aa ae rrr 4.4 37 2.70
Asbestine, Magnesium Sil..... 2.9 24 4,20
Oe O o k 2.7 22 4.43
No aE a ar 2.6 22 4.53
UES 2 0 a 2.6 22 4.58
Titanium Oxide.—One of the new paint pigments but
recently perfected. It is receiving widespread at-
tention. While it is not sold to the painter as a,sepa-
rate pigment, like white lead and zinc, it is, however, be-
ing used as a basic pigment with zine in prepared house
paints.
Titanox is a trade name for a white opaque pigment
the essential part of which is titanium oxide.
A most interesting account of the development of
titanium oxide was given by C. H. Hall, Pittsburgh
Plate Glass Co., before the Minnesota Master Painters
Association, This address in part follows:
196 HOUSE PAINTING METHODS
‘‘The development of new pigments in the paint
industry, from the nature of the business, is naturally
slow and conservative. The need of white pigments
for exterior use having improved properties over those
now available has, however, been forcibly demonstrated
by the great technical development in the industry in
the last fifteen years. (Note 1) While several products
offer promise from a strictly scientific standpoint, very
few have held out possibilities from a practical one.
The oxides of a number of the less common metals, one
of which is tin, produce white opaque pigments, but are
impracticable from an economic standpoint.
‘To produce a pigment which is commercially prac-
tical, raw material must be reasonably cheap and
readily available in practically unlimited quantities so
as to permit the production of a product either decid-
edly cheaper or decidedly better than those now avail-
able.
‘‘Until recently titanium has been classified as one
of the rare minerals, although the recent investigations
and reports of the Geological Survey show that it is
widely distributed throughout the earth in abundant
quantities. It exists in its most abundant form as the
mineral ilmenite, which is a combination with iron,
containing between 40 and 50 per cent of titanium
oxide. The pure oxide has an opacity of approximately
three times white lead and double that of zine oxide, but
it is found that if a base of proper fineness and texture
Author’s Notes.——While discussing this subject with other
authorities the author found general agreement with Mr. Hall’s
statements. There were, however, a few points where divergent
conclusions were drawn. <A brief statement of these differences
will no doubt be of interest to readers:
Note 1—To supplement Mr. Hall’s remarks it may be added
that this development of new pigments has resulted in the pro-
duction of numerous different types of paint coatings composed
of various pigments and modern vehicles to meet the varying con-
ditions of surfaces and structures, largely additional to the
exterior wood surfaces of houses.
FACTORY READY-MIXED PAINTS 197
is added that when only 25 per cent of the pure oxide
is present and 75 per cent of the base, that the pigment
has an opacity equal to 85 to 90 per cent of the pure
material. (Note 2). Above this percentage an increase
in the titanium oxide, therefore, adds little or nothing
to the opacity ;—on the other hand, a decrease decreases
the opacity in direct proportion to the decrease of ti-
tanium oxide. At this point, therefore,—namely, with a
content of 25 per cent titanium oxide—the material
offers the greatest economic value, and in consequence
has made the production of the pigment practical, as
the great amount.of raw material and the expense of
purifying the titanium solution would otherwise make
the pigment so expensive that it could not compete in a
large way with standard white pigments.
“‘The color, when iron is completely eliminated, is a
very clear white, and produces with tinting material
tints of a very clear tone. Its opacity is approximately
three times that of white lead and double that of zine
oxide. In giving these figures it is understood that
where a given weight of the material is spread over a
given surface, the above figures are correct. (Note 8).
“Chemically, the pigment is extremely stable, being
practically inert and unaffected by ordinary acid and
alkalies. It is in no way dissolved or changed by various
gases in the atmosphere. On exposure alone it chalks
somewhat more than white lead, chalking beginning on
the average at a somewhat earlier date. Alone, titanium
Note 2—It has been suggested that the opacity of pure titanium
oxide might be a bit more conservatively stated as being fully
twice that of white lead and of zine oxide.
Note 3—Again as to the opacity of pure titanium oxide, the
point is stated by. another authority in these words:—‘‘The
opacity of the precipitated composite type titanium oxide pig-
ment is approximately two times that of the usual white opaque
pigments used in exterior paints. These figures are based on rela-
tive hiding power, weight basis, and not on tinting power, weight
basis.
198 HOUSE PAINTING METHODS
oxide pigment does not make a satisfactory exterior
paint and its use alone should be scrupulously avoided.
(Note 4). The chalking feature is, of course, very de-
sirable, but at the same time it is desirable that this
be retarded to the maximum time possible, without the
possibility of developing checking. When the proper
steps are taken to do this, an article is produced which
has the various properties described below, and which in
a way is revolutionary from a paint standpoint.
(Note 5).
‘‘1, Has about one half greater opacity than paints
now considered standard when thinned for painting.
(Note 6).
‘*2, Can be furnished of a consistency that permits
the master painter to reduce readily without having
Note 4—As stated by Mr. Hall this paragraph is rather all
inclusive. It might be modified in this way:—‘‘In most exterior
coatings the use of titanium alone should be scrupulously
avoided. ’?
Note 5—Speaking about control of chalking, particularly to
retard it to the extreme, it may be well to add that when proper
steps are taken to do this a commercial paint particularly suitable
for painters’ use is produced.
Note 6—Comparing titanium oxide paint with paints now con-
sidered standard, it is the opinion of other authorities that the
titanium paint has considerably more opacity.
Other points of interest about this new pigment as given out
by the manufacturers are these:
Titanox, the trade name for a titanium oxide paint, is a true
composite pigment consisting of titanium dioxide precipitated and
coalesced with barium sulphate base (blane fixe).
The properties listed are: color, white; structure, very fine
uniform powder; hiding power, greater than that of any daca
white pigment; chemically stable and inert.
It is highly resistant to both acids and alkalies; it is iaatl
fected by action of sunlight or gases and is inert toward other
pigments, tinting materials and with oils and vehicles. Titanox
may, therefore be used with any of the grinding liquids, varnishes
and oil without danger of chemical reactions which may result
in livering, hardening or granulation. Withstands high baking
temperatures without discoloration.
FACTORY READY-MIXED PAINTS 199
to break up a heavy paste, but at the same time to
fit all conditions of surface and drying. "
**3. Can be used for tinting with any color avail-
able whatever, without fear of reaction, or can be mixed
with any other white pigments,
““4. Produces a paint which is remarkably more
adaptable to spraying because it can be applied thin
and cover perfectly.
“9. Dries to a smooth, high gloss surface of su-
perior whiteness which eventually chalks moderately
without showing indications of checking or cracking.
“6. On account of superior opacity will still ob-
Scure surface as well’as standard paints after chalking
has progressed for a very considerable time.
“‘7. On chalking, tints become lighter, as do those
made from lead, but on tests made over a wide range
of country and on a large amount of surface it has
always been observed that a remarkable uniformity
of color is maintained without predominance of blotched
and variegated colors so often in evidence on a chalk-
ing surface.
‘8. Can be used in industrial sections around gas
works or oil fields where it comes in contact with
hydrogen sulphide fumes, without any discoloration.
Under such conditions any paint containing lead is at
once discolored.’’
Lithopone.—This is a very white and very opaque
paint pigment which is composed of barium sulphate
(blank fixe) and zine sulphide. The very dense white
and hiding power of this pigment makes it valuable as
the base for most of the flat wall paints which are used
extensively. It is also used in manufacturing processes
for painting purposes ;—the painting of window shades
is a notable example of the use of lithopone.
Lithopone in ordinary grades turns gray when ex-
posed to sunlight, but recovers whiteness when placed
in the dark. In the higher classes of lithopone the
200 HOUSE PAINTING METHODS
material retains its whiteness when exposed to light.
Quite recently special grades of lithopone have been
developed for use in exterior paints. Mixtures of 40
per cent zine, 40 per cent lithopone and 20 per cent
inert pigments are being sold for exterior painting pur-
poses with assurances from manufacturers that such
paints have been subjected to durability tests and found
satisfactory.
Whiting.—This is calcium carbonate and appears on
the market as a bolted whiting for ordinary purposes
such as making putty and as cliff stone and Paris white
and gilders’ whiting in finer grades.
Whiting is a fine white powder, the product of lime-
stone which has been crushed and graded by floating off
the fine chalk in water. The fine chalk pigment, after
being separated from the coarse rock, is dried and then
is ready for the decorator and painter. Whiting is
the principal base for calcimine. Plaster of Paris,
which is sulphate of lime, is a kindred product and is
used by decorators in filling cracks in plaster walls.
Silica (Silex).—This is a product obtained from
crushing rock crystals, quartz, sand and flint into a
fine powder form. The principal characteristics of
silica are its great hardness and the fact that it is
inert, having no chemical reactions on any other pig-
ments, colors or oils with which it is mixed. In the
dry powder form it is rather white, but on being mixed
with an oil it changes to a yellow sand color. As the
particles themselves are colorless, they take on the color
of the oil with which they are mixed. The use of silica
by the painter and decorator is largely in the form of
paste wood fillers. Small quantities are used in under-
coats of wall paints to give them a ‘‘tooth’’ which will
make the second coat of paint hide the surface better,
because more pigment can then be retained on the
surface without running, sagging and wrinkling.
Barytes.—This is a white pigment which is found as
ee
FACTORY READY-MIXED PAINTS 20]
a natural product the world over and usually with lead
and zine metal ores. It is prepared for the paint trade
by grinding and the separation of the impurities by
an acid bath and water washing.
Barytes is a stable product chemically and does not
Set up chemical reaction with any of the materials with
which it is mixed. This character of being inert has
made it the most popular base upon which chemical
colors are made. Barytes is practically colorless, so
takes on the color of whatever substance it is mixed
with. It can be used to dilute strong colors without
modifying their tone. |
Barytes is not used by the painter as such, but has
long been used by manufacturers, both in color making
and paint making, and authorities claim that it actually
increases the durability of paints.
Asbestine (magnesium silicate).—This is a product
of asbestos which does not come to the painter as such,
but is used in the manufacture of prepared paint be-
cause it is very light and fluffy. Its particles are rather
long, narrow fibres, rather than round, and it is used
as a sort of reinforcement in paints just as hair is used
in plaster. Its other prime purpose is to help hold the
paint pigments in suspension in the liquids. Some
paints have a tendency, when sealed up in cans and
allowed to stand on the dealers’ shelves for a long time,
to settle to the bottom of the can. The asbestine, as
Stated, has a tendency to keep the paint pigment in
solution. This pigment is one of the forms of asbestus
or tale.
Stock White—This term today usually refers to
factory-made prepared paints in white. There is no
standard formula. What is commonly considered a
good formula is mixed approximately like this :—
45 lbs. white lead
45 lbs. zine oxide
202 HOUSE PAINTING METHODS
10 lbs. silica, barytes or whiting
314 gal. boiled linseed oil
The 100 lbs. of pigments plus 25 Ibs of oil,
or oil, turpentine and drier make about 8 gal.
of paint.
Such paint is about 60 per cent pigment and
40 per cent liquids and mixes to about the
correct brushing consistency for third coat
work.
The term—stock white—came into use years ago be-
cause of the custom in many paint shops of breaking
up white lead with linseed oil in advance of its needs.
When the shop man was not busy the white lead was
mixed with linseed oil, reduced to a paste consistency
too thick to be brushed. It was largely a means of
giving employment to the men, but it also saved time
when paint was needed in a hurry. Enough paint to
last a week or two was so mixed and when a few
gallons were needed for a job the white paste was taken
from the tub, thinned further and tinted any color
wanted.
Prince’s Mineral.—An iron oxide earth pigment color
of reddish brown. Ground to paste form with linseed
oil. It is thinned with linseed oil, turpentine and drier
by the painter and used for rough factory surfaces
—fences, roofs, barns, metal roofs and other metal sur-
faces. It makes a paint which is both durable as to
eolor and protection for the surface.
CHAPTER Ix
PAINT OILS, THINNERS, DRIERS AND REMOVERS
Progress in the development and manufacture of
painting and decorating materials is rapid indeed.
What may be written as an absolute fact today may be
true only in part a few months hence. This: is true
largely because more enterprising and open-minded
men than those engaged in the paint, varnish and allied
industries are not to be found in the marts of trade
the world over. They deal with facts established by
Science. As each new truth is uncovered it is subjected
to the tests of science and of time. When established
by both, few men fail to accept the step forward and
prepare for the next step. :
So it is with paint oils and thinners. We cannot say
truthfully that this is completely good and that is
hopelessly bad. There are qualifications for all paint
materials. Conditions under which such materials are
to be used are always a special consideration which de-
termines values when the characteristics of any oils,
paints, varnishes, enamels, ete. are being discussed.
Purpose Served by Paint Oil.—A drying oil in paint
Serves several purposes. In the first place it converts
dry colors and dry basic paint pigments into a liquid
State, thus making it practical to spread the pigments
to a uniform thickness over the entire surface. The
oil binds the pigment particles together and attaches
them to the surface. The oil protects the pigments,
provides a gloss finish and together the oil and pig-
ments exclude moisture and air from the surface.
203
204 HOUSE PAINTING METHODS
About Drying Orls—Quite a number of drying oils
are known to chemistry and the manufacturing field.
The outstanding oil which has greatest utility and
value is linseed. It comes to the painter and decorator
in several forms, such as raw, boiled, refined, bleached
and what are called special oils. The other drying oils
in common use are poppy-seed oil, China wood oil
(tung oil), nut oil, parella cil, lumbang oil, sunflower-
seed oil and a fish oil under the name of menhaden.
There are other oils now going the rounds of chemical
laboratories, but their commercial values have not been
established.
Painters and decorators need concern themselves with
none of these oils, except linseed, poppy-seed and, pos-
sibly, China wood (tung) oil. Linseed oil is used almost
exclusively for exterior paints and, in small quantities,
as the binder for interior paints. When used in white
paints for interior decorating, linseed oil is likely to
turn yellow, but will bleach out white again when sub-
jected to strong light. Poppy-seed oil and nut oil are
used with artists’ colors for pictorial painting and for
some other special paints where the quality of extreme
whiteness is valuable. China wood oil is used chiefly in
the manufacture of certain kinds of varnish and flat
wall paints for interior use. The balance of the drying
oils are used for special purposes by manufacturers in
the making of paints which require peculiar quality ;
for instance, fish oil will withstand a great deal of heat,
when mixed with a paint, without causing the paint to
blister. Fish oil, therefore, is valuable for use in paint
to be used on engines, smokestacks, metal roofs and
radiators, which are subjected to high temperatures.
There are some other oils classed as semi-drying oils
which painters and decorators hear about, but which are
of no use to them in their natural state. These oils are
corn oil, cottonseed oil and soya-bean oil; all are classed
as vegetable oils. They are used by manufacturers to
PAINT OILS, THINNERS, DRIERS AND REMOVERS 205
some extent for admixture with linseed oil and driers
in the grinding of paste paints and colors.
Innseed Oil—Sold in barrels by weight. Manufac-
turers and jobbers use 714 pounds as a standard gallon.
The correct weight for a gallon of oil is 7.7 pounds
(commonly stated as 734 pounds for convenience). A
90-gallon barrel is therefore short about 114 gallons
to pay for the barrel. A one-gallon measure will hold
734 pounds, but when filled to the lip with oil con-
gealed by a low temperature a gallon measure will hold
as much as 8 pounds,
Oil barrels are marked, not with the number of
gallons of oil contained, but with a gross weight and
a tare weight in pounds. The gross weight includes
the weight of the barrel and its contents. Subtract the
tare weight from the gross weight and you have the
net weight of the oil contained in the barrel. Divide
the net weight by 714 and the result is the number of
gallons, figured by the commercial standard gallon.
Linseed oil is the most extensively used paint oil,
not only because of its valuable characteristics, but
because it is obtainable in abundant quantities at mod-
erate prices wherever flax is grown. The abundance of
linseed oil naturally keeps the cost down to a moderate
figure. It is generally understood the world over and,
consequent!y, uniformly good results are secured from
its use. Linseed oil is, of course, used extensively in
the making of soap, linoleum and in many manufactur-
ing processes by which all manner of merchandise is
made.
The manufacture of pure raw linseed oil is accom-
plished by crushing flaxseed, known to some as linseed,
between large steel rollers in mills constructed especially
for the purpose. The oil is squeezed from the seed,
allowed to settle and age in order.to remove the mucilag-
inous matter which settles to the bottom of the tanks.
The longer the oil is aged the better, but in the modern
206 HOUSE PAINTING METHODS
process of manufacture most of the mucilaginous mat-
ter, called foots, is removed by filtering the oil while it
is hot.
Raw linseed oil is, as its name implies, a rather crude
raw product, and when used in paints must have a
drier added to it, usually, to make the paint dry rapidly
enough during cool and damp weather. As a matter of
fact, on outside painting it is customary to add drier to
raw linseed oil in any weather, although during hot, dry
seasons the oil will dry without the use of japan drier.
There is always some risk that the paint will dry too
slowly, without driers, to avoid the accumulations of
dust, small flies or gnats in swarms.
Boiled linseed oil is much to be preferred to raw oil
when you can secure one of the brands made by a
reputable manufacturer. The average manufacturer
considers raw linseed oil simply as a commercial pro-
duct, a commodity which must be made within certain
standards of purity, to be sure; but boiled linseed oil is
made with pride and especial care to give maximum
results in drying and brushing qualities as well as in
the matter of durability.
A great many painters have steadfastly bought pure
raw linseed oil because it offers less opportunity for
unscrupulous manufacturers to cover up adulteration ;
it is more difficult to detect the addition of dope oils to
the boiled linseed oil. However, it is a better buying
poley to secure high-class boiled linseed oil from a
manufacturer of good reputation who makes advertised
brands. Such an oil is an institution with the manu-
facturer and he takes pride in setting up and main-
taining a high standard of quality in his boiled oil.
He makes an oil of uniform quality, doubly filtered and
free from moisture and foots. With that kind of an
oil, painters and decorators will get better results, have
fewer painting problems, and even though the oil costs
PAINT OILS, THINNERS, DRIERS AND REMOVERS 207
a few cents a gallon more than if raw oil were used, it
will be a better investment.
The mucilaginous matter, or foots, found in linseed
oil is a substance which may appear in even the best fil-
tered and prepared oil, because it is a substance formed
by changes of temperature and it comes entirely from
the oil itself. In other words, the best of care known to
manufacturers may be exercised in the making of a pure
linseed oil, either raw or boiled, and yet if the barrcl
is subjected to many or extreme changes of temperature
after it leaves the factory, the painter may find a con-
siderable quantity of foots in the last few gallons drawn
from the barrel. Foots do not constitute adulteration
of the oil, and when they occur they can be returned
to the reputable manufacturer and exchanged for clear
oil without cost to the painter.
In brands of high-grade boiled linseed oil most of the
foots have been removed by heating, chilling and filter-
ing. The oil when it leaves the factory is entirely suit-
able for painting purposes. It is possible and practical
to completely remove all foots from linseed oil; indeed,
that is regularly done with oils made for special manu-
facturing purposes. It requires a rather elaborate
chemical process to remove all foots, and that makes the
oil cost eight or ten cents per gallon more. For ordin-
ary painting purposes there is no advantage in re-
moving every trace of foots from the oil; at least, it is
not worth the extra cost, generally speaking.
If the painter will just be alert and not use any of
the thick oil from the bottom of an occasional barrel
containing foots, he will experience no difficulty. If
this oil is used by a careless workman it may retard the
drying of the paint, causing it to remain soft and tacky
for a long time. Then it may become discolored by
accumulations of dust or insect swarms.
High-class boiled linseed oil is made by filtering and
heating the raw oil in large tanks to 240 degrees of
208 HOUSE PAINTING METHODS
temperature. This is to eliminate the moisture. Then
high quality drying substances, such as manganese, red
lead, litharge, raw umber and cobalt driers are added
while the oil is still hot to thoroughly incorporate them.
After this the oil is cooled down and thoroughly filtered.
The oil is not actually boiled, as the name would indi-
cate, as that would require raising the temperature to
600 degrees of heat. Such a high temperature will cause
the oil to become thicker and darker in color. For all
practical purposes raising the temperature to 240 de-
erees is sufficient to eliminate the moisture.
There is reason to be cautious in buying boiled linseed
oil from any but the well known and firmly established
manufacturers, because there has been a practice in-
dulged in by some paint jobbers and others of making
so-called boiled linseed oil which has not been high-
grade material. This material has gained the name of
bung-hole boiled oil, because it has been the practice of
these firms to buy barrels of pure raw linseed oil, draw
out a few gallons through the bung-hole and replace the
pure linseed oil with driers of their own making. In
some instances adulterated oils have been put into the
barrels because they were cheaper. This is bound to be
inferior oil, even when these men start with pure, raw
linseed oil and have no intention of doping it. They
have not adequate manufacturing facilities to make
good boiled linseed oil, and even if good driers were
added they would not be thoroughly incorporated when
put into the barrel in this manner with the cold oil. In
other words, to make the oil right they would have to
remove it from the barrels, heat and filter it and thor-
oughly incorporate the driers. They are not equipped
to do that.
When the makers of bung-hole boiled oil add cheaper
oils, like deodorized fish oil and mineral oil, to pure
linseed oil in order to increase their profits, the painter
is likely to have considerable trouble with his paints
PAINT OILS, THINNERS, DRIERS AND REMOVERS 209
_ because they are slow drying or remain soft and tacky
indefinitely. In the case of white paints the adulterated
oils may cause the paint to turn yellow.
Authorities on the subject of paint oils have looked
diligently for a cheaper oil than :inseed oil and one that
would be just as good or better. They nave not found
one available in sufficient quantities up to this time.
When such an oil is found, and has been proven by a
few years of testing to be equal to the job, you will hear
all about it from the paint trade in general and the
reputable manufacturer.
As a general proposition, paint oils offered as a sub-
stitute for linseed oil for outside house paints are valu-
able only in proportion to the amount of pure linseed
oil they contain.
To the average painter or decorator pure linseed oil
is all alike, but as a matter of fact there are differences,
even though the prices are all about the same. It is
therefore a wise policy to select a brand of boiled linseed
oil of known quality made by one of the manufacturers
who has an acknowledged reputable standing in the
trade, and therefore secure oil which is uniform in
quality from the beginning of the year to the end. You
will do your mixing of paint after certain set formulas
which you may have in print, or simply in your head
from long practice, and it is obvious that any formula
will give you better results if the basic materials speci-
fied in the formula are always of the same quality as to
the small content of foots, uniform color and absence of
moisture. There is some ground for doubting that
painters can mix as durable or as uniform paint by using
pure, raw linseed oil and japan drier as by using the oil
produced by manufacturers of high-class boiled linseed
oil. By using boiled linseed oil you avoid the risk of
having careless painters adding too much drier to your
raw linseed oil, thus wasting the drier which is expen-
sive and injuring the paint. Of course, japan drier
210 HOUSE PAINTING METHODS
should always be measured before adding a quantity to
your paint, but it is only human for a painter to guess
at it. If he has good judgment, guessing is all right, but
many workmen are careless about this.
It should be perfectly obvious, of course, that where
there is any question about the high quality of the
boiled linseed oil at hand it is much better to use pure
raw oil with the addition of good japan drier.
The preference for raw or boiled linseed oil will be
found to vary considerably in different parts of the
country. Something more than half of the total amount
of linseed oil in the United States is boiled. In some
sections almost 100 per cent boiled oil is used, while in
others raw oil is used in the largest proportion, depend-
ing somewhat upon habits and training of the painters.
There is just one certain way to secure a dependable
linseed oil, either raw or boiled—that is, to buy from
one of the reputable manufacturers of such products.
Following is a list of the manufacturers of pure linseed
oil. In several states laws have been enacted which
require manufacturers of linseed oil to attach labels
to the barrels, or cans, which read ‘‘pure linseed oil.’’
Such a label, which carries the name of a reliable
manufacturer and his address is assurance in these
states that the oil is pure.
American Linseed Co., New York, Boston, Chicago, St. Louis.
National Lead Co.’s Brands—‘‘ Atlantiec,’’ ‘‘John T. Lewis
& Bros:'Co,,77 *! Duteh Baye
Archer-Daniels-Midland Co., Minneapolis.
Hirst & Begley Linseed Works, Chicago.
Kelloggs & Miller, Amsterdam, N. Y.
Mann Bros. & Co., Buffalo, N. Y.
Spencer Kellogg & Sons, Buffalo, N. Y.
Minnesota Linseed Oil Co.. Minneapolis, Minn.
Red Wing Linseed Co., Red Wing, Minn.
Sherwin-Williams Co., Cleveland, O.
Fredonia Linseed Oil Works, Fredonia, Kan.
Pacific Oil & Lead Works, San Francisco, Cal.
Wm. O. Goodrich & Co., Milwaukee, Wis.
Bisbee Linseed Co., Philadelphia.
How Ow Dries—China wood oil apparently dries
PAINT OILS, THINNERS, DRIERS AND REMOVERS 211
simultaneously from bottom to top,—that is, it seems
to get hard and solid through the whole thickness of the
film at once. Linseed oil on the other hand dries by
absorbing oxygen from the air and since more oxygen
is available on the outer surface a dry skin forms on the
outer surface first and the drying proceeds from the
outside in toward the surface of the wood or metal upon
which the oil or paint is spread. This is true whether
the oil is raw or boiled, but the skin is formed more
quickly by the boiled oil. Apparently the boiled oil
dries first but actually it does not,—the drying is going
on all the while under the top skin.
Testing Linseed Oil.—There has been a great deal of
idle talk and useless writing in the painting business
for years about tests for this material and that, for
everything used in the business. Much of. it has
amounted to amateurs attempting to perform chemical
analyses without any education in the science of chemis-
try.
Some simple tests for comparing physical or mechan-
ical properties of materials are both interesting and
instructive, as well as useful to be sure. For instance,
rubbing a paint pigment or a color out on a piece of
glass with a knife to note whether it is coarse, gritty or
crystalline in texture. And then on looking through
the glass and pigments at strong light to note how
opaque the paint is usually reveals facts which are
both dependable and useful. The simple tests for de-
termining the purity of white lead, using matches or a
blow-pipe, charcoal and an alcohol lamp are dependable.
Among the quite useless tests are those which are
conducted by amateurs to determine the purity of
linseed oil. One of them is that of putting a few
drops of the oil in the palm of the hand. Then by
rubbing your palms together rapidly enough to heat the
oil by friction a strong odor of the oil is given off. Pure
oil is sure to give off the peculiar odor of linseed oil
212 HOUSE PAINTING METHODS
cake. The test is also supposed to enable you to detect
the odor of fish oil or mineral oil if such adulterants
were used in extending the linseed oil. But what makes
this interesting little test quite useless is the fact that
fish oil is now so perfectly refined as to be entirely with-
out the fishy odor and its color is also cleared up and
changed. Those attempting adulteration of oil in this
day are clever enough to do it so well that simple tests
will not reveal their scheme.
Then there are many other tests indulged in like
magic,—the placing of a drop of sulphuric acid on a
film of oil on a piece of glass,—called the spot test. If
the acid burns a clean hole through the oil film, leaving
a round brown spot it is supposed to prove that the oil
is pure, but if the spot of acid spreads like a cobweb, the
oil is said to be impure. The test doesn’t prove any-
thing—it works both ways.
And there’s the bottle test. Oil put into a clean
bottle and shaken well is supposed to show bubbles with
brightly colored hues when the oil has been doped. But
again, as the skeptics say,—it’s interesting if true.
The hard facts are that only men with professional
training in chemistry and with proper laboratory facil-
ities are in position to make tests of linseed oil and
arrive at results which are dependable. If your edu-
eation has given you enough training in chemistry to
enable you to understand and conduct the chemical tests
indicated in the following specifications you may profit-
ably spend time testing linseed oil. Otherwise, you will
profit more by buying only oil made by manufacturers
of known reputation for delivering pure oil. It’s inter-
esting for amateurs to fuss with chemistry, but the time
so spent should be charged up to entertainment and
should not be allowed to influence one’s business buying
policy.
In the testing of linseed oil chemists determine certain
physical and chemical values. Oils made from flax seed
PAINT OILS, THINNERS, DRIERS AND REMOVERS 213
grown in different parts of the world show somewhat
different properties. Oil made from North American
flax seed has been carefully studied by a committee of
the American Society for Testing Materials. The speci-
fications issued by this society for pure raw and pure
boiled linseed oil made from North American seed are
these :
Raw Linseed Oil
Maximum Minimum
15.5 deg. C
emieceerayity: ot ———— 0.936 0.932
15.5 deg. C
25 deg. C
Specific gravity at ———_-_____ . .931 eed
| 25 deg. C
OS TO 6 aie
Saponification number ........ 195 189
Unsaponifiable matter, per cent . 1.50 Nise
Refractive index at 25 deg. C ... 1.4805 1.4790
Jodine number (Hanus) ....... ree 180
Boiled Linseed Oil
Maximum Minimum
15.5 deg. C
Specine pravity-at ——__——_—_—_ . 0.945 0.937
15.5 deg. C
(0 OSG le cr 8 ein
Saponification number ........ 195 189
Unsaponifiable matter, per cent . 1.5
Refractive index at 25 deg. C ... 1.484 1.479
Jodine number (Hanus) ....... ge 178
NE ECS ie ut
Manganese, per cent .......... veh a
Seeremeeaper Cent 6... c. ese sa 3 2
Pe IGT CONG Fo cee eceice ec se 03
214 HOUSE PAINTING METHODS
Paint Defects Caused by Adulterated Oils —Whether
any ill effects result from the use of doped oil depends
upon conditions. Even as much as a 25 per cent adul-
teration with some semi-drying or even non-drying oils
may not show any immediate defects, if the oil is used in
paint on very soft, spongy or weather-beaten wood when
the temperature is high and ventilation is good. But a
very slight adulteration will sometimes give no end of
trouble when such oil is used in paint spread over hard,
non-absorbent surfaces like pitch pine, cypress, metal,
ete. The extent and kind of adulteration, the weather
and surface conditions, therefore, govern the result.
The ill effects resulting from the use of adulterated
linseed oil are these, principally:
Tacky and non-drying of paint; paint has been known
to remain soft and tacky for two or more years where
doped oil was used.
Discoloration of painted surfaces often results from
tacky paint containing doped oil. The paint accumu-
lates dust, smoke, soot or insects lodge in the paint
greatly discoloring it.
Oil doped with mineral oil will turn white paint
yellow.
More than a dozen years ago the adulteration of lin-
seed oil was quite common, but with the advent of the
Federal Trade Commission and the active co-operation
of the manufacturers who are members of the National
Paint, Oil and Varnish Association, Ine., this detri-
mental practice has been almost but not completely
eliminated. 7
Prepared Paint Owls ——Of recent years a number of
paint oils have been sold which appear to be giving good
service. These are specially prepared oils made by
reputable and skilled paint and varnish manufacturers,
using China wood oil or soya bean oil after refining
treatment of the raw or crude oils. These are called
reinforcing oils and are used in prepared paints,
PAINT OILS, THINNERS, DRIERS AND REMOVERS 215
largely. Such reinforcing oils are offered to the painter
and when China wood oil or soya-bean oil is correctly
treated by the manufacturers to make it suitable “and
sold by responsible firms they are worth careful trial
and study.
Perilla Ow.—Produced from seeds of perilla which
grows in China, Japan and India. While it is a drying
oil and appears in the American market in a very lim-
ited way, it is not used in a commercial way in the paint
industry. Tests made of this oil by the American
Society for Testing Materials and the Paint Manufac-
turers’ Association resulted in its being considered
superior to linseed oil by some. Perilla oil is considered
of a high commercial value as a paint and varnish
material in the Orient. The cultivation of the plant is
being introduced into the United States.
China Wood Oil (Tung).—The use and popularity of
this oil has increased greatly in the last ten years, and
while the decorator and painter do not come in contact
with it often as an oil, they do use vast quantities of it
as part of interior flat wall paint and varnishes.
From China wood oil a varnish is made which dries
flat and is the principal liquid of flat wall paints. Al-
though this oil is not extensively used in paints for
general purposes, it may be so used in the future. It is
used in making marine paints today, because of : its
ability to withstand the action of salt air and salt water.
China wood oil comes from the Orient and is made
from nuts of certain trees. Unlike most oils, it dries
with a flat, waxlike appearance and is not transparent
when dry. It has an odor which is not forgotten easily,
though it is not unpleasant. This oil is not used in its.
raw state, but is usually cooked with resins or such
drying substances as manganese, lead oxides, red lead,
litharge or cobalt, and then thinned with turpentine or
mineral spirits. The cooking causes China wood oil to
dry with a gloss, rather than the flat appearance of the
216 HOUSE PAINTING METHODS
raw oil. This oil is used in the making of some excellent
varnishes.
China wood oil is one of the best drying oils known.
It requires only about one day to dry, whereas linseed
oil requires about three days and poppy seed oil re-
quires from two to five days.
This oil has remarkable waterproofing properties.
It is used for this purpose extensively in China for
such as paper umbrellas, boats, ete. To the submerged
bottoms of boats the oil is put on hot, but cold oil is
used on the exposed areas above water. This oil has
been used in building forts with tri-partite earth, lime,
sand, oil and clay, making a material almost as tough as
granite. And the peculiar value of the wood from this
tree makes it very desirable for the manufacture of
lutes. Insects do not attack it.
China wood oil ought not to be used in the raw state,
as it dries opaque and not smooth but crinkly. When
the oil is boiled without drier at 230 degrees F. it
can be used the same as linseed oil and dries trans-
parent. One of the first difficulties encountered in hand-
ling this oil was that above a temperature of about 400
degrees F’. it was likely to go with great rapidity into a
jelly, which was insoluble with the known oil solvents
and consequently became useless. Linseed oil can be
raised to a temperature of 600 degrees. It is thought
that this oil should not be used alone, but in combination
with linseed oil. When so used the China wood oil im-
parts the hardness and non-porosity, while the linseed
oil contributes the elasticity.
Soya-Bean Oil.—A vegetable oil made from soya
beans, grown extensively in Manchuria and Korea, and
to some extent in the United States as animal feed.
Soya beans belong to the same family as the ordinary
pea and bean. This oil dries very slowly and makes a
soft film. The cost of it is low compared to linseed oil,
and it is, therefore, used sometimes to adulterate linseed
PAINT OILS, THINNERS, DRIERS AND REMOVERS 217
oil. Soya-bean oil is in rather general use by manufac-
turers in the paint industry for prepared materials, but
is not used by painters and decorators as a raw oil.
Chemists say that as much as 25 per cent of soya-bean
oil ean be added to linseed oil for painting purposes
without injury to the film. Certain colors ground in
soya-bean oil appear to be more satisfactory than when
ground in linseed oil.
Menhaden Fish Oil.—Produced from menhaden fish,
mostly. Considered a drying oil and recommended by
the chemists for use in smokestack and metal roof paints
and for paints subjected to moist, salt air. It will not
blister the paint on hot surfaces.
Kerosene and Petroleum Oils.—Except benzine, these
oils serve no good purpose in paints used by the painter
and decorator, as they are non-drying liquids. They are
used for certain special metal paints where a small
quantity of these oils is needed to retard the hard dry-
ing of the paint, but they should be used only by expert
manufacturers who know exactly what to do and how.
Kerosene used by painters and decorators is quite
certain to cause trouble with tacky paint. It will turn
white paint yellow. Some marine painters claim to have
used kerosene successfully on wood boats, but it is more
than likely that they had more good luck than good sense.
Creosote Oil.—An oil distilled from coal tar and
which is heavier than water. It is also called heavy
oil and dead oil in some industries.
Its outstanding value is as a preservative of wood,
and so it is known as a base for shingle stains.
The odor of creosote oil is a strong characteristic and
one not likely to be forgotten easily.
When not carefully refined for use in stains, creosote
oil is apt to throw down a sediment in cold weather.
This settling or separation of color and liquid can be
overcome when the manufacturer exercises due care in
a
a pe yaa
218 HOUSE PAINTING METHODS
chilling and filtering the oil before permitting its use in
stains.
Turpentine-—One gallon of turpentine weighs 7.2
pounds, but a commercial standard gallon is called 634
pounds. This is probably the most important volatile
thinner used by the painting trades for paints and var-
nishes. It is manufactured by distilling the resin of
the long-leaf pine trees of America. Rosin also results
from the distillation of the sap of pine trees. At first
turpentine was made only from the resin or gum ob-
tained from the tree, and that product is now known
aS gum turpentine. Turpentine is also extracted from
the sawdust and stumps by steam distillation or de-
structive distillation of the wood and is known as wood
turpentine.
Wood turpentine has a disagreeable odor if not very
carefully refined and usually is not so uniform in
quality. The odor can be removed to a satisfactory de-
gree and the characteristics of wood turpentine can be
refined to approach closely those of gum turpentine.
Turpentine has certain very valuable solvent and flat-
ting properties for paint and varnish products. The
painter and decorator finds that when mixed with white
and colored pigments it makes a paint which flows well,
penetrates and dries without gloss.
The ability to penetrate into the pores of a surface is
one of the outstanding virtues of turpentine. Pure
turpentine evaporates almost completely after it has
made the paint fluid, assisted in spreading the pigment
to cover the surface uniformly and to penetrate it. But
turpentine is not a binder in itself; on evaporation it
leaves the pigment about as it was before it entered the
paint, except that the pigment is more closely packed.
Turpentine has two objectionable properties for use
inside of buildings; one, its very strong odor, which
nauseates some people and is objectionable to a great
many; the other is the ill effects turpentine causes on
PAINT OILS, THINNERS, DRIERS AND REMOVERS 219
one’s kidneys. Unless decorators are unusually careful
about securing ample ventilation when working with
turpentine, they are apt to feel such ill effects as will
prevent them from using turpentine for interior work.
That is why many painters prefer benzine and appear
to produce quite as good results with it on interior
decorating. Benzine should not be used in place of
turpentine for exterior painting. |
Among the spirit thinners turpentine evaporates most:
slowly, more slowly than benzine or gasoline and very
much more slowly than alcohol and benzol. Some of
the especially distilled mineral spirits evaporate quite as
slowly as turpentine. Sometimes turpentine is adul-
terated with non-volatile petroleum oils.
Turpentine oxidizes (takes on oxygen from the air
like linseed oil) to some extent and assists the drying of
paint. And while pure turpentine evaporated from a
dish apparently leaves no residue, chemical analysis of
paints containing turpentine recovers less of it saMeds
put into the paint. A bit of rosin from the turpentine
must, therefore, remain in the paint. On the other
hand, all the benzine put into paint can be recovered by
chemical analysis.
Turpentine Subsitutes—These spirit liquids are
usually mineral spirits made from Texas petroleum
having an asphaltic base. They vary considerably in
their properties as to specific gravity, flash point, ability
as solvents and how completely they evaporate. The
best grades should evaporate completely during drying,
have good solvent power and cause no precipitation of
gums or polymerized oil in paint and varnish. For the
use of painters and decorators the mineral spirits
having a flash point near that of turpentine are less of
a fire risk and are the most desirable for that reason.
In these petroleum spirits having satisfactory volatility
and solvent power there may still be differences which
cause satisfactory or unsatisfactory flowing, spreading
SS
——————
220 HOUSE PAINTING METHODS
and general brush-working qualities in varnish, enamels
and paints.
Mineral Spirits—Petroleum from the Ohio and Penn-
sylvania oil fields has a paraffin base, while petroleum
from the Texas oil fields has an asphaltic base.
Benzines of a higher gravity, and which evaporate
more slowly, are made from Texas petroleum rather
than from petroleum having a paraffin base. These
henzines from Texas petroleum are called mineral
spirits and they ean be distilled to dry quite as slowly as
turpentine.
Careful regulation of fractional distillation of petro-
leum with a paraffin base, however, produces mineral
spirits similar to such benzines made from asphaltic
petroleum.
Mineral spirits are not as satisfactory as pure tur-
pentine for thinning japan colors or varnishes. In
short oil varnishes this thinner will precipitate the var-
nish if used in any but very small amounts. For use
with most flat paints and oil paints the best brands of
mineral spirit substitutes for turpentine are very Ssatis-
factory. Such thinner is cheaper and less disagreeable
to handle for thinning paints being applied with spray
guns.
Benzine.—While this spirit is a petroleum product, it
is an exception to the rule against the use of this class
in paint. It is a volatile thinner which evaporates more
or less completely after it has served the purpose of
making the paint liquid so that it can be spread uni-
formly thick over a surface.
Benzine is a distilled, colorless liquid made from
crude petroleum. It has a gravity of from 55 to 72 de-
grees by Baume hydrometer while gasoline, the lighter
product from the same base, shows a gravity of from
60 to 62 degrees Baume. The heavier oils, like fuel oil
and lubricating oils, are distilled from the same petro-
leum base.
PAINT OILS, THINNERS, DRIERS AND REMOVERS 221
Painters have been criticised for years because of
their use of benzine, but such criticism has seldom been
justified. Once in a while a lazy painter will add too
much benzine to outside paint in order to make it brush
onto the surface easier, but he usually gets caught soon
enough, because the paint then dries without gloss.
Benzine has many good uses in a paint shop aside
from its value for washing surfaces, brushes and pots.
For flat wall finishing and in the hands of skilled deco-
rators it serves quite as well as turpentine. It will, of
course, cause the paint to brush out ‘‘short’’ and to
‘nile up’? if not properly mixed as to proportion
with oil.
Benzine has no place in exterior house paints be-
cause it does not possess the same ability as turpentine
to penetrate the pores of the surface.
While benzine used in large amounts in rooms with-
out ventilation causes ill effects—a ‘‘benzine jag’’+—as
the painters call it, as generally used in place of tur-
pentine it is far safer, less harmful to health and
pleasanter.
Do not confuse benzine—(spelled with an ‘‘1’’)—with
benzene. Benzine is a petroleum product, but benzene
is similar to benzol and toluol, which are definite com-
pounds derived from the light oil of coal tar.
Benzol.—A light oil distillate from coal tar which is
a volatile spirit with a boiling point of 82 degrees C
(180 degrees F). A powerful solvent of gums, resins,
oils and varnishes. Sometimes called 160 degree sol-
vent naphtha. Used by painters to add to paint for pitch
pine surfaces or to brush on to such resin filled wood
to cut the resin and give the paint an opportunity to
penetrate and anchor itself.
Solvent Naphtha—A distillate of light oil from coal
tar. It boils principally between 130 degrees C (266
degrees F) and 160 degrees C (320 degrees F).
Solvent naphtha is commonly known to painters and
222 HOUSE PAINTING METHODS
decorators as 160 degree benzol and is used by them in
small amounts occasionally in exterior paint to be
spread on to pitch pine or other woods the pores of
which are completely filled with resin or an oily sub-
stance.
Solvent naphtha is less volatile (it evaporates more
slowly) than benzol or toluol.
The excellent properties of solvent naphtha, as a sol-
vent for bituminous paints, varnishes, gums, oils and
resins has made it widely used in the paint and var-
nish industry. It is a common ingredient in paint and
varnish removers and in substitutes for turpentine.
Amyl Acetate (banana oil).—This is the oil used
commonly as the vehicle and binder for bronze paints
—called bronzing liquid.
Amyl acetate, amyl alcohol and methyl alcohol are
solvents used by manufacturers in _ nitrocellulose
lacquers and, while painters and decorators read men-
tion of them occasionally, there is little or no use for
them as such in the ordinary course of business.
Alcohol (ethyl, grain, methyl, wood).—That used
by painters is almost entirely denatured alcohol. It is
grain or ethyl alcohol to which poisons are added
(usually 5 per cent of wood alcohol and 5 per cent ben-
zine or other petroleum distillate) according to govern-
ment requirements, to denature it and make it unfit for
human consumption. |
Painters use denatured alcohol for many purposes,—
for thinning shellac, for washing up wood trim after
an old finish has been stripped off with liquid varnish
removers and for mixing with water stains to secure
penetration.
Wood alcohol (which is methyl alcohol) is not so ex-
tensively used. It is a powerful solvent of varnish
and paint films and is used to some extent as a remover
of these coatings. Wood alcohol is also a deadly poison.
Grain aleohol which has been denatured with 10 per
PAINT OILS, THINNERS, DRIERS AND REMOVERS 223
cent of wood alcohol (methyl) is called methylated
spirits.
Special denatured alcohol like methylated spirits can
be used only under bond in the United States and by
manufacturers who are bound to use it for manufac-
turing purposes only and for sale as part of a finished
product,—shellac is such a product. Grain alcohol
is best to cut shellac but the special methylated spirits
is next best for the purpose.
Driers.—Such metals as lead, manganese, cobalt, cal-
cium,.iron and zine put into chemical compound solu-
tions and added to drying oils hasten the drying of
these liquids. Certain drying pigments,—red lead, lead
acetate (sugar of lead) and litharge are also used. Lin-
seed oil becomes dry by taking up oxygen from the air.
The addition of drier speeds the rate of absorption of
oxygen by the oil.
In the trade driers are listed as driers, oil driers,
japan driers and as japans. The name on the can or
barrel may not fairly indicate what class of drier will
be found in the container, however, because these names
are used rather indiscriminately.
Japan drier is a liquid most commonly made from
solutions of lead and manganese salts, neutral linseed
oil, resin or gum and turpentine or mineral spirits. It
should dry to a hard film well attached to the surface
when spread alone on a piece of glass for testing. Some
such driers are made very light in color for white paints,
but most of them are dark brown. Lead acetate (sugar
of lead) and litharge are principally used in making
the white or light colored driers.
Oil driers when properly made contain no gums or
resins and do not dry to a hard film. As a rule oil
driers made of both lead and manganese salts as an
oleate are considered better than resinate driers and
japans. A manganese drier will expand while drying
and resists moisture better than lead driers. But, on
9)
224 HOUSE PAINTING METHODS
the other hand, driers made from lead salts, while they
contract on drying, will withstand heat better. The
usual manufacturing practice, therefore, is to use both
lead and manganese salts to gain the virtues of both.
Some oils and pigments dry naturally to a greater or
lesser degree in their own time. To hasten this drying,
to make semi-drying liquids dry hard, driers are essen-
tial. And, generally, driers are needed to make the use
of paint, varnish and other decorative and protective
coatings dry within a reasonable time and with a hard
surface having no tacky or sticky character.
Without the use of drier in paint during hot, humid
or cold, wet weather, the paint may dry so slowly that
dust, flies or gnats in swarms may accumulate on the
paint and disfigure it. |
As a matter of convenience it is essential that paint
and varnish dry within a reasonable time to permit
workmen to proceed with a job from day to day with
one coat after another; and fairly rapid drying is essen-
tial, too, so that decorating done in buildings where
people must continue to live and work will not soil
clothes and persons.
For practical purposes, then, driers are essential in
paint, varnish and other decorative and protective ma-
terials, but the durability or life of the coating is less-
ened by the use of driers. Therefore the use of the
least amount of drier which will serve the purpose is
always the proper guide when a coating is expected to
be durable. As a general principle it may be said that
the quickest drying coatings are the least durable; the
slower drying the most durable.
This is readily understood when you know that the
final destruction of a paint film is the result of oxida-
tion. A substance like driers, which speeds the drying
of paint, then, by that very fact, makes the life of that
paint shorter.
This principle is of vital importance as a guide in
PAINT OILS, THINNERS, DRIERS AND REMOVERS 225
mixing exterior paints used as a protective coating on
any surface. The use of too large a quantity of drier
simply burns out the life of the oil and destruction of
the paint film proceeds rapidly. It is for this reason
that well informed master painters use a high grade
boiled linseed oil and permit their journeymen painters
to use no japan driers; a careless use of too large a
quantity of japan drier with raw linseed oil is thus
avoided. The use of japan drier which is not very
Strong overcomes this risk to some extent, but even
then the careless workman simply guesses that even a
larger quantity is needed, and so continues the abuse.
Every ounce of driers used ought to be measured, but
in actual practice the man who measures quantities of
any material is a rare fellow in the painting business.
The use of driers in interior paints is quite another
proposition. Durability is not, relatively, an important
consideration. The paint will wear out from abrasion,
or be repainted because it has become soiled or because
a change of color is wanted, and so the life of the liquid
binder ealls for little consideration.
Paint Removers.—To remove paint from wood, metal
and other surfaces we have recourse to three methods.
It may be scraped off with steel scraping knives and
sandpaper,—it may be burned with a torch paint burner
and scraped off or it may be removed with a paste or
hquid paint remover composed of chemicals which cut
through and soften the paint enough to be scraped
off. Formulas for paint and varnish removers are num-
erous, but many are not worth a thought. Some of the
best of them are included in this section.
Painters are constantly seeking formulas for re-
movers which can be made up at a lower cost per gallon
than must be paid for the patented prepared removers
sold by manufacturers and dealers. Once all the facts
in the case are known the wise painter will not waste
much time in this pursuit.
226 HOUSE PAINTING METHODS
The cost of factory made removers is determined by
the cost of the ingredients largely. The principal in-
eredient in the best removers is acetone and acetone is
expensive. Most of the removers are made under one
patent license and are very much like each other. The
higher priced removers and the most effective have a
large percentage of acetone in them while the cheaper
and less effective removers have little or no acetone
but rather depend upon wood alcohol as the solvent.
Most of the removers contain wax or a similar sub-
stance which serves to hold the acetone or alcohol
solvent on the surface for a longer time, thus making
them more effective. Acetone, alcohol, benzole and
similar solvents are very volatile,—that is, they evapo-
rate and disappear speedily, unless retarded with wax.
It is the use of wax in this connection which is the
basis for the patent.
Paint removers are not used in large quantities, or
at least not for large areas of surfaces. When large
areas must be stripped sandpaper, scrapers and the
paint burners are used. For stripping off paint and
varnish from cabinet woods, furniture, fixtures, wood
trim, ete., it 1s most convenient to use the prepared and
patented removers sold for the purpose and it pays
to buy the better quality removers. With wages at their
present level a workman can easily waste more than
enough time with home made removers to fully pay for
enough patented remover to do the job. Time and
labor costs are what count for most in the cost of doing
most painting and decorating jobs, so these are the first
elements to keep in mind when considering ways and
means of reducing the cost of any materials. The
factory made removers of the better class do their
work with speed; they are harmless to handle since they
do not burn the skin;—they are convenient and do not
injure the wood, the tools or clothing.
The handling of removers made with eaustic soda,
PAINT OILS, THINNERS, DRIERS AND REMOVERS 227
lye, hydrochloric acid and some other chemicals must
be done with extreme care, because they burn the skin
and clothing. Rubber gloves are needed. Then the
handling of fusel oil, strong ammonia and some other
chemicals with very strong odors is a disagreeable task,
since they not only effect the nose but the eyes. The
fumes from hydrochlorie acid, for instance, are very
injurious to health. Then the mixing of chemicals must
be understood. For example when mixing sulphuric
acid with water it is very dangerous to pour the water
into a quantity of acid because an explosion occurs
and scatters the acid in all directions. The acid must
be put into the water a few drops at a time and even
then an intense heat is set up. The mixing is usually
done in a glass or earthen vessel submerged part way in
cold water. And again, if quite a little water is put
into a glass bottle with a number of sticks of caustic
soda the intense heat from the chemical action will
break the glass. The water must be added a little at
a time.
The following formulas are those used in furniture
factories and elsewhere. They have been used with suc-
cess where large numbers of school desks and similar
surfaces were to be stripped off by painters before re-
finishing :
Remover Formula No. 1
20 ounces caustic soda (98% strength)
100 ounces of water
Dissolve the caustic soda in the water a
little at a time
20 ounces mineral oil (light machine oil)
20 ounces fine sawdust
Mix the oil into the water and soda by
stirring well until an emulsion is formed,
then stir in the sawdust well. Run the
whole mass through a paint mill or mixer
bY o> YS
5
HOUSE PAINTING METHODS
and use the paste while fairly wet. A\l-
low time enough for the remover to work,
then scrape off the softened paint and
clean up the surface thoroughly with
water in which a little vinegar has been
mixed to neutralize any soda left on the
surface.
Remover Formula No. 2
pounds caustic soda (98%)
gallon water—dissolve the soda in the
water .
pounds bolted whiting
pounds corn starch
Mix thoroughly and use as a wet paste.
Add more water if needed. Apply with
old brushes, let stand long enough to
soften the paint and scrape off. Use
rubber gloves. Wash up with water and
a little vinegar should be mixed into the
water to neutralize the soda that may be
left on the wood in the pores. Such soda
would destroy new coats of paint or var-
nish if not washed off or neutralized.
Remover Formula No. 3
ounces benzole of 90 degree strength
ounces fusel oil
ounce wood alcohol
Remover Formula No. 4
quarts benzole, 90 degree strength
21,4 pints acetone
14 pint earbon bisulphide
9
al
ounces paraffine wax
Mix the benzole and acetone, then add the
last two items in the order given.
PAINT OILS, THINNERS, DRIERS AND REMOVERS
Remover Formula No. 3
1 gallon benzole, 90 degree strength
1 pint fusel oil
1 pint acetone
11% ounces paraffine wax
Mix the benzole and fusel oil, add the
acetone and finally the wax.
229
CHAPTER X
METAL PAINTS AND PAINTING
Sucu exterior surfaces as are constructed of metal
are sometimes difficult to paint to assure permanent
coatings and ,to avoid scaling. Each metal has its
peculiarities and so each will be considered separately.
Here are the surfaces which commonly engage the .
house painter’s attention: :
Galvanized Iron Roofs, Gutters, Rain Spouts,
Walls and Garages
Copper Roof Decks, Spouts, Gutters, Store
Fronts and Window Screens ~
Zine Roof Decks, Gutters, Spouts, ete.
Structural Steel, Steel Window Frames and
Sash, Steel Doors and Frames, Fences,
Posts, Tanks, Stacks, Masts, Window Grat-
ings, Porch and Stair Pipe Rails, Furniture,
Fixtures, Conveyor Machinery, Bridges and
Fire Escapes
Iron Ornamental Work, Radiators, Pipes, Ma-
chines and Water Plugs
Metal Corrosion (rust).—Iron and steel result from
the manufacturing processes of man. Iron ore as
mined is mixed by nature with many substances. Iron
has a powerful affinity, an attraction for certain other
elements in nature, particularly for oxygen. Pure iron
unmixed with other elements is never found in the
natural state. When iron is purified in the chemical
laboratory it must be sealed up free from contact with
other substances. If not kept sealed up it instantly
; 230
METAL PAINTS AND PAINTING 231
absorbs other elements from the air and moisture. By
such absorbing of other elements iron reverts to its
original state;—as we say, it rusts or corrodes, By
so doing it becomes iron oxide. Some of our tinting
colors are oxides of iron,—Venetian red is perhaps the
best known of these.
So we see that unless iron and steel are protected
from contact with air and moisture by suitable paint
they are constantly undergoing chemical destruction
—a return to natural oxides, the mere red dust we call
rust.
More than one theory is advanced to explain the
rusting of iron and steel, but no matter what your
theory of the cause of rusting, it is well settled that
moisture starts the corroding action which forms rust.
Some paints retard and some accelerate corrosion, but
the long and the short of the problem is that to pre-
vent rusting the painter must coat the surface with
paint which will do two things—(a) stick permanently
to the metal, (b) keep out moisture. And the paint
which performs these two functions in the most nearly
perfect manner is the best paint, other things being
equal.
Considering the causes of corrosion, the rusting of
iron and steel, it is interesting to note the facts that
these metals do not rust unless moisture is present in
the air nor in water unless air is present. Other ele-
ments in the air, especially near large cities, accelerate
rusting of metals. The air of industrial communities
is usually charged with coal smoke and many gases
which speed corrosion of iron and steel. Sulphur
dioxide and soot are no doubt the most destructive be-
cause together and in the presence of moisture they
tend to form sulphuric acid.
Other facts of interest in connection with the paint-
ing of metal are these :—steel rusts more quickly than
iron. Wrought iron doesn’t rust at all. Iron and steel
232 HOUSE PAINTING METHODS
are destroyed by corrosion more rapidly than wood is
destroyed by decay and rot. When you paint over
rust without removing it to the bright metal, the rusting
continues. <A coat of clear linseed oil over bright steel
permits enough moisture to go through to rust the steel.
The addition of pigments waterproofs the oil.
Atlantic City Paint Tests—About 1908 an outdoor
exposure test was made of various paints to determine
the rust-proofing values and general qualities of metal
paints. These tests were conducted by the American
Society for Testing Materials in co-operation with the
Paint Manufacturers’ Association of the United States.
Atlantie City, N. J., was selected as a locality which
is especially destructive of paint protective coatings.
It was thought that results of the tests would be ap-
parent here in the shortest time.
Each paint tested was spread on a steel plate. There
were 300 such plates and over fifty paints. All were
assembled to form a test fence. Three coats of each
paint were applied to each plate after carefully clean-
ing it. Plenty of time was allowed each coat for
drying. All edges were carefully coated as rust often
starts in such places and the panels were insulated
against electrolysis from any stray current leakage
which might occur. All panels were handled alike and
the application of the paint was as skillful as possible.
The committee selected to examine and report on the
condition of these paints made its first report after
two years’ exposure. Judgment passed on the paints
was based on chalking, checking, cracking, scaling,
peeling, color and the condition of the surface for re-
painting. Panels were inspected every year and the
final report at the end of four years’ inspection and
six years of exposure of the paint was based on an
average of all points rated during all inspections. At
the end of the fourth inspection very few panels re-
mained in condition for further rating.
METAL PAINTS AND PAINTING 233
The final ratings given each kind of paint were stated
by comparing each material with a theoretically per-
fect paint which was rated as 10 points. The ratings
given each of the following paints were, then, in com-
parison with this perfect paint and indicate the paints
having maximum value as rust-inhibitors. The tabula-
tion is taken from the report of inspections over a
period of five years by Sub-Committee IV of Committee
D-1, of the American Society for Testing Materials :—
(The rank arrangement is by the author)
Average Ratings of Metal Paints
A rating of 10 indicates a perfect paint
NSeaeaoyoyoeqleoeeeeoooououomomomomomomooeeeeee
Ratings by years
No. PIGMENTS 1910 1911 1912 1913 1914 ee
34 American Vermilion
(basic lead chromate) . 9.1 10.0 9.9 9.8 7.5 i
5 Sublimed blue lead ..... MO meas.s ee O08 7.2.) 6:0 2
Bie Arbon black -,.......... SP oeveltoe 27-0 3G.8 -5.0 3
ai Chrome -creen .......... 35 98 108.6-. 7.6 5.0 3
20 Willow charcoal ........ rei iae Pe Mut ph c Seay da Ra Og 4
INC il ea Dil) Boks 6.3) 4.0 5
Se eeNatiral graphite .......9.1 68 66 62 4.0 5
our finer chromate .......... 94 95 88 80 4.0 5
49 Zine and lead chromate . 9.55 9.7 92 83 4.0 5
51 Magnetic black oxide ... 9.5 9.5 86 7.8 4.0 5
4 Sublimed white lead .... 9.5 9.0 81 5.9 35 6
36 Medium chrome yellow .. 7.0 7.7 6.0 5.2 3.5 6
44 Prussian blue (water
Btimulative) i+.....°.. Viewee.Oe tS G7. 3,5 6
poeranee mineral ........ Dee o.o, 16.9 7 4:00 30 7
1S Metallic brown ......... 6.025.6.8" 56:2.-6,1—' "3.0 7
foe Drieit red oxide ......-. Gra ren SL Org acy, OF 8
40 Zine and barium echro-
Mbt ener See ei), eG. Dee SD) AS 1235 8
—63“—s=>=@M0S—@=@=®—=—™—“”—$—$—$—$MmwmMmM9WwTmMS9NaaS9@9Daa3S9BDaASDBA9AMBaBBS
234 HOUSE PAINTING METHODS
Concerning metal protective paints Dr. H. A.
Gardner, American Society for Testing Materials, stated
the case in these words:
‘<First—Basic pigments such as litharge, red lead, blue lead
(basic sulphate), white lead, zine oxide, inhibit the corrosion
of iron.
‘‘Second—Chromie compounds—basiec lead chromate, normal
lead chromate, zine chromate—prevent the corrosion of iron.
‘‘Third—So-called neutral or inert pigments, such as iron
oxide, which do not excite corrosion, produce with linseed oil
very durable films. Such pigments include black, brown and
red oxides of iron, china clay, silica, tale and barium sulphate.
‘¢Fourth—Substances that form a galvanic couple with steel
in the presence of moisture cause rapid corrosion. Pigments
which act in this fashion (graphite, carbon black, lampblack)
are used only as constituents of finishing coats on steel sur-
faces, when first insulated from the metal by a coat of basic
or chromate pigment paint. These carbon pigments with lin-
seed oil form very durable and water-resisting coatings. ’’
METAL PAINTING MATERIALS
Red Lead.—For a great many years red lead has
been considered excellent paint for metal surfaces. It
is a pigment of bright red color made for years by
melting lead metal in open saucer-shaped kettles or
furnaces. When the lead metal was thus kept in solu-
tion for hours it took up oxygen from the air and
formed first a light yellow powder ealled litharge.
Litharge is a powerful drier used in making japan
drier. More time and heat changed the litharge to a
brilliant red pigment which was red lead. Still more
time and heat oxidized the red lead to an even more
brilliant red called orange mineral. Today this process,
while the same in principle, has been improved some-
what in application. Orange mineral is now made by
roasting white lead.
The brilliant red color of red lead gradually fades on
exposure as paint to the sunlight. As a color it has
little value but the fading of the color doesn’t impair
the durability of the paint in the least or its ability
to protect a surface.
METAL PAINTS AND PAINTING 235
When red lead containing a large percentage of
litharge—even as much as 1 per cent—is mixed with
linseed oil it has a tendency to harden in the pot rather
quickly. It sets too rapidly to permit its being spread
evenly over a surface except by skilled brush hands
working diligently. Unless both skilled and conscien-
tious men spread the paint a badly covered surface may
result except when better red lead is used. And if more
than a day’s supply of such red lead paint is mixed
there will be waste because what is held overnight may
get hard in the buckets.
When dry red lead is used it is necessary to stir the
paint every few minutes. The pigment is very heavy
and settles to the bottom of the pot.
About 1913 a great improvement was made in red
lead. Manufacturers learned how to eliminate the
litharge by complete oxidation,—thus making red lead
100 per cent pure.
With this great accomplishment the defects of red
lead were eliminated. Pure red lead does not dry more
rapidly than white lead; in fact, it is necessary to add to
such red lead the normal amount of japan drier used
with raw linseed oil in white lead paint.
One hundred per cent pure red lead is now ground
in linseed oil and sold in paste form. It is mixed
by the painter and handled the same as white lead. It
will keep, like white lead, indefinitely without getting
hard in the container and the need for constant stirring
of the pot of paint is no greater than for white lead,
but it is, of course, wise to stir any paint often to keep
the top of the same consistency as the bottom while
being brushed.
In both laboratory and severe field tests red lead
has proved itself unexcelled in its ability to stick to
metal surfaces and to keep out moisture which starts
corrosion and rusting.
Red lead in oil paste is obviously more convenient for
236 HOUSE PAINTING METHODS
the painter to handle than dry red lead and it offers less
chance for waste and consumes less time in the mixing.
It is ground finer in the mills also and, consequently,
covers more surface better.
Engineers and architects have experienced some dif-
ficulty in having dry red lead paints properly used to
completely and evenly cover the iron and steel, both
on shop coats and field coats, because of the difficulty
of brushing out the paint from high and dangerous
perches on bridges and structural steel sky-scrapers.
But red lead-in-oil-paste works very easy under the
brush and because it spreads as easily as any paint the
surfaces are better painted.
Testing by Weight.—Government specifications which
eall for red lead paint usually require that the paint
shall weigh not less than 26 pounds per gallon and not
more than 28 pounds per gallon. Railroad, municipal,
state and other public work specifications require a
minimum weight of 24 pounds and a maximum of 28
pounds. Climatic and other conditions under which
metal surfaces are painted greatly influence the weight
per gallon which is best of red lead paint.
Red lead is the heaviest of paint pigments and so
the sizes of the packages are the smallest,—a 100-Ib.
red lead keg is quite a bit smaller than a 100-lb. white
lead keg. Consequently, when red lead paint paste has
been mixed with other pigments the original packages
will always be larger for the corresponding weights.
Such mixed pigment paints weigh usually not over 18
pounds per gallon.
Red lead in oil paste must contain 97 per cent of
true red lead or it will harden in the package. And it
must be very fine and uniform or it cannot be oxidized
to the extent of 97 per cent pure red lead. All of which
means that any red lead ground in oil and sold in
paste form, rather than dry, must be at least 97 per cent
METAL PAINTS AND PAINTING 237
pure red lead, leaving only 3 per cent for litharge or
inert pigments.
MIXING FORMULAS—RED LEAD
The United States Navy specification for red lead
(dry) mixed with linseed oil calls for 31 lbs. dry red
lead and 1 gallon (734 Ibs.) of linseed oil. 33 pounds
of lead to the gallon of oil makes a better paint for
the building field, however.
33 lbs. dry red lead
1 gal. linseed oil
14 pint japan drier if raw oil is used
with 10 per cent pure red. Other-
wise no drier is needed.
Makes about 114 gal. of paint
Weight per gallon 28 lbs,
or
100 Ibs. red lead, dry
3 gal. linseed oil
114 pts. japan drier, if raw oil is used
with 100 per cent pure red lead.
Makes about 334 to 4 gal. of paint.
100 lbs. of red lead paste composed of 94 per cent
pigment and 6 per cent oil bulks 2.13 (214) gallons.
Red lead-in-oil paste is mixed in the following pro-
portions which are equivalent to 33 lbs. dry red lead
to 1 gallon (734 lbs.) of linseed oil.
If raw linseed oil is used add about 14 pint of japan
drier for each gallon of paint. If good boiled oil is
to be had use 1/3 boiled oil and 2/3 raw oil :—
ORANGE RED (NATURAL COLOR)
100 lbs. red lead paste
1.98 gal. linseed oil (boiled)
Makes 4.11 gal. paint
or
50 Ibs. red lead paste
238 _ HOUSE PAINTING METHODS
1 gal. linseed oil (734 Ibs.)
Makes 2.06 gal. of paint
One gallon of such paint contains 24.29 Ibs.
red lead and .48 gallons linseed oil (734
gallon). One gallon of this paint weighs about
28 Ibs.
A red lead paint of thinner consistency may be mixed
as follows :—
100 lbs. red lead paste
2.5 gal. linseed oil
Makes 4.6 gal. of paint
or
40 lbs. red lead paste
1 gal. linseed oil (734 Ibs.)
Makes 1.85 gal. of paint
One gallon of the above paint contains 21.65
Ibs. of red lead and .54 gallons of linseed oil.
One gallon weighs 25.8 pounds.
Red lead paint may be tinted, using regular tinting
colors, in oil the same as for white lead. It is desirable
usually to tint the last coat at least one of the following
colors:
BLACK RED LEAD PAINT
100 lbs. red lead paste
52 Ibs. lamp black
16 lbs. Chinese blue
15.20 gal. linseed oil
Makes 24.55 gal. of paint
or
4.08 lbs. red lead paste
2.12 Ibs. lamp black
.65 lbs. Chinese blue
.62 gal. linseed oil
Makes 1 gallon of paint
Weight per gallon 11.6 Ibs.
METAL PAINTS AND PAINTING 239
DARK BROWN RED LEAD PAINT
100 lbs. red lead paste
6 lbs. lamp black
2.64 gal. linseed oil
Makes 6.42 gal. of paint
or
15.57 lbs. red lead paste
.93 Ibs. lampblack
.o7 gal. linseed oil
Makes 1 gal. of paint
Weight per gallon 20.9 lbs.
LIGHT GREEN RED LEAD PAINT
100 lbs. red lead paste
31 lbs. medium chrome yellow
13 lbs. Prussian blue
6.12 gal. linseed oil
or
9.48 lbs. red paste
2.94 lbs. medium chrome yellow
1.23 Ibs. Prussian blue
.o8 gal. linseed oil.
Weight per gallon 1914 pounds
OTHER COLORS
White, gray and any other tints and shades wanted
for the finishing coats over red-lead painted metal sur-
faces may be mixed by using white lead or white lead
tinted to suit as for wood surfaces. And, of course, any
other white or colored paint may be used over the red
lead priming coat. For white and light tints two coats
are essential for a nice finish over the bright red. Dark
grays and other shades often cover solidly and hide red
lead in one coat.
240 HOUSE PAINTING METHODS
Mix white lead for finishing coats over red lead as
follows:
100 lbs. white lead
314 to 4 gal. linseed oil
1 pint turpentine
Tinting colors
Makes about 614 to 7 gallons of paint
Reinforced Red Lead Paint.—The Equipment Di-
vision, Ordnance Department, U. S. Army, during the
world war made up a specification for such paint which
reads as follows:
‘*This paint shall weigh not less than 16 pounds per
gallon. It shall contain not less than 64 per cent pig-
ment. The pigment portion shall contain 60 per cent
red lead and 40 per cent of silicious matter such
aS magnesium or aluminum silicates and silica or a
mixture thereof. The red lead used shall contain not
less than 85 per cent Pb304, the balance to be PbO.
‘“The liquids shall consist of 90 per cent of linseed
oil and 10 per cent of combined drier and thinner. The
thinner shall be turpentine.
‘“When applied to a smooth iron surface, this paint
must dry in twelve hours without running, streaking
or sagging.’’
Blue Lead.—It would seem from a study of the re-
ports on the Atlantie City test fence that blue lead is
a metal paint of first importance. It really has the first
rank among these ratings because basic chromate of
lead (American vermilion) is too expensive to be ex-
tensively used, without adulteration, for commercial
paints.
At this point it should be remembered that there are
bright red paints on the market which match American
vermilion in color, but which do not have the same
properties—farm machine reds, they are sometimes
called. They are made by staining white inert pig-
METAL PAINTS AND PAINTING 241
ments like barytes with coal tar reds. And sometimes
dull reds, like iron oxides, are stained with coal tar reds
to gain the brilliant hue.
Until recent years blue lead has not been urged for
metal painting. In a general way the manufacture of
blue lead is quite like the manufacture of zine oxide.
The raw material is lead metal made from galena ore—
precisely the same raw material as that from which
white lead is made by chemical corrosion.
Dry blue lead is used in the manufacture of rubber
and of prepared paints. Blue lead is mixed and ground
to paste form with 90 parts of lead to 10 parts of linseed
oil—or ninety per cent blue lead and ten per cent of
linseed oil.
Other characteristics of blue lead as set forth by its
manufacturers are: |
It provides the two most essential qualities needed for
protection of iron and steel—chemical action tending to
inhibit or hold back the corrosive, rusting process and
mechanical action tending to exclude air and moisture
which cause rust. Blue lead doesn’t harden in the
container when mixed with oil. -It remains in sus-
pension—the pigment doesn’t settle to the bottom of the
pot, being exceptionally and uniformly fine it makes a
paint film which attaches firmly and permanently to
metal surfaces.
Blue lead is ground in pure linseed oil and packed
in steel kegs of 1214, 25, 50 and 100 pounds, net weight.
It is sold at the same price as white lead.
Because of the uniformity with which it spreads
and the intensity of its slate gray color, blue lead has
remarkable hiding power. A gallon of properly mixed
blue lead in oil will cover approximately 800 square
feet on surfaces of average smoothness. This figure
holds good even when the paint is applied over pure
white surfaces, which, as every practical painter knows,
is the most difficult color to obscure.
242 HOUSE PAINTING METHODS
The natural color of blue lead in oil is slate gray.
It can be mixed with other materials, such as chrome
green, chrome yellow, red lead, ete., to obtain a variety
of colors, without appreciably changing its remarkable
rust-proofing qualities.
MIXING FORMULAS—BLUE LEAD
100 Ibs. of blue lead paste bulks 3 gallons, about the
same as white lead ;—
1 pound of blue lead paste bulks .018 gallon.
Surfaces which become too hot for the use of linseed
oil may be coated with blue lead mixed with fish oil.
Three coats are needed for rust-proofing metal sur-
faces. Blue lead in oil paste may be thinned with either
boiled or raw linseed oil. When raw oil is used not
more than five per cent (by weight) of japan drier is
needed.
SLATE GRAY BLUE LEAD PAINT
100 lbs. blue lead paste
4 gal. raw linseed oil
; 1 qt. turpentine
1 qt. japan drier
Makes about 714 gal. of paint
or
25 lbs. blue lead paste
1 gal. raw linseed oil
14, pt. turpentine
14 pt. japan drier |
Makes about 1% gal. of paint
Weight per gallon 1914 lbs
DARK GREEN BLUE LEAD PAINT
80 lbs. blue lead paste
20 lbs. medium chrome yellow
4 gal. raw linseed oil
1 qt. turpentine
1 qt. japan drier
eX
—s
METAL PAINTS AND PAINTING 243
Makes about 714 gal. of paint
DARK BROWN BLUE LEAD PAINT
50 lbs. blue lead paste
50 Ibs. red lead
4 gal. raw linseed oil
1 qt. turpentine
1 qt. japan drier (if 100% pure red lead
is used)
Makes about 714 gal. of paint
LIGHT GREEN BLUE LEAD PAINT
50 Ibs. blue lead paste
50 Ibs. medium chrome green
4 gal. raw linseed oil
1 qt. turpentine
1 qt. japan drier
Makes about 714 gal. of paint
Graphite.—Natural graphite, a form of carbon mined
from the earth, is a black and fine pigment having a
metallic sheen. It is also called black lead and plum-
bago. This is a decomposed stone which in some in-
Stances may contain as much as eighty-five per cent
graphite and a remainder of silicious material. The
manufacturing process is principally one of mining,
cleaning and separating the graphite from impurities
to recover the soft dry pigment.
Graphite pigment varies in color from jet black to
grays but is always too dark for general painting pur-
poses. It is very durable and serves many purposes
including the making of lead pencils, as a lubricant
with grease for heavy machine moving parts and as a
paint for metal roofs, structural iron, bridges and ma-
chinery in general.
Graphite paints are usually factory made to contain
not more than forty per cent graphite, the other sixty
per cent being silica or a mixture of other pigments.
244 HOUSE PAINTING METHODS
Coloring matter is also added to make what are called
brown, green or red graphite paints. Linseed oil is used
as the vehicle.
An artificial graphite of extremely fine texture is
also made. A. graphite paint formula commonly used
reads:
‘‘This paint shall contain forty per cent pigment and
sixty per cent liquids.
‘‘The pigment portion shall consist of either the
natural or artificial form of graphite. There shall be at
least sixty per cent of graphite carbon in the pigment
portion; the balance to consist of iron oxide, silica or
silicious earth pigments.
‘‘The liquids shall consist of eighty per cent pure
linseed oil and twenty per cent combined thinner and
drier. The thinner shall consist of equal parts by
weight of mineral spirits and turpentine.”’
While graphite has been extensively used for metal
paints for some years, some authorities now believe that
it should never be used on bare iron and steel, that the
first coat put on to such metal surfaces should be a rust
inhibitive material. Over such a first coat graphite
makes a valuable and durable protective coating.
One theory as to the cause of corrosion of iron and
steel is that of electrolysis. Stray currents of elec-
tricity, leakage from high power lines, tend to liquify
the metal surface; moisture and contact with the air
oxidize or rust the liquid metal. To retard this electric
action, paint coatings which are non-conductors are
essential. Paint pigments like graphite, carbon black
and lamp black are excellent conductors of electricity
and so actually speed the corrosive action on iron and
steel. This point was well stated by Dr. A. H. Sabin
before the Engineering Society of Western Pennsyl--
vania in these words :—
‘‘The conducting power of graphite is so perfect that
in electroplating plaster casts and the lke, they are
a
METAL PAINTS AND PAINTING 245
covered with a graphite film not more than 1/10,000 of
an inch in thickness, which conducts the feeblest cur-
rent of electricity as though it were a metal surface. On
the other hand a film of red lead paint has been found
by electrical experts to be equal in inhibiting power to
India rubber,’’
Aluminum Bronze Paints—For certain kinds of
metal surfaces aluminum paints possess an exceedingly
valuable characteristic,—the ability to reflect light and
heat rays to a greater degree than other paints. When
it comes to painting oil storage tanks, gas holders, re-
frigerator cars and many other structures it is possible
to make the paint assist in keeping the surface cool.
Bronze paint is used on balloon and airship fabries to
deflect the heat rays and light rays from the sun which
destroy the fabric unprotected in this manner rather
rapidly.
The mixing of aluminum paint is accomplished in a
reverse manner to that used for other paints, in the
respect that the dry aluminum or colored bronze pig-
ments are poured into a pot containing liquid. It is
easier to mix any dry pigment with a liquid by placing
the liquid in the pot first and stirring the dry pigment
into it than if the reverse operation is followed.
The metallic pigments are very heavy and they settle
to the bottom of the pot quickly. They should not only
be thoroughly mixed, but it is essential to agitate the
paint every few minutes by stirring in order to keep the
paint of the same consistency all the time.
Aluminum paint should be mixed for average surfaces
in the proportion of about 114 to 2 pounds of dry alu-
minum powder to 1 gallon of heavy-bodied boiled linseed
oil. This will make approximately 114 gallons of paint.
For some purposes the liquid used is entirely special
heavy-bodied boiled linseed oil. Ordinary raw linseed
oil is too thin for use with this pigment. Some brands
of heavy-bodied boiled linseed oil can be thinned with
246 HOUSE PAINTING METHODS
turpentine or mineral spirits in the portion of 40 parts
oil to 60 parts of turpentine and the resulting mixture
will be of just about the right consistency for aluminum
paint.
Where aluminum paint is exposed to the weather,
spar varnish makes an excellent vehicle with which to
mix the aluminum powder in the proportion of 114 to 2
pounds of powder to a gallon of varnish. If the varnish
vehicle is too expensive an excellent and serviceable
liquid ean still be made by using 20 per cent of ordinary
pure raw or boiled linseed oil to 60 per cent of spar
varnish.
The pigment particles of aluminum are flat and make
up a paint film by a leafy formation, one flat pigment
particle overlapping the other lke fish scales. This
leafy peculiarity retards the drying of linseed oil
somewhat, and for that reason boiled oil is preferred.
It is sometimes necessary to add a little japan drier to
make the paint dry rapidly enough. And if a harder
paint film is wanted, spar varnish should be added to the
oil vehicle.
Aluminum paint is very opaque and protects a sur-
face well. It is particularly noted for excluding ultra-
violet light rays. Such paint is valuable for protecting
not only metal but also surfaces which are subjected to
both indoor and outdoor exposure. Aluminum paint
reflects most of the light and heat cast upon it and
absorbs very little. It is for this reason that aluminum
paint is used as a protective medium on balloon fabrics.
In past years the large gas bags of airships deteriorated
rapidly because of the effect of the direct rays of sun-
light. Aluminum paint has materially increased the
life of such fabries by excluding the heat and light.
China wood oil is used with aluminum powder for such
paints because of its ability to withstand high tem-
peratures.
A
2
METAL PAINTS AND PAINTING 247
For use on exterior surfaces at least two coats of
aluminum paint are necessary.
Aluminum paint should be fresh each day, because it
deteriorates by losing its rapid leafing quality when it
stands in the vehicle for some time.
The polished aluminum powder has a higher reflec-
tivity than an unpolished aluminum. The polished pig-
ment reflects between 55 and 70 per cent of light rays,
while the unpolished refiects between 45 and 50 per cent
of light rays.
It is interesting to note that some very pleasing deco-
rative effects can be gained by mixing tinting color
pigments with aluminum paint. The aluminum will
conceal small amounts of color, but fairly large amounts
will add their color to the paint, while the aluminum
adds reflection and brilliance which are very pleasing.
Asphaltum Paint.—Asphaltum (bitumen) is a min-
eral pitch or natural tar which is sometimes melted in a
kettle and brushed on while hot to metal surfaces. A
rather inconvenient method, to be sure.
Asphaltum varnish is used to some extent for coating
exterior metal surfaces like rain “gutters, pipe, porch
and stair railings, ete. It is made by dissolving coal-
tar pitch in coal-tar naphtha. Some varnishes of this
type are made from prepared asphalt pitch, oil and
spirit thinners.
A common formula for asphaltum paint, the one
written into the specifications of the Equipment Di-
vision, Ordnance Department, U. S. Army, reads:
“This paint must be made on a high grade asphaltum
base compounded with linseed oil and drier. It must
contain not less than 10 gallons of pure linseed oil to
100 gallons of varnish. It must be reducible with
naphtha and free from sediment and dirt. It must set
to the touch in 90 minutes, and must dry hard to a
black, lustrous film in less than 15 hours. When dry
248 HOUSE PAINTING METHODS
and hard, it must not rub up by friction under the
fingers. It must not flash under 85 degrees F. in a
closed Abel tester.’
American Vermilion (basic lead chromate).—As a
metal paint this pigment is rated as the highest of all
for its rust-inhibitive qualities. It is rather too ex-
pensive, however, to use generally as a metal paint,
although before the advent of the coal tar reds it was
so used on machinery. American vermilion is employed
extensively as a tinting color. Its hue is brilliant and
about the same color as English, French and Chinese
vermilions. These latter pigments, however, are made
on a sulphide of mercury base, while American ver-
milion is made on a lead base.
American vermilion is a rather coarsely crystalline
pigment having great opacity or hiding power and
tinting strength. Its brilliant color is fairly permanent,
but it turns black in the presence of sulphur fumes
from oil refineries, furnaces, ete., and it should not be
mixed with pigments having a sulphur base,—such
pigments as ultramarine blue, English vermilion, ete.
Para Red Vermilion—A coal tar color now used
extensively in the agricultural machinery manufac-
turing field. Each manufacturer’s specifications are
somewhat different for this metal paint, but the follow-
ing is a common formula for such a red:
‘‘The dry pigment shall consist of non-fading, organic
para red precipitated upon a white base. The pigment
shall contain at least 10 per cent of pure organic
coloring matter, the balance to consist of barium sul-
phate. The pigment shall be ground to a stiff paste in
pure, clear, raw linseed oil, in the proportion of 80
parts of pigment to 20 parts of oil. This paste shall
break up readily on thinning. The color, shade, tone,
fineness and covering power shall be satisfactory. It
shall be resistant to excessive bleeding.”’
METAL PAINTS AND PAINTING 249
PREPARATION OF SURFACES
The importance of careful preparatory work on wood
surfaces is generally appreciated, but too little attention
is often given to preparing metal surfaces for painting.
And yet there can be no doubt that considerable sealing
of paint on such surfaces is due to spreading paint
over metal which is more or less covered with rust, oil,
grease, scale or dirt.
Paint cannot adhere permanently, nor prevent cor-
rosion of metal surfaces, unless placed in intimate con-
tact with the sound metal when the metal is dry. When
metal covered with rust, dirt, grease or the mill scale,
which forms on iron and steel by the heating processes
during hot rolling or tempering work, are painted over
they prevent the intimate contact of paint and metal
necessary. Changes of temperature of the metal on
outside exposure forces mill scales off while rust covered
areas continue to corrode, eventually causing the paint
to seale off.
Structural metal shapes and machine parts are
usually drilled or punched with holes and in these
processes oil is smeared on the metal. It can only be re-
moved by wiping with benzine, by sandblasting or
pickling methods used in factories but not commonly
available to the painter.
Contrary to common conceptions metal surfaces are
filled with minute pores which offer anchorage for the
paint coatings. Examination of any metal with a
magnifying glass reveals this fact. And even though
pores in metal are much smaller than wood grain pores,
it is important to remove all grease, dirt, rust and mill
scale in order to give metal paints a fair opportunity to
attach to the metal.
A perfectly prepared metal surface results only when
the metal is bright and shining and when cleaned to that
extent, especially with the sand-blast machine, the first
250 HOUSE PAINTING METHODS f
paint should follow immediately after the cleaning, in
a matter of hours, to avoid the formation of new rust.
On such a surface new rust starts to form with sur-
prising speed.
While the perfectly prepared metal surface is as
bright and shining as a new coin, it is not by any means
practical to so prepare all metal to that extent. Struc-
tural steel, metal roofs, steel doors, window sash, storage
tanks, fire escapes and similar surfaces are considered
sufficiently prepared when all loose surface accumu-
lations like grease, oil, dust, rust, mill scale, old scaling
paint, ete., have been removed, even though such re-
moval doesn’t leave a bright and shining metal ex-
posure.
Metal Cleaning Tools—When very large areas of
metal surfaces are to be prepared in the shop or out in
the field on erected metal the sand-blast machine is the
most effective means of getting the work done speedily
and perfectly. Such machines drive sharp sand with
compressed air through a hose and nozzle and rapidly
eut off all surface accumulations whether on metal or
stone or brick. Such machine equipment represents a
considerable investment and the average painting con-
tractor doesn’t have sufficient use for this machinery to
justify the large investment.
Other tools and hand operations are principally relied
upon for preparing metal surfaces, although painting
contractors can often sublet the preparatory work of
cleaning large areas of metal with sand-blast to con-
tractors who make a specialty of this sort of work and
who have large machine equipment with which to do the
work.
The steel wire brushes pictured in Plate 103, Chapter
V, and several other shapes and sizes are used for
cleaning various kinds of metal shapes. Steel brushes
are especially effective for removing dry rust, but not
rust scales.
METAL PAINTS AND PAINTING 251
Plate 120 illustrates two home made scrapers which
are unequalled for effective and speedy work removing
rust seales, flaky mill seales, scaling paint, asphaltum
Plate 120..-Home Made Paint Scrapers
and other substances from structural and other steel
and iron surfaces. These tools are easily made. Take
a couple of old flat files—from ten to fourteen inches
long—to a blacksmith. Have him turn the end of one
file over about one and one-half inches from the end.
Then grind a bevel or chisel edge on this and the other
file as illustrated. The blacksmith will temper the steel
to hard edges which will cut fast and long. Next have
made a wood handle for each about a foot long so
that two hands can grip the scraper at work. Short
handles with ferrules on can also be secured from hard-
ware stores and these serve well.
A hammer and cold chisel are needed for areas of
heavy mill seale or large rust scales on deeply corroded
places. After chipping off the scales use steel scrapers
and finish with wire brushes or sand-blast.
Large and deeply rusted areas should be soaked with
benzine, then burn off such areas with a match or go
over them with a blow torch paint burner. After that
treatment a steel wire brush is more effective in re-
moving the dry rust.
Other tools needed for this cleaning work are plenty
of No. 2 and No. 3 sandpaper, or steel wool, a duster
brush—Plates 28 and 29,—an ordinary scraper, Plate
93 and sometimes a paint burner, Plates 90 and 91 for
removing heavy spots of tar, grease, etc.
252 HOUSE PAINTING METHODS
Some wiping rags, a can of benzine, or a mixture of
benzine and turpentine are essential for the clean up
work,
Hot water in which a little sal soda, washing soda,
is dissolved is effective for washing many metal surfaces
coated with oil or grease. If a strong soda solution is
necessary the surface must be well washed later with
clear water to remove every trace of soda which will
destroy the paint. A coat of vinegar will neutralize
the soda.
For those painters who specialize in industrial paint-
ing, and there are many who prefer factory work to
house painting and decorating, new and effective tools
are now available. In addition to the great savings
of time and labor cost assured by the use of spray
guns for painting large and rough surfaces, similar
savings are to be made by using sand-blast machines,
pneumatic air rust scaling hammers, acetylene paint
burner torches and revolving steel wire brushes op-
erated by compressed air or electricity.
Spray painting equipment is illustrated and de-
scribed in Chapter III. The acetylene paint burners
are illustrated in Chapter V.
Sand-Blast Machines.-—Made in several sizes. One
of the smaller types is pictured by Plate 121. Such
machines are loaded with sharp sand. A compressed
air pressure is built up in a storage tank by an air
compressor driven by gasoline or by electric power.
The sand is mixed with air at about sixty pounds
pressure and is driven through a nozzle at the end of
a rubber hose carried up to the work while the machine
remains in the street or basement of the building. The
blast of sand cuts off rust, dirt and old paint rapidly,
leaving a bright, shiny metal surface which is perfect
to receive paint. Sand-blast also cleans stone and
brick surfaces in like manner,
Old hard paint is quickly removed from metal, stone,
dq
METAL PAINTS AND PAINTING 253
conerete or brick by sand-blast, but paint on wood
cannot be so removed because the sharp sand abrasive
euts into the wood fibre giving it a weather-beaten ap-
pearance. Soft paint simply gums up and is not re-
moved by sand-blast, or at least it cuts off very slowly.
The investment for sand-blast machine equipment
amounts to about the same as for spray gun painting
outfits and of course the latter equipment can be used
Plate 121.—Sand-Blast and Spray Painting Machine
for more purposes. When large areas of surfaces are
to be prepared or a considerable volume of smaller
surfaces are included in a contractor’s work of prep-
aration for painting the sand-blast machine soon pays its
-way. It is efficient, saves time and labor cost and pre-
pares surfaces much better than can be approached by
hand labor methods. In large shops steel railway cars,
automobiles, ships and many items of small merchandise
are quickly prepared for painting and repainting by
sand-blast. The paint on an automobile, for instance,
ean be completely stripped off down to the bare metal
in less than an hour with sand-blast, leaving a bright,
clean surface.
254. HOUSE PAINTING METHODS
Metal prepared with sand-blast and painted remains
free from rust for a much longer period than when
cleaned by hand methods. The sand blast machine
will also supply air for spray gun painting.
Pneumatic Air Rust Scaling Hammers, Plate 122.—
This tool is practically the same as pneumatie air
riveting hammers but is of lighter weight and is fitted
with a chisel edge tool. Similar tools are used for stone
cutting and calking ship seams.
Compressed air is also required for this tool which
TOOL o STRIKER TRIGGER
ISSA AGMA
————— i LLL ZL aia
) Cae
SE IE TA A ae TLE B
Plate 122..-Pneumatic Air Rust Scaling Hammer
is operated simply by pulling or pushing a trigger
and holding the chisel point on to the rust scales and.
mill seales to be cut off. The air drives the chisel with
repeated short, sharp blows as long as the thumb or
finger holds the trigger down.
This air hammer will scale three or four times as
much surface per day as can be sealed by hand with‘
cold chisel and hammer on horizontal surfaces like
plates, decks, bridge ties, beams ete. On vertical sur-
faces the weight of the pneumatic hammer slows down
METAL PAINTS AND PAINTING 255
production a bit, but still the work is easier and faster
than hand work.
Revolving Steel Wire Brushes, Plate 123.—This air
motor of the portable type was designed originally for
grinding and buffing wheel operation. A steel wire
brush when fitted to the revolving shaft which is driven
by compressed air makes one of the most effective tools
known for removing rust and dirt from metal surfaces.
The brush revolves at very high speed and cuts old
paint off as well as rust and dirt. The air exhaust from
the air motor blows the rust, dust or old paint away.
The same type of revolving brush is made to be
driven by a small portable electric motor and is more
convenient for many where electric power is available
and where compressed air equipment is not at hand.
This tool is identical with the portable steel drills
now used by all machine shops, garages, ete.
Plate 123.—Revolving Steel Wire Brush
Still another type of machine which does the same
work has the electric motor mounted on a small truck
with wheels on it. A long flexible wire cable in a
hose housing has the revolving brush secured to the
end, considerably like the dentist’s drill.
Iron and Steel Surfaces—What has just been written
about the preparation of surfaces in general applies in
particular to iron and steel preparation.
New steel structural shapes, doors, window sash, fire
escapes, etc., usually receive one shop coat of paint.
Such coats should be composed of very good paint, but
256 HOUSE PAINTING METHODS
sometimes are of the cheapest and poorest paint. The
first coat of paint on any surface is the foundation
for all future painting. When the first coat fails to
attach itself, sealing is quite certain to occur in the
future. The first coat next to the metal should be the
best of paint of the rust inhibitive type in order to
hold back rust formation induced by electrolysis and
also in order to form a firmly attached foundation.
New metal for interior exposure is sufficiently pro-
tected with two coats of paint, as a rule two coats are
used but some authorities believe that interior metal
surfaces are exposed to just as severe service and wear
as exterior surfaces and they recommend three coats
for interior as well as for exterior.
The second and third coats of paint on metal are
usually tinted a little different than the preceding coat,
just enough to distinguish one coat from another, thus
making brushing of each coat easier, making certain
that all surface is covered uniformly and making in-
spection easier.
Old metal surfaces usually require two coats of paint
after they have been carefully brushed down to remove
any scales, rust, dirt, etc. Grease and oil must be wiped
off clean with benzine. Bare spots which appear after
cleaning should be touched up with a coat of paint
which should be allowed to dry before the two suc-
ceeding coats are put on to the whole surface.
In the preparation of old surfaces especial care should
be taken to remove rust, dirt and grease from rivet and
bolt heads. Rust usually gets a start at these points
and upon edges of plates.
Old surfaces from which the paint is scaling gen-
erally require more thorough preparation. <As long as
the old paint is firmly attached to the metal over most
of the area, showing scales only here and there, it is
usually a firm foundation for new paint after removing
the patches of scaled paint and touching up the bare
)
i
{
;
A
METAL PAINTS AND PAINTING 257
metal. But when so much of the total area of paint has
seales in evidence as to indicate that scaling is general
the whole paint foundation has an insecure attachment
to the metal. In such cases every inch of the old paint
should be removed down to the metal to give the new
paint an opportunity to anchor itself on the bare metal.
No paint job is any better than its weakest link,—the
priming coat. 7
Removing old cracked and scaled paint is done with
steel scrapers, by sandpapering, by burning with gaso-
line or acetylene torches or by the use of the sand-blast
machine.
Galvanized Iron Surfaces——The scaling of paint on
galvanized iron so much in evidence is often due to
the inability of even good paint to gain anchorage on
the surface. The galvanizing process leaves an exceed-
ingly smooth surface to which it is sometimes impossible
for paint to attach itself. The use of the following
washes will rough up the surface enough to allow the
paint to attach itself:
4 ounces of copper acetate, copper chloride or
copper sulphate dissolved in one gallon of
water.
Or another suitable wash may be mixed this way:
1 qt. warm water
14 ounce nitrate of copper
1% chloride of copper
14 ounce sal ammoniae
Mix the wash in a glass or earthen jar and then
add 14 ounce of erude hydrochlorie acid.
Apply the wash with an old flat brush. The
white powder which forms when the solution
is dry should be brushed off before painting,
The metal will be black when this wash has
been applied and is dry.
Galvanized iron which has been subjected to the
258 HOUSE PAINTING METHODS
weather a year or so doesn’t need any wash when good
paint is used.
Tin Plate Surfaces——Sheet iron plated with tin solu-
tions for use on roof decks principally require paint-
ing. Neither tin coated nor galvanized metal surfaces
are proof against rusting because the slightest imperfec-
tion in the coatings offers a starting point for rust
and soon a hole is rusted through the thin metal, even
before the corrosion is detected.
Two thin coats of paint on metal roofs with at least
a week between coats for drying make a good founda-
tion. Then a third coat put on two or three weeks later
will make a first class and durable job.
Tin surfaces should be wiped clean and dry with a
cloth or cotton waste wet with benzine or turpentine
just before painting. Also all rosin and acid stains at
seams and joints left by the soldering should be scraped
and cleaned well.
Hot water to which sal soda, washing soda, has been
added is a good cleaner for tin. One pound of soda
to five gallons of water is about the correct strength.
Rinse the roof well with clear water and let it dry com-
pletely after the soda wash and before painting. Get
the soda water out of seams and crevices certainly.
Zinc and Copper Surfaces.——These metals are not so
often painted. They do not need paint for protection,
since they do not rust. Roof gutters, decks, down
spouts, ete. of zine and copper are painted sometimes,
however, to make them conform to the color scheme,
or to prevent the green deposit which accumulates on
copper from washing down and staining the painted
walls below.
Before painting these metals it is necessary to wash
and brush them to remove surface accumulations in the
same manner as was described for preparing tin sur-
faces.
Copper is often given an oxidizing treatment to speed
a es
a
a
METAL PAINTS AND PAINTING 259
the natural green patina which accumulates on copper
with age. This process is given in Chapter XIX.
Two coats of paint are usually sufficient for these
metals.
Number of Coats Needed.—Several thin coats of
paint are always more durable than one or two thick
coats because each coat becomes thoroughly dry and
matures more quickly. But the time element enters
and so it is commonly considered that three coats of
paint are the best rust-proofing treatment.
The first, or shop coat, is put on in the factory where
the structural iron or other metal is eut and shaped.
Then two field coats are brushed on after the metal
has been erected. ,
To enable an inspector to determine how many coats
have been put on, and to help the painter cover the
surface well, each coat should be tinted slightly dif-
ferent—for example, the first coat may be the natural
color of red lead or blue lead, the second coat may be
gray made by adding a little lamp black to the paint
and the third coat may be green, dark gray, brown or
black.
Brushing, Spraying and Dipping—The success of
rust-proofing paint coatings depends absolutely upon
the man with the brush or spray gun. Thorough and
conscientious brushing of the paint to make certain
every inch of metal is covered is one great essential.
Careful brushing to spread an even coating of paint
and to cover every joint, rivet and bolt head is the re-
quirement.
It is much easier to write this specification than it
is to fulfill it. Many metal surfaces are painted from
high and dangerous perches and where moving from
stretch to stretch is precarious, indeed. Hence the
temptation to slight the brushing. Inspection is dif-
ficult and at times impossible. So it’s squarely up to
the painter with the brush or spray gun to conscien-
260 HOUSE PAINTING METHODS
tiously cover every square inch of surface or to realize
that his carelessness causes very considerable losses of
property and danger to lives by the rusting of steel
supporting structures.
The kind of a brush preferred for metal painting is ©
the round, or pound brush, or an oval brush. See
Plate 20. Such a brush is better than a flat wall brush
for most metal surfaces. With it the corners and small
members can be more easily reached. It holds as much
paint as the flat wall brush and a bit more pressure
is exerted on it.
Spray guns are used now for a great deal of the
painting on metal surfaces, especially for large areas
like storage tanks, gas holders, roofs, ete. A great deal
of time and labor cost are saved in this way.
For spraying mix your metal paint the same as for
brushing, as to the proportion of pigment, oil and drier.
Then thin the paint with benzine, gasoline or turpen-
tine to the consistency which works best in your spray
gun.
The dipping of metal parts in paint is often resorted
to where the quantity, size and shapes of the pieces
make it practical.
On structural steel the first coat, usually applied in
the shop, should always be brushed on to assure the
most permanent anchorage of the paint,—or the paint
may be sprayed on and then brushed to lay it off.
Field coats on structural steel for new buildings
sometimes are applied by dipping. Wood or preferably
sheet iron tanks are used which are large enough to
hold one piece of structural iron at a time. These are
taken to the job. The large steel members are often
too heavy to be handled for dipping and must be brush
coated, but the smaller tie members of steel which are
most numerous can be quickly dipped and piled up to
dry before the structural iron workers hoist and rivet
them into place.
METAL PAINTS AND PAINTING 261
When one of the two field coats is dipped it is best
to coat the new rivets by brush before the last coat
- of paint is brushed or sprayed on.
Colors for Storage Tanks.—Uarge tanks exposed to
the direct rays of the sun and the weather are usually
painted dark colors, but this practice is lacking in good
judgment when the tanks contain light, volatile liquids
like benzine, alcohol, gasoline, benzol, turpentine, ete.
The color of the paint on the outside of tanks is an
influential factor toward establishing the temperature
of the tank metal and the contents. And, of course, the
hotter the tank the greater the loss of its contents by
evaporation.
In this connection a study of the influence of color
on tank temperatures is interesting. H. A. Gardner
gives the following results in ‘‘Light-Reflecting Values
of White and Colored Pigments’’:—
The rise in temperature of benzine contained in small
tanks painted in the below colors with a gloss finish is
indicated after each color. The tanks were exposed
to the rays of a carbon are light for 15 minutes for
each color—
Rise in Degrees F.
0 EONS Sa a a 19.8
Begin aint 62 6... s eee ooo s 20.5
Bie AIT ks ee ce ee BED
Meetee ream: Prost... .. ........+ 23.0
RM he i lg ie weve bie 23.7
OE A CS ea ce A 24.3
RM hy ory esas oss. v vrais + 26.3
MAST OCT ciill 5 cides Gs sis aces 26.6
Precmiron.()xidevCaimt. Jo..0..0.% . 29.7
Parke russian Blue Paint ....... 36.7
Dark Chrome Green Paint ....... 39.9
She = ENG] ee 54.0
A study of this subject leads to the deduction that
262 HOUSE PAINTING METHODS
dark colored paints absorb heat rays to a greater extent
than light colors and so increase tank temperatures,
causing greater losses of volatile tank contents stored -
therein than when white and light tints are used for
painting the outsides of the tanks. Flat finishes also
absorb more heat than gloss. So it is apparent that
white and light colors with a gloss finish are best for
such storage tank surfaces.
Tanks containing acids which destroy ordinary paints
should be coated with one of the acid proof prepared
paints on the market. Ordinary paints for metal and
wood will not wear long when acids are spilled on them
or when subjected to strong fumes from certain acids.
CHAPTER XI
CEMENT AND BRICK PAINTS AND PAINTING
Tue thought of painting concrete, cement and brick
surfaces to increase their life is not at all common.
Such surfaces are often painted but we take it for
granted that it is simply for decoration.
These surfaces are more or less porous. Water gets
into the structure. The water freezes and the expand-
ing of the ice gradually expands the size of each little
pore or crack. Then more moisture gets in and freez-
ing again the cracks are made larger. The process
continues from year to year until large cracks appear
in cement. Brick under the same evolution casts oft
chips and some of the bricks crumble away. So it is
evident that these surfaces require painting for pro-
tection as well as for decoration.
Buildings constructed of steel encased in concrete
are especially in need of painting both the steel and
the concrete to waterproof the cement. The destruc-
tion of such steel by rust is promoted by electrolysis
which simply means the travel of electrical currents
which leak from high voltage lines on the surface of
the steel. When the steel is damp or is covered with
paint which is a good conductor of electricity—a rust
stimulative paint instead of a rust inhibitive paint,
corrosion proceeds continually. As long as the concrete
is unprotected by waterproof foundations and by paint
coatings above ground it will gather moisture and keep
the steel moist, favoring rust formation. The steel
should be painted with red lead or some other good
263
264 HOUSE PAINTING METHODS
rust inhibitive paint like blue lead or one of the pre-
pared paints made for this purpose and such paint
should be mixed to dry flat or semi-flat so that the wet
cement when poured into place around the painted steel
will bond and attach itself firmly to the paint. A high
gloss paint prevents proper bonding of the cement
with the steel. Also the paint must be very dry. With
the steel properly painted the next requirement is to
paint the concrete to keep out moisture.
Suitable Paints——There are on the market a number
of high grade prepared paints made especially for use
on cement, concrete and brick surfaces. They are worth
the consideration of all who paint these surfaces. They
are made with waterproofing oils, but otherwise are
much like ordinary exterior paints. It is claimed for
some of these special paints that they are not only
waterproof but also proof against oil, gas, grease, acid,
steam and stains.
Neutralizing New Cement.—Although cement and
concrete sets hard enough in a few days to carry a load
the maturing process goes on for a long time. When
the material is fully mature the surface outside which
has been exposed to the weather becomes neutral,—
that is, there is no longer any active cement or alkali
on the surface which will burn paint spread over it.
So when new cement and concrete surfaces are to be
painted before they are a year old in the weather, steps
should be taken to neutralize the active surface by
treatment. For this purpose the best method known is
to brush on to it a saturated solution of zine sulphate
in water. Such a solution is made by dissolving 3 or
4 pounds of zine sulphate crystals in a gallon of water.
This is then put on to the surface liberally with brushes
or better yet with spray guns which perform the work
quickly. The surface must then be allowed to dry a
day or two before proceeding with the paint.
When paint is put on to surfaces where it is subjected
8 ee
a Ne ee eee a ae | a any i eer een
sg Lite ot ta” oe ae a
CEMENT AND BRICK PAINTS AND PAINTING 265
to active free lime this alkali changes the oil to soap
and the rain water soon washes the soap off, leaving
the pigment on the surface without anything to bind
it together and attach it to the surface. Naturally,
then, the pigment too gradually washes off. The free
lime also has a damaging effect on certain colors which
fade or change in its presence.
The zine sulphate treatment is not needed on old
cement surfaces to neutralize them, but the wash is
worth while anyway because it fills the pores and stops
suction to a great extent, thus saving the amount of
paint needed.
Preparing Old Cement Surfaces——The first precau-
tion is to make sure that the surface is as dry as
possible before painting. Then it is only necessary to
brush* down the surface with a broom to remove any
loose sand or other accumulations and it is ready to
paint.
When old surfaces of this kind have been painted
before and some of the paint is scaling in patches it
is necessary to remove such loose paint scales, with
steel wire brushes usually.
Mixing the Paint.—For such surfaces as cement, con-
erete and brick the first coat should contain quite a
little more oil (and enough turpentine to make the
paint dry semi-flat) than is needed for second and third
coats. Usually lead paint will be mixed about right
if you follow the proportions given for new exterior
wood painting in Chapter VI.
When using prepared factory-made paints follow
the manufacturer’s directions to the letter. Usually
such directions require that you add from a pint to a
quart of turpentine and linseed oil—equal parts of
each—to each gallon of the paint used for the first coat
on new surfaces. Second and third coats are spread
on just as the paint comes from the container.
The covering capacity of paint on rough concrete
266 HOUSE PAINTING METHODS
and cement and brick surfaces depends upon the rough-
ness, porosity and moisture condition of the surface
as well as upon how much the paint is brushed out.
As an average it is safe to figure that one gallon will
eover from 250 to 350 square feet of such surface.
Brushing the Paint.—There is nothing special about
coating these surfaces with paint in the nature of
brushing. Use old brushes because the rough nature
of cement, concrete and brick surfaces rapidly destroys
the bristles in good brushes. Some prefer four or four
and one-half inch flat wall brushes for this work while
others like round or oval brushes. Coating such sur-
faces with paint is very hard work at best. The paint
should be made as thin as possible and still have it
cover and hide the surface well. This kind of work is
best done with spray guns. :
Spraying the Paint—For many reasons it is more
satisfactory to apply paints and stains to rough sur-
faces like concrete, cement, brick, shingles, ete., with
spray guns than with ordinary brushes. Such sur-
faces quickly wear off the bristles of brushes, the work
of spreading the paint is very hard and is a slow
process because much of the paint must be poked into
place.
The use of spray guns for coating these surfaces saves
a greater part of the labor cost and gets the job done
in less time, because a first class spray gun outfit in the
hands of a good operator will coat in from three to
five times as much surface per day as can be done with
one man using a common brush.
The amount of paint used by the spray gun figures
from less to about 10 per cent more than would be used
by brush painting, depending upon the skill and interest
of the gun operator.
It is often possible to do such surfaces with only one
coat sprayed on because the thickness of the paint film
is under control and as much paint can be sprayed on
CEMENT AND BRICK PAINTS AND PAINTING 267
as is needed to hide the surface, as a rule, although if
the paint has not the opacity of high class paints it
will run before covering solidly in one coat. Although
it is possible to spray on paint to a thickness which is
equivalent to two or three brush coats, it is not always
wise to do so. A well established principle in painting
is that several thin coats dry harder and produce more
durable coatings than a few thick coats. So it is usually
preferred to spray on two coats to these rough surfaces
when new. Old surfaces can usually be finished with
one coat by the spray if the new paint is about the
same color or darker than the old surface.
As a rule less seaffolding is needed for spray paint-
ing, although to gain speed in coating a surface so the
spray gun equipment ean be hurried away to another
job, even more equipment than is used on brush coated
jobs is often found profitable. With the spray gun
it is not necessary to get as comfortably near many
surfaces as with a brush, and the spray gun has a long
extension handle which saves much scaffolding under
some conditions.
Cement Floors.—Such floors as are made by mixing
sodium silicate hardeners with the cement are strongly
alkaline. They should be scrubbed with a hydrochloric
acid and water solution—(5 parts acid to 95 parts
water). Next wash the floor clean with clear water to
remove every trace of acid. Let the surface dry thor-
oughly before painting or varnishing. Use rubber
gloves in handling the acid and do not breathe the fumes
from the strong acid; it is injurious. After a cement
floor has been neutralized it may be painted in the
regular manner with floor paints made or mixed for
wood floors.
In some of the hospitals cement floors are treated
with hot paraffin wax. After scrubbing thoroughly and
allowing the floors to dry, the wax is put into a wash
boiler and heated to the boiling point. The heating
268 _ HOUSE PAINTING METHODS
must be done near the floor because the wax doesn’t
penetrate unless put on very hot. The wax is spread
with a large brush. Two or three coats put on leaves
a fair gloss and the floor is not slippery. It is easy
to clean.
New Brick Surfaces.—A great deal of common yellow
and white brick is being used now for residence con-
struction and some of these surfaces are being painted
or stained. As a rule the only preparation given these
new surfaces is to brush them down vigorously with a
stiff broom to remove all sand and loose mortar.
The paints which are suitable for brick surfaces are
those which are in common use for cement, concrete
and wood surfaces—both prepared and painter-mixed
paints are used.
Flat brick red is most extensively used in some of
the eastern states where old brick houses are much in
evidence. There is little reason for selecting this
gloomy color except that it has always been done and
the paint is cheap and durable. The paint is usually
mixed in these proportions:
First Coat—New Brick
80 lbs. Venetian red
20 lbs. white lead
5 gal. boiled linseed oil
1 gal. turpentine
Makes about 11 gallons of paint
Finishing Coat—Sem-Flat
100 Ibs. Venetian red
3 gal. boiled linseed oil
2 gal. turpentine
Makes about 11 gallons of paint
A brick red as used in some sections is mixed this
way :—
CEMENT AND BRICK PAINTS AND PAINTING 269
4 lbs. white lead
2 lbs. Venetian red
1 lb. Indian red
When white lead paint is to be mixed for brick sur-
faces the following proportions are about right, al-
though some surfaces of this kind are more porous than
others and so require more oil :—
First Coat
100 lbs. white lead
4 gal. pure boiled linseed oil
1 gal. turpentine
Makes about 734 gallons of paint
Second Coat
100 lbs. white lead
4 gal. pure boiled linseed oil
1 pint turpentine
Makes about 634 gallons of paint
Third Coat
Use same mixture as for second coat.
Old Brick Surfaces.—The preparatory work on these
surfaces usually amounts to no more than brushing
them down with a broom to remove all loose dirt.
Cracked and scaled paint on brick walls is very com-
monly found and it is always a problem to decide what
to do about it. When the scaling is in evidence only
in patches, small areas here and there, it is reasonable
to believe that most of the paint on the walls is firmly
attached. Then only the scaling paint on these few
small patches is removed by scraping and sandpapering.
The bare spots are touched up with a coat of paint
before a coat is spread over the entire surface, which
means an extra coat of paint on the bare spots.
But when the cracking and scaling of paint is gen-
eral or the patches sufficiently numerous to make one
270 HOUSE PAINTING METHODS
believe that all of the paint has an uncertain attach-
ment on the surface, there is little to be done except to
burn and scrape off all of the old paint so as to give
your new paint a fair chance to attach itself to the
brick. Otherwise the new paint would have to depend
upon the very insecure foundation offered by the old
paint,—it too would seale off in time under these cir-
cumstances. The method to pursue in burning and
seraping off paint is described in Chapter XIV.
Staiming Brick Surfaces—Common brick being used
considerably now for residences of the English cottage
type of architecture and for large fireplace chimneys ex-
posed on the outside of other styles of architecture is
often stained white or a color. The staining is done in
the common manner by brushing on regular shingle
stains or by spraying these stains on to the brick. The
stains in colors are mixed thin enough to color the sur-
face without hiding the dark and light spots in the
brick. In other words a mottled color blended effect is
wanted, not a uniform color over the entire surface.
Brick Iining.—The liner brush illustrated in Plate
36, Chapter II is used for painting the brick mortar
with black as a rule. A well trained hand at this
needs no straightedge to follow the mortar joints with
the flat black. The black paint is usually lamp black
mixed with linseed oil and enough turpentine to make
it dry without gloss. This lining is usually done on
brick painted with the common flat brick red,—Vene-
tian red. |
Cleaning Brick Surfaces.—An efflorescence on brick,
the white cloudy substance commonly known, may
usually be removed when the greater part of the sub-
stance is calcium sulphate by washing and scrubbing
the surface with a dilute solution of hydrochloric acid,
—one part of strong acid to five parts of water. In
some other cases the walls are washed with water con-
taining about two pounds of laundry soap to a gallon
Se ee ee ee ee eo
‘CEMENT AND BRICK PAINTS AND PAINTING 271
of water. After this a dish of water in which one pound
of alum to the gallon is dissolved will clean up the ac-
cumulation.
Stains on brick are removed by various washes.
Water stains usually can be removed by scrubbing with
a wash made of one half pound of oxalic acid in a pail of
hot water. Rub the surface stain with a piece of sand-
stone of fine texture or a lump of pumice stone or an
artificial rubbing brick dipped into the water and acid
wash. After this bleach, wash the surface well with
clear water.
Soot and smoke stains can usually be washed off
with warm water and soft soap or water and sal soda.
Sometimes a paste is made of water, sal soda and
whiting. It is smeared on wet and allowed to dry, then
washed off and the surface is thoroughly washed with
clear water before painting.
Marble and fine stone fronts can usually be cleaned
by washing with water in which a little ammonia has
been dissolved. Rub the surface with a lump of fine
pumice stone or a rubbing brick soaked in the water.
CHAPTER XII
A STUDY OF WOODS AND SURFACES
A qaoop painter wants to know all about the char-
acter and the condition of the surface he is to paint
before he mixes the paint or makes an estimate of the
work to be done and the cost. There are great dif-
ferences between both new and old surfaces, which not
only call for more or less labor, but which alter the
proportions of pigments and liquids and the relation
of oil, turpentine and drier to the pigments.
Penetration and Anchorage of Paints——When we look
at a razor blade which is a very keen edge we get the
impression of a straight line. But look at the same edge
with a powerful magnifying glass and that sharp sur-
face proves to be all cut up like the cutting edge of
a earpenter’s saw. And so it is with wood, metal,
cement and other surfaces we paint. We think of them
as solids, smooth and compact. As a matter of fact
even the hardest of steel surfaces is filled with little
pores which offer anchorage for paint.
Paint attaches itself to a surface by penetrating
into the little pores, cracks and crevices and anchoring
there. Turpentine and benzole aid this penetration.
The deeper the penetration the more firmly attached
the paint is and the more likely the paint will per-
manently adhere to the surface and make a good foun-
dation for all future painting during the years to
come. When these pores are clogged up with dirt, rust,
old crumbling paint or an excess of sap, pitch or resin,
as with pitch pine and cypress, paint has little oppor-
272
ee aed
A STUDY OF WOODS AND SURFACES 273
tunity to penetrate and anchor itself. Consequently
the paint scales off. Perhaps not in a year; sometimes
not until the surface has been painted a dozen years
or more and has accumulated a thick paint film after
the third or fourth painting. Then the weak attach-
ment of the very first coat of paint is overcome by the
excessive weight of the thick paint film and the paint
cracks and scales off.
Expansion and Contraction of Surfaces—AIl build-
ing materials expand at high temperatures and contract
at low temperatures. Some surfaces expand and con-
tract to a greater degree than others. In the hght of
these facts it is obvious that paint must be elastic
enough to expand and contract with the surface it
protects. Otherwise it will break when the surface
gets hot. The rain will get into the breaks and soon
the paint will be worked off in scales.
Linseed oil makes paint elastic. Turpentine and
benzine decrease the elasticity of paint. Some var-
nishes and enamels are very elastic. The long oil
varnishes like spar are very elastic. All finishing var-
nishes used outside must be elastic. Rubbing varnishes,
on the other hand, are short,—they are hard and more
or less brittle which is necessary to withstand the rub-
bing. Interior enamels are rather short and brittle to
withstand rubbing and wear from abrasion. There is
no need for great elasticity in these materials because the
range of temperature differences in interiors 1s not
great. Exterior enamels are made with greater elas-
ticity because they must withstand the great range of
temperatures from below zero to over one hundred
degrees above in some localities.
Cracked and Scaled Paint.—Some old surfaces show
small areas of scaling paint,—a board or two here and
there. When such sealing is due to a moisture-soaked
board, to a board or two loaded with pitch, the remedy
before repainting is to simply scrape off such loose
274 HOUSE PAINTING METHODS
scales, sandpaper down the rough edges of the paint,
burn over with a paint burner torch to remove any
excess of pitch or moisture and touch up the bare spots
with a coat of paint before repainting the whole surface.
When great areas of a painted surface are covered
with sealing paint, there is good reason to believe that
the paint is at fault, being too hard and brittle to ex-
pand and contract with the wood during temperature
changes, or that the last paint put on was spread over
a priming coat of that nature. The preparatory treat-
ment of such a surface sometimes amounts to no more
than removing the paint scales, but that is only a post-
ponement of the evil day. No painter can guarantee
new paint against continued cracking and sealing when
put on over old paint foundations of that character.
The old paint continues to scale off and the new paint
is prevented from gaining any anchorage for itself in
the pores of the wood. The proper remedy is to remove
every inch of the old paint before spreading the new.
The most practical way to remove the old paint is to
burn and scrape it off using a gasoline or acetylene
torch, such as were illustrated in Plates 90 and 91.
The method to pursue in the removal of the old paint
is described in Chapter XIV.
Inspect Old Surfaces Carefully—sStudy old paint on
a house to determine if it was primed with yellow ochre.
Look for spots that have been heavily coated and are
ready to break loose when you put additional weight on
them by spreading on more paint. Look for damp-
ness from basements, drain pipes, down spouts and wet
soil. Before you add more weight with new paint, see
that dampness has not undermined the old paint and
that the wood doesn’t contain enough moisture to cause
the new paint to break loose soon after the new job
has been finished. If there are sources of moisture
supply to the wood like leaky rain gutters, rusted out
tin flashings over windows, dormers, ete., you cannot
A STUDY OF WOODS AND SURFACES 275
make paint stick to the wood until these leaks are re-
paired. ‘
Beware of loose scales, fine or powdered paint. Even
if they do not look dangerous they will keep your new
paint from anchoring in the pores of the wood. Mil-
dew on a painted surface is usually proof that there
is dampness in the wood. Paint put on over mildew
will peel off. New paint put on over old paint which
has shriveled is quite likely to break loose and scale off.
DESCRIPTIONS OF COMMON WOODS
An intimate knowledge of the structure and char-
acteristics of each of the common woods which painters
are called upon to paint is of great value. It is not
enough to know the woods used years ago, because as
the supplies of old woods become scarce, new varieties
come on to the market. The painting of some of these
newer woods requires special knowledge and under-
standing.
The very best way to learn the character of each kind
of wood is to study unfinished samples of the woods.
Get a board of each kind from the lumber yard or
mill. Failing to secure all kinds write the lumber
manufacturers’ associations for sample panels. They
will be glad to supply you with the samples and litera-
ture describing the woods. You will find advertise-
ments published by the various lumber manufacturers’
associations printed in many magazines. When you
get the samples finish some of them to note how they
become changed by staining, varnishing, filling, ete.
Note how they absorb paint,—oil paint, flat paint, tur-
pentine, ete.
Don’t overlook the fact that the wood from a single
tree differs in grain and color, depending upon whether
the boards were cut from the outside or the heart of
the tree.
Other points of interest and importance about woods
276 HOUSE PAINTING METHODS
is to determine whether a sample is a hard, open grain,
or a hard, close grain; soft, close grain or very soft,
open grain; whether the wood is generally soft and
spongy or compact and solid.
The permanence of a paint job is influenced, also,
by whether the lumber has been kiln dried or air
seasoned. When kiln dried too rapidly the wood may
have become case hardened, and it is then brittle and
lifeless. It has lost part of its strength. The paint
for such wood must be mixed to a thin consistency and
with enough turpentine or benzole to assure penetra-
tion through the case hardened area to a depth suf-
ficient to reach the vital wood below it. Paint made
heavy in consistency simply lies on the surface. And
when the dead fibres of the case hardened surface
break away by contraction and expansion of the wood
with temperature changes, the paint scales off with it.
Of course, such paint failures are charged against the
painter and the paint. Air seasoned wood has lost none
of its strength and vitality, so it affords a firm footing
for paint.
Another circumstance which makes it necessary for
painters to simply take a chance is that the lumber in
a single house may represent many kinds of material,—
some may be kiln dried, some air seasoned, some cut
in the winter when the sap was down and some cut
in the summer when the sap was up. Practically you
cannot have a different kind of paint mixture to suit
every kind of lumber, but a knowledge of these things
often enables a painter to understand and explain paint
failures, instead of being forced to take the blame, foot
the bill and wonder himself why the job went wrong.
The necessity for mixing paint thin for some lumber
in order to make it stick explains why it is impossible
to do two-coat. jobs which are durable. When the paint
is made thin enough to penetrate it doesn’t hide the
A STUDY OF WOODS AND SURFACES 277
surface well enough to make a good looking job with
only one more coat.
White Pine—Although painters today are called
upon to repaint many old buildings constructed of
white pine, a new building put up with this lumber
would be a rare sight in most localities. Supplies of
this remarkable wood have dwindled to the point where
it is too expensive to be used for any except special
purposes like water tables on residences and some of
the other trim boards. It is used for sash bars and
to some extent for interior cabinet work, but for struce-
tural timbers and siding and sheathing white pine is
a wood of the past on new structures.
Hard Pine.—This name is a bit indefinite since it
refers to yellow pine, long leaf pine, short leaf pine,
Georgia pine, Southern pine, Norway pine and pitch
pine. All these woods are very similar and the names
are different largely because the trees come from many
localities. Of course there are real differences, tech-
nically, between these woods, but they are much alike
for the purposes of painting.
As its name implies, hard pine is a hard, coarse-
grained wood and the space between the open fibres
is filled solidly with gum or sap. It is a heavy, tough,
strong wood. The color is deep red in the sap streaks,
but light yellow as a general color.
The first cut from the outside of the log, the sap
wood, of this tree is real light yellow, while the middle
and inside cuts of heartwood from the log are a red-
dish orange color. The sapwood is soft, open grained
and it makes a good foundation for paint, since it allows
pretty fair penetration.
The wood from the center of the log, the heart-
wood, is completely filled with resinous gum which
offers very little opportunity for the paint to pene-
trate. Much scaling of paint is due to painting over
this wood without an understanding of its require-
278 HOUSE PAINTING METHODS
ments. This wood is difficult to season because the
excess of sap prevents the moisture from evaporating.
The painting of hard pine surfaces is always a dif-
ficult thing to do because of the difficulty of gaining
sufficient penetration and also because a building may
have in it lumber which is very much mixed,—some
soft and open grained and some very much filled with
sap. When there are only a few boards here and there
which appear to be excessively loaded with sap gum
the best way to proceed is to get out your paint burn-
ing torch and scorch these pitch-streaked boards enough
to boil some of the gum out and to rough up the smooth
surface.
The mixing of paint for pitch-filled boards should
include considerably more turpentine and less oil than
for. fairly absorbent woods, as much as half turpentine
and half oil are necessary. In some sections the
painters prefer to use benzole (160 degrees solvent
naphtha) in place of turpentine with the oil. This
benzole works about the same as turpentine and evapo-
rates about as rapidly. It is a powerful solvent and
will cut the gum and sap in the wood long enough to
allow the oil and pigment to penetrate and anchor,
then it will completely evaporate. Thin coats of paint
well brushed in and out are an absolute necessity on
this wood. Thick coats rich in oil often cause cracking
and sealing of the paint. The grain figure or sap
streaks of this wood are so dark that it is difficult -to
hide them with thin coats of paint, so three coats of
paint are usually necessary to get a nice looking job.
The long leaf yellow pine tree is the one from which
turpentine is extracted. The lumber from this tree
retains much of the turpentine sap gum and when the
sun beats down on such lumber this sap is apt to be
drawn to the surface. Then the sap destroys the life of
the oil in the paint which has been improperly mixed
with too much oil and too little turpentine.
A STUDY OF WOODS AND SURFACES 279
One safeguard in painting new lumber of this kind
is to allow the building to stand in the weather a few
months without paint. The sun and rain will draw
out enough of the sap gum then to permit better pene-
tration. The wood is also roughened up a little and
that is an advantage because a rough surface holds more
paint in place and permits white and light colors to
hide the dark sap streaks more completely. The dif-
ficulty with this plan is that few home owners want
to look at an unfinished house that long and that if
good judgment is not shown too long an exposure will
cause the soft, open grained boards in the building to
open up at the joints, nail holes, ete. This lumber
warps rather easily on exposure to the sun and rain.
For interior trim this kind of pine is usually finished
simply by varnishing. It is sometimes stained attrac-
tively with brown stains, but will not take gray stains.
The wood gets darker with age when finished in its
natural color. It may be painted and enameled suc-
cessfully when care is taken to use very little oil in the
first coat and no oil in succeeding coats.
Poplar.—The other names for poplar are whitewood
and yellow poplar. Poplar has had extensive use for
clapboards or weatherboard siding on residences, but
cypress is taking its place in some sections. It is a soft,
clear, close and straight-grained wood which 1s not very
elastic. It shrinks little on being seasoned, and while it
is light in weight, it is strong enough for the purpose.
One of the easiest of woods to paint, it has the ability to
absorb paint, offering excellent penetration and anchor-
age. Not extensively used for interior trim but it makes
an excellent foundation for white enamel finishes. It
takes stain well but its grain figure is not very attractive.
Cypress.—A most enduring wood and one which is
being used rather extensively for clapboard siding on
building exteriors, for sash, doors, floors and many
other purposes where the ability to stand up against
280 HOUSE PAINTING METHODS
moisture and the weather generally is especially de-
sired. Cypress is a close, straight grained, soft wood.
The heartwood of the tree is rather a dark brown, while
the sapwood is a yellowish white.
Cypress weatherboards, clapboard siding and sim-
ilar cuts show great contrasts of color. When used for
interior trim or for any purpose requiring a fairly uni-
form color in natural finish, cypress must be selected
to gain some uniformity of color, the variations of color
between sapwood and heartwood are great. Penetrating
stains will even up the color differences, as a rule, how-
ever.
In dry kilns eypress acts badly and so most of it
is seasoned. by air drying. When well seasoned it
doesn’t shrink abnormally, nor does it swell and warp
in the presence of moisture.
The painting of cypress while not difficult requires
a bit of special knowledge and understanding of the
nature of the wood. Because of the oily sap which per-
meates the wood, oil paint doesn’t penetrate and gain
sufficient anchorage unless mixed properly. The prim-
ing coat only of paint for cypress should be mixed to
contain about 40 per cent of benzole (160 degrees
solvent naphtha), 10 per cent turpentine and 50 per
eent linseed oil. That would make your formula read
about like this:
100 Ibs. white lead
214 gal. linseed oil
2 gal. benzole
11% gal. turpentine
Makes 734 gallons of paint.
Benzole is one of the greatest penetrating solvents
of resin, gums, grease, ete. It cuts into the oily sap
of cypress and the gum resin of hard yellow pine, aids
the paint pigment and oil to penetrate and gain
anchorage and then the benzole evaporates completely.
A STUDY OF WOODS AND SURFACES 281
Benzole works about like turpentine in the paint, evapo-
rates about as quickly and is very inflammable. Great
care must be taken to keep fire away from it. The paint
must be well brushed in and out.
Benzole must never be used in any except the priming
coats of paint. If used in a second or third coat it will
soften up the under coats of paint.
Benzole is a coal tar naphtha, a by-product of gas
works by distillation from gas tar. It is waterwhite
and will freeze solid in low temperatures. It is some-
times used to rough-up old varnish coats which are
to be painted over. A coat of benzole brushed on saves
rubbing with sandpaper before painting. Benzole looks
like benzine but has a decidedly different odor.
Douglas Fir—This wood is also called Oregon Pine
and is cut from giant trees which are made to furnish
lumber for many purposes. The grain of fir is rather
interesting and gives the appearance of watered silk.
This is a light weight, strong, soft and close grained
wood. It is porous enough to absorb considerable paint
and offers a good foundation for painting and en-
ameling. Its color is quite light. Fir is used for
exterior surfaces, for timbers, sash, doors and for in-
terior trim. It requires no filler for interior trim, stains
well with oil and spirit stains. Water stains raise the
erain considerably, too much to be smoothed with sand-
paper.
Hemlock.—A wood which is quite extensively used
for exterior construction. It is a coarse, rough, soft
wood with open grain. When well seasoned it is light
in weight and in color. It warps badly and splits. A
pile of it in the hot sun will literally crawl all over the
lot. The western hemlock is better as a rule than the
eastern and middle-west product.
This wood is not as easy to paint well as some others.
It absorbs the paint unevenly in spots and the paint
upon it dries slowly. The paint must be well brushed
282 HOUSE PAINTING METHODS
into the wood to gain good anchorage. Hemlock is not
used for interior trim lumber.
Cottonwood.—Most of this wood is used for making
paper pulp, but some is used for building construction.
It is substituted for whitewood (poplar) but is not as
good. Cottonwood is a close grained, compact, light-
weight wood and is very soft indeed. The sapwood is
nearly white while the heartwood is dark brown. This
wood has little strength and warps to a considerable
extent
It is not difficult to paint this wood because it absorbs
paint readily and offers good anchorage for it. It is so
soft and porous, however, that extreme care must be
taken to be sure it is dry, because it absorbs much
moisture. When allowed to stand in the weather un-
painted it molds, turns very dark and decays on the
surface. In that condition it is a treacherous wood to
paint, the wood fibres having little strength, the paint
scales off as the wood on the surface crumbles away.
Cottonwood is also subject to dry-rot. Sometimes when
painted while wet, dry rot occurs under the paint
causing the paint to scale off. So paint cottonwood
only when absolutely dry, use plenty of oil and allow
plenty of time for each coat to dry,—a week between
coats is little enough.
Basswood.—This wood is also ealled linn and linden.
It is a straight, close-grained wood, soft and compact in
structure. Light in color and in weight and only mod-
erately strong. It is used to a limited extent for
building construction. Rather too soft. The painting
of basswood is easily accomplished. It absorbs paint
well, affording good anchorage and penetration. Mix
the paint thin with both linseed oil and turpentine to
secure penetration into the compact structure of the
wood. Owing to the very light color and absence of
prominent grain figure in this wood, it is easy to cover
and hide with white paint.
A STUDY OF WOODS AND SURFACES 283
Redwood.—A wood which is used rather extensively
on the Pacific coast for both exterior and interior con-
struction. It is light in weight, brittle, soft, coarse but
close-grained wood. The grain structure is even and
compact. It is a beautiful dark red in color and is
without very prominent grain figures. An easy wood
to paint because it absorbs paint readily offering good
penetration and anchorage. Being dark in color, three
coats are usually necessary to hide the red color. The
paint should be mixed thin with the usual amount of
oil and turpentine. Redwood used for interiors re-
quires no filler. The varnish coats are sufficient to fill
the wood which is usually finished in the natural red
without stain. Redwood can be stained and it also is a
substantial foundation for enamel finishing coats.
Cedar Woods.—Several kinds of cedar are used for
various purposes in different localities. White cedar
is used for exterior building construction rather ex-
tensively in some sections. A wood of light weight,
soft, brittle, close grained and compact character. And
of course all cedars are durable woods. The sapwood
of white cedar is light in color while the heartwood is
brown. An easy wood to paint because it absorbs paint
well and offers good penetration and anchorage. Con-
siderable oil is needed to satisfy suction. Use thin coats.
White cedar takes stains well.
California and Oregon cedars are similar and are
used for exterior construction. These woods are light
in weight, soft, strong and durable. They are close
grained and absorb paint well, offering good pene-
tration and anchorage. At least three thin coats are
needed and four coats of paint are much better in order
to supply enough oil.
Red Cedar is used in a limited way for exterior lum-
ber and extensively for making shingles,—the very best
lumber for this purpose. Lead pencils are made from
this wood. A light weight, soft, close, even grained
284 HOUSE PAINTING METHODS
wood which is not very strong. The sapwood is white
and the heartwood is red. Oil of cedar is made from
this tree and that oil is a paint solvent. So unless the
wood is well seasoned this oil will likely destroy the
paint coatings. Red cedar doesn’t absorb paint readily
nor does it offer good penetration and anchorage. Paint
dries slowly on it. Mix paint for it thin, with plenty
of turpentine and allow plenty of time for each coat to
dry. The dark color of the wood and the necessity for
thin coats makes it imperative to use at least three coats
on new wood.
Washington cedar is considered a soft wood, but
the trees produce wood which is both soft and fairly
hard. This wood is very close grained but is light in
weight. It absorbs paint rather unevenly. Thin coats
well brushed out and with a little more turpentine than
usual are needed. Allow plenty of time for each coat
to dry.
Chestnut.—This wood is so near to oak in the appear-
ance of the grain figure that few ean tell the difference.
It is a light weight, coarse grained wood. It is open
grained, of course, and is very durable. Chestnut is
little used for exterior building construction and not
to any great extent anywhere. Its open grain doesn’t
absorb paint as readily as might appear. The paint
doesn’t seem to penetrate. Mix paint thin with a
liberal amount of turpentine and brush out each coat,
allowing plenty of time to dry. Chestnut interior trim
may be stained attractively and a filler is required
when varnishing.
CHAPTER XIII
ESTIMATING MATERIALS REQUIRED
THE subject of estimating in its broader meaning is
far too large to be covered in detail and completely in
one chapter. Estimating properly includes consid-
eration not alone of methods for calculating materials
required for a job, but also labor required, and the
addition of overhead expense and profit. So the subject
has been presented in another book (‘‘ Estimates, Costs,
and Profits’’) where adequate space could be devoted
to each phase of the problems.
There are, of course, many variations in the methods
pursued by painters who estimate materials needed, who
take off the quantities, as it is called. And no matter
what method is followed many considerations are left
for the estimator’s judgment. Some rely upon
measuring surfaces with rule or tape line more or less
accurately, while others step off the distances. Still
others who are older and experienced at the business
merely look the room or house over and are able to tell
rather accurately what will be required. Very rarely
is it necessary to measure accurately any surface unless
it is one of a great many which are exact duplicates
and when the measure of one area is to be multiplied
many times to get the total area of a large structure.
Then a small error would be increased so many times
that it would amount to considerable.
Taking off quantities from blue prints is identical
with taking them from a finished building, except that
the estimator must be able to read the blue print scales
285
—————— 328 fort
e
286 HOUSE PAINTING METHODS
and to visualize completed rooms from floor plans
and detail sketches.
Figuring the amount of paint required is simply a
matter of common arithmetic. It is a matter of multi-
plying width by height to arrive at the area in square
feet. Then when the covering capacity of the paint is
known in square feet you have simply to divide the
total number of square feet in a building surface by 500
Plate 124.—Simple Building Outlines for Estimating
or 600 square feet (if that is what a gallon of your paint
will cover) and the result is the number of gallons of
paint needed.
Measuring Surfaces.—The very first step to take is
to get into your mind a picture of the building in its
very simple outline, its most simple form as indicated
by Plate 124.
Take your first measure by starting at one corner of
ne a
ESTIMATING MATERIALS REQUIRED 287
the house and measuring the number of feet across to
the next corner, then continue to the third corner and
around the house back again to the point where you
began.
The second step is to measure the distance from the
bottom of the side wall to the top of the side wall up
under the eaves of the roof. Indicated as 16 feet on
Plate 124, ‘‘B’’. This does not include the gable.
Having the total distance around the house (24 plus
40 plus 24 plus 40 = 128) and the height to the top of
the wall (16 feet), multiply one by the other, thus
16 feet x 128 feet = 2048 square feet, the
area of the two sides and two ends.
To find the area of the gable ends multiply the height
by one half of the width of the house. In the example
‘‘B’? and **D”’ Plate 124, we have the width of the
house as 24 feet and the height of the gable as 8 feet,
so multiply thus,—
12 feet x 8 feet — 96 square feet as the area
of one gable end. There are two ends, so
double the area of one end and you have 192
square feet for the area of two gable ends.
To find the area of the roof is simply a matter of:
measuring, or estimating the measure based on the
eround measure of the house. In the example al Or
Plate 124, we have each pitch of the roof with a measure
of 18 feet and the length of the roof is 48 feet. Note
that the roof overhangs the house 4 feet on both sides
and both ends which makes the roof 8 feet longer than
the foundation of the house, and more than 8 feet wider
than the foundation because the rise in the roof rafters
lengthens them over what would be needed for a flat
roof. So the ealculation of the roof area is simply a
matter of,—
288 HOUSE PAINTING METHODS
18 feet plus 18 feet—=36 feet.
36 feet x 48 feet—1728 square feet for the area
of the roof. |
Your total estimate for the building then
would read,— :
Two Ends and Two Sides.......... 2048 aquare feet
Two Gable nds); 232.2 oes ane 192
Root: -=..A78 fee che ee 1728 mn
3968 square feet
is the total area of the house.
No account has been taken of window and door open-
ings. The casings and mouldings of these will as a
rule take as much paint as an equal area of solid sur-
face, so allow no deductions for such openings. And
of course it will take much more time to paint windows
and doors than an equal area of plain surface.
Few buildings are as simple as the example given,
but the buildings which have L-shaped wings can be
figured as separate buildings, allowing only three sides,
of course, because one side butts up to the main house.
The number of gallons of paint required to paint
this surface is calculated by simply dividing the area
of the surface by the number of square feet a gallon of
the paint will cover. If a gallon of the paint you have
will cover 600 sq. ft., one coat, the requirement is figured
as follows:
3968 square feet divided by 600 square feet
==6.6138, or a little over 614 gallons of paint for
each coat.
Covering Capacity of Paints—-When the wit says
that something is ‘‘as long as a string and as wide as a
board,’’ he gives almost as good an answer as can be
given to the question as to how much surface a gallon
of paint will cover.
The answer depends upon the paint, upon the color,
se
ESTIMATING MATERIALS REQUIRED 289
upon the surface and upon the man who brushes or
sprays the paint. The thickness of the film spread, the
absorption of the surface and the roughness of the
surface govern, too.
Some paints have greater opacity and spreading
power than others of the same color, due to the kind
and quantity of basic pigments contained. White and
light tints will cover less surface than black and dark
eolors. Dark colors will usually be spread out to a
thinner film of paint than light colors, just because it
is possible to do it easily.
White and light tints will cover a greater number of
square feet per gallon when spread on top of light-
colored wood, or old paint which is light in color, than
when spread on black or dark, or dirty surfaces.
Any paint, light or dark, will cover more surface per
gallon when spread on smooth surfaces, like iron and
steel, than when spread on rough surfaces which catch
and hold a thick film of paint, like brick and shingles,
for instance. And any paint, light or dark, will cover
more surface when that surface is hard and well filled,
having little suction, than when dry, porous and
absorbent.
The limit of spreading ability of paint is reached
when that paint ceases to hide and cover the surface —
well. Pigments which are very opaque like white lead,
titanium oxide, lithopone, zine, lamp black, Venetian
red, Prussian blue and some others can be spread out
to a very thin film and still they will completely obscure
the surface. On the other hand such pigments as silica,
barytes, whiting, clay and a number of others must be
spread in very thick films to hide the surface at all
well, When dry these pigments look quite lke the
other white pigments, but as soon as they are mixed
with oil they become rather transparent.
It is quite out of the question to strike an average
statement as to the amount of surface one gallon of
290 HOUSE PAINTING METHODS
paint will cover as between light colors and dark, first,
second and third coats, new and old surfaces, rough and
smooth surfaces. The facts in each case must determine
the capacity of the paint. Perhaps the following
statements of specific cases will be of assistance:
New Wood Surfaces.—For the priming coat, of white
or light color, on woods which are soft and absorbent,
like yellow and southern pine, one gallon of paint will
usually cover well about 350 square feet, one coat.
On hard pitch pine and similar non-absorbent woods
a gallon of white and light tints will cover about 400
square feet, one coat. Tints and dark shades on the
soft woods will cover from 400 to 500 square feet per
gallon of paint. Tints and shades on hard, non-
absorbent woods will cover up to 600 square feet per
gallon, one coat.
Old Wood Surfaces.——When the old paint is very dry,
is chalking considerably and is quite absorbent, a gallon
of white and light-tinted. paints will cover on an aver-
age about 500 to 600 square feet, one coat. When the
old surface is weather-beaten, much less surface will be
covered by a gallon of paint,—in some eases not over
250 to 350 square feet of such surface will be covered
by a gallon of white or light tinted paint. Old surfaces
which are well preserved and not unusually absorbent
will be covered at the rate of about 650 square feet, one
coat, per gallon of paint, when the new paint is not
lighter in color than the old. When the old paint is
lighter in color than the new, more surface per gallon
will be covered,—and when the old paint is darker than
the new, less surface will be covered. Shades and dark
colors on old dry, porous painted surfaces will cover
about 600 to 700 square feet per gallon, one coat. When
the old paint is only normally absorbent and is not
chalking excessively, shades and dark colors cover from
700 to 800 square feet per gallon, one coat. A gallon of
ESTIMATING MATERIALS REQUIRED 291
lamp black and oil paint here will cover up to 1000
square feet.
New Brick Surfaces——On new, soft brick a gallon of
white or light tints will cover from 100 to 150 square
feet, one coat. Shades and dark colors will cover from
150 to 200 square feet, one coat. Hard pressed brick,
when the joints are well made, will be covered at the
rate of 350 square feet per gallon of white or light
tinted paint, one coat. Shades and dark colors will
cover up to 400 square feet per gallon, one coat on this
surface.
Old Brick Surfaces—Figuire covering capacities on
these about the same as for old wood surfaces, but
allowing a little more paint for the rough mortar joints.
Cement Surfaces—Some fairly rough cement sur-
faces will be covered with paint at about the same rate
as soft brick. Very smooth cement surfaces may be
figured the same as pressed brick. Rough and rugged
stucco cement surfaces absorb or afford lodgment for a
ereat deal of paint,—more will be required for brushing
than for spraying on the surfaces. Depending upon the
degree of roughness and porosity of the stucco, a gallon
of white paint and light tints will cover about 100
square feet, one coat. Shades and dark colors will cover
up to 150 or 200 square feet, one coat.
Metal Surfaces—The nature of the metal surface
_ has much to do with the covering capacity of a gallon
of metal paint, and of course the disposition of the
painter to brush it out thin or flow it on thick is all
important. Paint spread upon structural iron, bridge
members and similar iron will not cover as much sur-
face as when the same paint is spread upon large steel
tanks like gas holders, railroad tank cars and similar
large areas. Reports of coverage on various surfaces
are at considerable variance with each other. Here are
such as will shed some light on what has been done in
actual work:
292 HOUSE PAINTING METHODS
The foreman painter of an eastern railroad reports
red lead paint covers 650 square feet per gallon, one
coat, when spread full. The United Gas Company,
Philadelphia, using a heavy paint on steel gas holders,
the very large tanks, reports coverage of 900 square
feet per gallon of paint, one coat. Contractors who
painted some Pennsylvania Railroad bridges report a
coverage with red lead of 900 square feet per gallon,
one coat. On new steel ship hulls the Maryland Steel
Company reports a coverage of 840 square feet per
gallon, one coat, with red lead paint, using it heavy.
The Massachusetts Water Commission reports a cover-
age of 700 square feet per gallon, one coat, for red lead
mixed on the basis of 33 lbs. of dry red lead to 1 gallon
of linseed oil. Blue lead mixed in the proportion of 70
Ibs. of pigments to 30 lbs. of oil and thinners is reported
to cover from 600 to 800 square feet per gallon,
one coat, on structural steel. Aluminum paint made
in the proportion of from 114 to 2 lbs of dry powder to
1 gallon of heavy bodied linseed oil, or twenty per cent
to sixty per cent spar varnish with ordinary boiled lin-
seed oil, is reported to cover from 600 to 900 square feet,
one coat, per gallon on smooth metal. White lead paints
and high grade, ready-mixed paints will cover more sur-
face on metal than on wood, as much as 700 or 800.
square feet per gallon, one coat, on some surfaces. On
railroad steel tank cars one test reported determined
that paint made of two-thirds white lead and one-third
zine, tinted with lamp black to a medium gray, and
thinned with linseed oil, covered not to exceed 515
square feet when skilfully brushed out.
Shingle Stains—For the average run of cedar
shingles the following is a safe estimate:—1 gallon of
stain covers about 100 square feet, one coat, when the
stain is applied with a brush.
214 to 3 gallons of stain covers 1000 shingles when
they are dipped about eight inches into the stain.
ESTIMATING MATERIALS REQUIRED 293
344 gallons of stain is enough for dipping and apply-
ing 1 brush coat to 1000 shingles.
Measuring Structural Iron Surfaces.——Probably the
greater part of the estimating done on structural steel
and bridge work is pure guess work after looking over
the structure. The time required, the labor eost to do
such jobs, necessarily remains largely a matter of
making an intelligent guess, but to measure the sur-
face area to be painted and to calculate the amount of
T-Beam
Plate 125.—The I-Beam Structural Steel Shape
material required can be done with reasonable accuracy.
The various steel manufacturers making structural
steel shapes print and place in the hands of architects,
engineers and building contractors data books called
““shapes’’ books. They contain illustrations and tables
CHANNEL
Plate 126.—Commonly Called a Channel Iron Made in Several
Sizes
showing sizes, weights and all dimensions of the many
standard structural steel shapes used in the construction
of buildings, bridges, gas tanks, ete.
294 HOUSE PAINTING METHODS
ANGLE
Plate 127.—Called Angle Iron. This Shape is Made in a Great
Many Standard Sizes
z- Bar
Plate 128.—The Z-Bar Used to Some Extent. The Surface Area
Figures about the Same as the Channel Irons
From these books you can quickly learn the surface
area per lineal foot of a 10-inch I-beam, for example.
Then by simply measuring the total number of lineal
feet, of 10-inch I-beam to be painted you can quickly
figure the area of the surface. Plate 125 pictures the
I-beam shape, Plate 126 is the channel shape, Plate 127
is the angle and Plate 128 is called a Z-bar.
The shapes books can be purchased from any of the
large steel manufacturers, or borrow a book from a
friendly architect or engineer long enough to make a
typewritten copy of these tables of areas and weights.
On new work the architect or engineer can give the
painter the total weight of structural iron used, sepa-
rated into each of the different shapes. Then if the
painter will consult the tables of weights in the shapes
book he can readily learn the number of pounds per
foot for each shape.
ESTIMATING MATERIALS REQUIRED 295
Plate 129.—Average Steel Bridge for Estimating
So, by dividing the total number of pounds of steel
of each shape by the number of pounds per foot, he
learns the number of lineal feet of steel on the job for
each structural shape.
Now, with the number of lineal feet known and
finding the area per foot from the table, the total area
in square feet of surface to be painted can be quickly
computed.
rasan areas oe
4
'
4
4
‘
iE
Nl
;
’
‘
;
+
Cross Section
of Channel
Plate 130.—Simple Forms of Bridge Units
Note the bridge in Plate 129. While every bridge
and other iron structure is a problem in itself, this is
rather an average type of bridge. If you will study it
296 HOUSE PAINTING METHODS
a few minutes it will be evident that the structure is
made up of a number of units which are repeated many
times. So, if you will find the measure of one unit the
total area of the steel in the whole bridge ean be figured
rapidly and accurately.
By reducing the bridge units to the simple forms
indicated on Plate 130 the calculation is easy. The unit
marked ‘‘A’’ represents the principal beams. It is not
difficult to measure these. For illustration assume that
the two end beams are each 30 feet long, while the top
span is 100 feet. Then we have 160 lineal feet of beams.
The other side of the bridge repeats this unit, so we
have double the measure or 320 lineal feet of beams of
this size.
If these beams are 12 inches on one side and 10 inches
on the other the total measure around them will be
approximately the sum of 12 and 10 and 12 and 10, plus
at least two inches on each of the corners for the flanges
through which the rivets pass. So we measure around
the beam with a rule or steel tape, as indicated by ‘‘B,’’
Plate 130, and find a total of 52 inches. 52 inches equals
4-1/3 feet. To figure the area of the beams is simple
enough now. Consider them the same as a flat surface
which is 4-1/3 feet wide and 320 feet long. Multiply
320x4-1/3 and the product is 1386-2/3 square feet of
surface to be painted.
Note unit ‘‘C’’ in Plate 180. What area is left in
the bridge is largely composed of these triangles. There
are 6 on each side, or 12 triangles in all. These triangles
are made up of channel iron riveted together with cross
ties to form a lattice work on two sides of each beam.
These lattice strips will require fully as much paint,
and more time, to cover them than if the four sides of
these beams were solid surface. For purposes of
figuring the material consider these to be solid beams,
which are 6 inches on one side and 12 inches on the
other.
ESTIMATING MATERIALS REQUIRED 297
The measure around these beams in the triangle,
' then, will probably be 6 plus 12, plus 6 plus 12, which
equals 36 inches. To this should be added the width of
the flanges on all four corners at 2 inches each. So we
have 36 inches plus 8 inches, making 44 inches around
each beam. 44 inches is 3-2/3 feet. Now assume that
one leg of this triangle is 28 feet high and the other is
30 feet high and we have a total of 58 lineal feet for
each triangle. There are 12 triangles in the bridge,
so we multiply 58 by 12 and find that there are in this
whole structure 696 lineal feet of beam of this size.
Each beam is 3-2/3 feet around, so we simply mul-
tiply 696x3-2/3 and find that the area of all these
beams together is 2552 square feet.
Note unit “‘D’’ on Plate 130. On each end of the
bridge, angle irons have been used to tie the main
beam structures together. Assuming that the width of
this bridge is 30 feet this truss of angle iron would
figure up about this way :—
1 top angle 4x4 inches by 30 feet long,
which is equivalent to a flat surface 8
inches wide, or 2/3 feet wide by 30 feet
Pearse san area of.............. AOU SHA rte
1 bottom angle iron same size as top.... 20 sq. ft.
3 angle irons 18 feet long and 2 angle
irons 9 feet long on each side of this
truss, making a total of 6 angles 18 feet
long and 4 angles 9 feet long, or 144
hneal feet in all. This angle iron is
probably 2x2 inches. <A surface which
is equal to 4 inches wide by 144 feet
long, or 1/3 foot x 144 feet which equals
48 square feet. There is such a truss at
each end of the bridge, so we have
136 sq. ft.
298 HOUSE PAINTING METHODS
The fence or safety rail on each side of
the bridge is made of steel straps and is
probably about 3 feet high and about
125 feet long on each side. The paint
used on such a surface is fully equal to
that used on a plain solid surface of the
Same dimensions, so figure it as a solid,
or a surface 3 feet x 250 feet, which
Cquals so... sedis oles ote stetanenaenea 750 sq.
On the top of the bridge are a few angle
iron trusses which can readily be com-
puted by the same methods as have just
been discussed. The total surface to be
painted, then, with that exception and
excepting also any steel which might be
in use under the roadbed, would be set
down as:—
Main ‘beams Unit ‘{A’’) 79.5) oe 1386-2/3 sq.
12 Triangle beams’ Unit ~C° 7?) =e aa 2552 sq.
2 End Trusses, Unit “D7 (sere 136 Sq.
2 Fences or Safety Rails’. .4. eet 750 sq.
Potala 4324 Sq.
Tt:
CHAPTER XIV
A JOB OF PAINTING WITH THE BRUSH
WHETHER the building to be painted is new or old
the very first step in the procedure is to make an in-
spection of the building in general and the surface in
particular.
If a new building study the lumber and decide
whether it is soft and porous, having considerable
ability to absorb paint, or a rather hard, compact sap-
filled wood which will absorb little paint. Note whether
most of the lumber is of the same kind, or whether
some is soft and porous while other areas are hard
and sap filled.
Is the lumber dry enough to paint? That point is
very important. Is it covered with frost or dew in
‘the morning and how long must you wait before the
sun dries the surface frost or dew, making the wood
safe to paint?
How about dirt, plaster or tar splashed on to the
wood by other mechanics?
If the job is an old one, note the exact condition of
the old paint. Is it firmly attached to the wood gen-
erally? If any scales of paint are to be seen, is it
simply a local condition with patches of scales here and
there, or is the scaling general? Is the paint which
has not sealed firmly attached to the surface, or is all
of the paint rather insecurely attached, making it neces-
sary to remove all of the old paint to give the new paint
a fair opportunity to attach itself to the wood?
If there are round blisters of paint here and there
299
300 HOUSE PAINTING METHODS
of various sizes, were these blisters caused by the sun
drawing excess sap from the wood? If they were evi-
dently caused by moisture in the wood from other
sources,—that is, if the wood is not excessively sappy
in nature, then where did the moisture come from?
Was it simply caused by painting over the wood when
it was wet from rain or frost? Was the wood poorly
seasoned before being painted the first time? Did the
moisture get into the wood from leaking roof gutters,
shingles or tin flashing over windows? Did it get in
from leaking plumbing pipes? Regardless of where the
moisture came from, is the wood dry now and has the
source of the moisture been shut off?
Mixing and Tinting the Paint.—If the wood is new
and of the pitch pine or cypress varieties, read the
description of special treatment for these woods with
benzole in the paint as given in Chapter XII. In
Chapters VI. and VIII. will be found standard formulas
for mixing the paint and other information concerning
mixing. The tinting of the paint, the colors needed
and the oil and thinners required are all described in
Chapters VI., VII., VIII. and IX.
Scaffold Needed.—In Chapter IV. descriptions of all
ladders and scaffold equipment in common use will be
found for various types of buildings from the small
cottage to the large public buildings.
Assuming that we are about to paint an average
residence, such as is shown in Plate 131, the surface
ean be reached. by the use of long ladders and exten-
sion ladders alone, but remember that a man can work
more comfortably from plank platforms and that more
and better painting will as a rule be done when work-
ing from the ground and from planks. It is wise to
scaffold a job with enough equipment to encourage good
work. So extension ladders from which brackets,—
Plate 68, Chapter IV, are suspended to support planks,
or some of the patented plank supports, are much better
301
A JOB OF PAINTING WITH THE BRUSH
=
Refit cll
ce
Plate 131.—An Average House to Be Painted
202 HOUSE PAINTING METHODS
than to require a man to stand on the rung of a ladder
for hours at a time. Then, too, a man will waste quite
a little time moving ladders every few minutes to enable
him to reach the surface.
On buildings of this type it will not pay to use swing
stages. Extension ladders with planks for the upper
surfaces and a couple of trestles with a plank for the
lower wall surfaces will speed the work. Note the
trestles and planks in Plate 57, Chapter IV.
Tools Needed.—In addition to the scaffold equip-
ment needed for such a job, use will be found for the
following tools :—
Drop Cloths to cover cement sidewalks, shrubs,
ete.
1 Flat wall brush for each man, 4 inch or 41%
inch size.
1 or 2 flat or round sash tools for sash trim-
ming and mouldings for each man.
1 Duster brush for each man.
1 Putty knife or broad scraper for each man.
6 Sheets of No. 1 or No. 2 sandpaper for each
man,
‘Wiping rags to remove paint from window
glass, ete.
I One gallon paint pail or an empty 50-Ib.
white lead pail for each man.
1 Wood mixing paddle for each man.
1 Large mixing paddle.
1 Mixing tub, half of a barrel is good.
Paint strainers
1 Paint burner, gasoline or acetylene gas.
Preparing the Surface.—I{ old paint must be re-
moved because it is scaling generally, note what has
been written in Chapter XII about surfaces and the
preparation necessary. Also note in this chapter the
directions about the method to follow in removing scal-
ing paint.
A JOB OF PAINTING WITH THE BRUSH 308
New surfaces and old which are in good condition
for painting require only a thorough dusting off to
- remove any loose particles of dirt on the surface. A
few places here and there need scraping with the broad
scraping knife and sandpapering to remove roughness
or dirt or plaster, ete. Otherwise simply scrape off
any loose paint scales and blisters, sand down the edges
and dust off the whole surface with the duster brush.
Any new or old surface which is spotted with oil
or grease from the hands of steamfitters or other me-
chanics should be washed with benzine, or the paint
will not stick to such places.
Scorch and Shellac Knots—Some of the lumber
being used now shows quite a number of knots which
are pretty well filled with pitch. The sun will draw
this pitch out and cause yellow spots over each knot.
Shellac is only fairly successful in holding back this
pitch. The best treatment is to draw out some of the
pitch by heating the knots with the flame from a paint
burner torch, being very careful not to hold the torch
on the knots long enough to make them take fire and
burn. When the pitch has been drawn out and is
cool serape it off smooth. Now coat each knot with two
thin coats of orange shellac. And some very careful
painters will daub a brushful of paint over each before
painting the whole surface.
The Priming Coat.—On first thought it would seem
that most any kind and color of paint that is cheap is
good enough for priming a new house. That is the
thought that led to the use of yellow ochre thirty
years ago. ‘To-day ochre has no favor with master
painters. They know its inclination to gather moisture
and to let go its hold on the wood causing the paint to
scale.
Experience with priming coats everywhere is diamet-
rically opposite to first impressions. The priming is
the most important of all coats because it is the founda-
304 HOUSE PAINTING METHODS
tion. It is the coat where you can least afford to
use any but the best materials, as it bears the same
relation to the completed painting job that a building |
foundation bears to the structure. When the founda-
tion lets go the best of paint scales off. Nowhere is the
need for the best of paint greater than for priming.
It is quite generally agreed that all coats of paint on
a job should be of the same materials, but there are
some exceptions. For example on jobs which are to
be painted with dark colors, green, red, brown, ete., it is
better to put on a priming coat of good paint tinted
gray or a light shade of the finished color. Two or
three coats of some dark colors not only do not cover
as well when spread over each other as when spread
over a more Opaque priming coat, but the cost of some
dark colors, like chrome green and chrome yellow, runs
the cost up on a job unnecessarily. For colonial yellow
jobs it is best to make your under coats cream color
or ivory, using the chrome yellow mixed with a little
white for the finishing coat only.
The habit of using any old cheap paint, or odds
and ends about the shop for priming coats is indeed bad.
Brushing the Paint.—Old-time painters lay much
stress upon the importance of brushing the paint in
and out well. This is important on the priming coat
where it is well to gain as much penetration of the
wood as possible to assure firm anchorage of the paint.
Do not attempt to carry too much of a load of paint
on the brush. Each brush has its capacity and when
overloaded is sure to spatter the paint about the
premises and make a mussy job, to say nothing about
soiling drop cloths, ladders, equipment, cement side-
walks, window glass, ete. Take a moderate brushful,
spread it on the surface roughly, lay it off or spread
it out to cover a few square feet of surface and let it
alone. Brush with a semi-circular stroke from right
to left and back again. Dip the brush into the paint
A JOB OF PAINTING WITH THE BRUSH 305
only an inch or two and wipe out an excess load on the
side of the pot.
The old-time painter, who is supposed to know all
about it, says to put your priming coat of paint on thick
and rub it out thin. However that may be, it is true
that thin, even coats of priming penetrate the pores of
the wood and anchor better and dry better. They show
the grain of the wood and do not look as well as a thick
coat, but on the priming coat the important point is to
make a good foundation for the future coats which can
be made thick enough to cover well. Thick priming
coats hide the grain of the wood but dry slowly and are
apt to scale off later on. A little lampblack or other
dark color in priming coats for any colored finishing
coats make the priming coat obscure the surface better
so that it will not be so difficult to hide the dark sap
streaks of the wood with the second coat. When the
finishing coats are to be white a little blue is sometimes
used in both the priming coat and the second coat.
Then the finishing coat looks whiter because the surface
of the wood is obscured better.
Putty-Up Cracks and Holes.—After the priming coat ,
has been brushed into the holes and cracks the putty
will stick to the surface. If the putty is put on to bare
wood the wood absorbs the oil from the putty and the
filling crumbles away or drops out.
It is important to fill all holes and cracks with putty
not only to keep out wind and cold but, more important,
to keep out water which, when it freezes, expands the
holes, allowing more water to get in and by a gradual
process allows the wood to get wet and promotes decay,
swelling and warping of the wood.
In Chapter VI will be found the mixing methods
for making putty.
The putty is forced into the cracks and holes with a
putty knife and it should be allowed to dry before paint-
ing over it. An excess of putty 1s needed because some
306 ' HOUSE PAINTING METHODS
shrinkage is to be expected. A stroke with a piece of
sandpaper will cut off any roughness or bulging of putty
after it is dry. |
Second and Third Coats.—Mix these coats as per
directions in Chapter VI and VIII. The brushing
is done in a similar manner but the paint should be
put on a bit thicker and more attention should be paid
to making each coat cover and hide the surface as well
as possible. Joints and laps must be avoided and it
is especially necessary to avoid skipping some places
and putting paint on thick in some places and thin in
others. Try to brush the paint on with an even thick-
ness over the whole surface. Then it not only will look
better but it will wear better.
How Many Coats of Paint?—Many a job of re-
painting is done with only two coats and even some
new surfaces are so finished, but using a minimum of
paint in this manner no doubt is expensive in the end.
A new wood surface needs at least three coats of paint
mixed fairly thin and well brushed or sprayed on
to cover well. Four coats on new wood makes a better
investment because they preserve the wood better and
afford a better foundation for future painting.
Old surfaces which have been well painted before
may be pretty well painted as a rule with two new.
coats, but here again three coats are better as an invest-
ment. When too few coats of paint are put on any
surface the oil soaks into the dry wood, or dry old
paint, leaving the new paint on the surface without
enough oil to bind the pigment together and to the
surface.
Where to Begin Painting—The high places are
usually painted first. If the lower part of the build-
ing were painted first it would be marred by the
ladders when reaching the upper areas and also paint
from above would be splashed on the finished paint
below. So the work is to be started on the cornice, up
A JOB OF PAINTING WITH THE BRUSH 307
under the roof, gables, ete. Then work your stretches of .
paint from left to right and back again as far as you
can reach, working from the top down, and resetting
the ladders no more than is necessary to comfortably
reach all surface.
The trim of the building usually is painted the same
color as the body for the first two coats. The finishing
coat of a different color than the body is usually dark
enough to cover well and hide the surface in one coat.
This is not always true, it depends upon the color.
Time is saved by painting the trim the same as the
body for the under coats when possible.
When the finishing coat is put on the painter usually
takes two pots of paint and two sets of brushes up
on the scaffold with him. Then he paints both body
and trim colors with each setting of the scaffold.
Otherwise he would have to wait until one color dried
before putting on the other.
The sash are usually painted when most convenient
without making a special setting of the ladders for that,
but it all depends upon how many men are available.
Rain Gutters and Down Spouts.——These and other
metal surfaces should be painted after the methods de-
scribed in Chapter X. Usually one man on the job is
detailed to look after the odds and ends like these
surfaces and the trimming of sash, porches, doors, ete.
About Painting Weather—Condition of the surface,
quality of the paint, correct application of the paint and
favorable painting weather are the essentials which
govern the success of painting.
Generally speaking painting may be successfully
done any month in the year when the wood is dry, when
the temperature is above zero and when it is reasonably
comfortable to work without so much clothing on as
to impede reasonable safety and speed at work. In
many localities the winters are mild enough to allow
painting twelve months in the year. In fact, in all
308 HOUSE PAINTING METHODS
except the extreme northern localities a great deal
more painting should be done during the winter months.
After the rainy seasons have passed the lumber of
most buildings becomes quite as dry as during the
summer months. The heating plants inside drive mois-
ture out of the walls. So whenever the temperature is
40 degrees or above there is an opportunity to paint.
Of course, paint should not be applied when the sur-
face is subject to moisture condensation because it is
snowing, sleeting or raining. Snow coming in contact
with the warm sides of a building condenses and leaves
moisture in the wood even though it cannot be seen.
Frosts and fogs are equally unfavorable for painting.
When paint is put on over wet surfaces the moisture
may remain there until the warm season when the
sun draws it out into blisters. The blisters break and
the paint then scales off. Frosts settling on new paint
kill the gloss and cause washing of the paint pigment
later.
Cold, dry weather is just as good for painting as
higher temperatures and certainly better than hot
sunny days. It will be necessary to start painting later
in the mornings and to quit an hour or so earlier in
the evenings, but the short days are better than no work
and the painting can be done just as well if the painter
thinks about what he is doing.
New buildings should be given the priming coat as
soon as the plaster is dry. Otherwise the joints and
seams may open up and the cracks and nail holes will
be excessively large. When the wood is pitch pine or
cypress it is well to allow the wood to stand in the
weather, sometimes for two or three months, then the
sap or oil on the surface is taken off and it is easier
to make paint stick to such lumber. But this should
not be done with pitch pine during the hottest sunny
season ; the sun will warp the wood out of shape.
Removing Cracked and Scaling Paint.—When the
A JOB OF PAINTING WITH THE BRUSH 309
old paint on a house is cracking and scaling to an
extent that indicates that all of the old paint is inse-
curely attached to the wood, it becomes necessary to
remove all of the paint down to the bare wood so the
new paint will have an opportunity to attach itself to
a firm foundation, to penetrate and anchor in the pores
of the wood.
How to remove old paint in this condition is the
problem. Of course, the common practice is to simply
serape off the loose scales, sandpaper down the rough
edges and repaint over what is left of the old material.
That is all right when the old paint which remains is
firmly,attached, but when it is not so, the new paint
is bound to scale off too, sooner or later, especially after
several thicknesses of paint have been put on.
Such old paint can be and often is removed largely
by the use of steel scrapers and sandpaper. Liquid
paint removers can be used but are rather too costly
to use on large areas. The caustic soda removers must
not be used because some of the soda is likely to remain
in the wood and destroy the new paint as well as the
old. So the use of the paint burner is the most prac-
tical means. The gasoline paint burner torch and the
acetylene gas burner torch are shown in Chapter V,
Plates 90 and 91.
The procedure in doing a job of burning and scrap-
ing is to select a day when there is little wind, because
it is difficult to get enough heat on the paint to blister
it where there is a high wind. The burner doesn’t
actually burn the paint off,—it simply blisters the
paint film, loosens it and a knife scraper must be used to
remove the paint while it is hot.
Hold the torch and broad scraping knife as indicated
in Plate 132. The torch is held in the left hand at an
angle on the paint which will permit the scraper knife
in the right Land to follow close back of the flame of
the torch. The torch flame should be moved along
310 HOUSE PAINTING METHODS
slowly as fast as the paint blisters up, taking care not
to burn the wood. The painter should wear gloves
at this work to avoid singeing his skin. The flame
of the torch should always be pointed downward a
little so the flame will not crawl up under the weather-
boards at the joints and ignite the building paper under
the boards. Sometimes wood shavings are found under
boards and in corners of casings, corniees, ete. Keep
your eye open for such danger points. The end of the
Plate 132.—Method of Using the Paint Burner Torch
paint burner generator tube should be held about two
inches from the wall while at work. When not in use
see that the flame of the burner is turned outward
so it will not reach anything which can be burned.
A JOB OF PAINTING WITH THE BRUSH 311
Experts in the use of this tool can strip off some
kinds of paint by a continuous motion. Do not dig
the paint off an inch at a time. When the tool is
properly used the scraper knife will slip along after
the torch while the paint film is hot. Let the torch
do the work, the knife should slip along steadily, if
slowly.
When paint is too dry and hard to strip off easily
by the torch burning method, it is customary to coat
the paint with a mixture of about one fourth turpen-
tine and three fourths linseed oil. Let the paint dry
for a day or two and then begin the burhing. Benzole
(160 degrees solvent naphtha) is much better than the
turpentine with the oil for this purpose. About half
benzole and half oil are effective. Begin to burn and
scrape as soon as the paint softens and works best.
Touch-Up Bare Spots——When paint has been scraped
or burned off of a wall in places here and there, but
not from the entire wall, a good painter will always
touch up these bare spots with a coat of paint before
proceeding to apply the first coat of paint to the whole
wall. It is only by building up these places that a
first class job can be secured by having a uniformly
thick film of paint over the whole surface.
Paint for Exterior Doors.—Something more than a
plain painting job is usually wanted on outside doors
of residences and many business buildings.
A coat of varnish on top of oil paint is sometimes
resorted to. Then when the hot sun beats down on
such doors the paint blisters or it alligators or checks.
Full oil coats under varnish should be avoided every-
where. To avoid that defect proper foundation coats
are necessary,—coats which contain no more oil than
is necessary to bind the pigment together and to the
surface.
The outside of a door on a residence may, of course,
be painted any color to harmonize with the general
312 HOUSE PAINTING METHODS
color scheme. Dark green, white, ivory white and black
are quite commonly used.
First Coat
Considering a new door,—the surface should first
be sandpapered down to remove any rough places, then
clean off the dust and brush on your first coat of paint.
This coat is very important and usually is mixed
from white lead thinned with half turpentine and half
boiled linseed oil tinted to suit with colors ground in
oil. If the finished color is to be dark, this first coat
may be mixed a dark gray or a shade of the final
color. If the finished job is to be white or any light
color make the first coat white. It should dry nearly
flat.
Now fill all scratches and holes with putty ated
from white lead in oil paste, dry whiting and a few
drops of any good varnish. When dry, rub over the
surface lightly with No. 00 sandpaper, dust off clean
and you are ready for the second coat. .
Second Coat—Light Color
If the color is to be white, cream or any light tint
this coat may be mixed from 84 white lead and 4
zine oxide thinned with turpentine only or with flat-
ning oil and tinted the same as the finishing color
wanted. Or this second coat may be one of the pre-
pared enamel undercoats tinted to suit with colors
in japan to the final color.
Second Coat—Dark Color
If the color wanted is dark the second coat may be
mixed as above from lead and zine and tinted dark
gray or near to the finished color wanted. When thor-
oughly dry rub this coat down hghtly with No. 00
sandpaper—rub just hard enough to remove dust and
dirt nibs. Keep away from the sharp edges and corners
with the sandpaper—one stroke on such places may cut
A JOB OF PAINTING WITH THE BRUSH 313
through the paint to the bare wood. After sanding
the surface, dust it off, being sure to remove all dirt
from the corners.
Third Coat—Light Colors
One of the most convenient and satisfactory ways to
finish up the job is by brushing on next one or two
coats of first class factory made enamel—in white or
one of the several colors now sold in this material. All
enamels are not suitable for exterior exposure to the
weather. There are some brands, however, which are
made with linseed oil as the thinner and they give
very good service for this kind of decorating.
If white enamel is at hand for this job you can
tint it with tinting colors ground in japan. Mix the
color with enough turpentine to make it flow freely
and strain it before adding any to the enamel ;—then
mix the paint thoroughly.
This third and last coat may also be mixed from first
class spar varnish to which about one pound of japan
color or the colored paint is added per gallon of varnish.
Third Coat—Dark Colors
The second coat may be omitted if necessary to cut
down the cost on dark colored jobs, not however without
sacrificing some of the fine appearance of the job.
This coat should be mixed from color ground in
japan and thinned with turpentine only. Apply the
color with a soft, badger color brush. Many colors are
available to select from and you can mix any tint or
shade wanted by the addition of black or white to any
japan color or by mixing varying proportions of these
eolors together.
When the japan color is really dry rub over it very
lightly with a handful of horse hair or a dry piece
of soft cheese cloth to remove dust and dirt nibs.
314 HOUSE PAINTING METHODS
Fourth Coat—Dark Colors
This coat may be clear spar varnish, if good hiding
ability has been shown by previous coats. If not, add
a little of the japan color to the varnish—about one
pound of color to the gallon of varnish. This color
varnish will then prove both a protective and decorative
coat.
Enamel for EHzterior Surfaces——There are on the
market several high grade enamels, factory made,
which give good service on exterior surfaces such as
porch columns, lattice, pergolas, benches, garden furni-
ture, ete. Such enamels are only those made with lin-
seed oil as a principal ingredient. These enamels are
white but can be tinted with colors ground in japan
and thinned a little with turpentine. Strain the color
mixed with the turpentine before adding it to the
enamel,
A painter-mixed exterior enamel calls for the use of
half white lead and half zine oxide mixed with the
best exterior spar varnish. Mix the lead and zine to-
gether with enough turpentine to make a thick paste,
add the varnish and strain the whole batch through
cheese cloth after a thorough job of mixing. Such
enamel will be serviceable but not as white as factory
made enamels. The spar varnish has an amber color
which darkens the enamel a little. It bleaches out
whiter as time goes on, however. ;
Surfaces to be finished with enamel should be built
up with at least two under coats of flat paint. On new
wood the first coat should be mixed with about half
boiled linseed oil and half turpentine. The second
eoat should dry flat, which means that at least three-
fourths turpentine to one-fourth oil is needed. On
some hard, well filled surfaces no oil is needed in the
second coat.
One point should be kept in mind about paint coats
A JOB OF PAINTING WITH THE BRUSH 315
used under varnish or enamel coats—keep the oil in
the under coats down to the least amount that will
bind these coats together and anchor them to the sur-
face. Too much oil in the under coats causes the sur-
face to take on a checked or an alligatored appearance
later. The reason for that is that the under coats full
of oil are more elastic than the varnish or enamel on
top. When the sun beats down on the surface the
under coats expand more than the varnish or enamel
coats; hence, the latter breaks up into odd shaped
patches which look very much like alligator skin
leather.
CHAPTER XV
PAINTING WITH THE SPRAY GUN
In previous chapters in this book the mixing of
paints, the tools needed for general work and the scaf-
fold required were described at length and in Chapter
XIV the procedure, preparation of surfaces, ete., were
discussed. All of this subject matter refers also to
spray painting and, in fact, the best spray painter is
the man who knows materials, surfaces and brush paint-
ing methods. In taking on spray painting a painter,
therefore, has nothing to change, can make excellent
use of his previous training and is simply required to
learn the correct handling and care of the spray gun
and supply units for air and materials.
Probably the first important idea to fix firmly in
mind about this method of painting is that of gaining
a thorough knowledge of the spray gun equipment and
the handling of the gun itself. There is nothing very
difficult about handling this tool, but like all other
tools, best results come only from correct use. And
while all spray guns are somewhat similar in a general
way and some are better than others, the wise course
to pursue is to take all the instruction you can get
from the manufacturers of the particular equipment
you are going to use. If any one knows how to get
the most satisfaction out of such equipment it is the
men who designed and constructed it. The manufac-
turers of the best spray. gun equipment today are
anxious to teach their painter customers what they
316
PAINTING WITH THE SPRAY GUN 317
should know about handling spray guns. They not
only supply definite printed instructions for the opera-
tion and care of the equipment, but also provide expert
instructors who teach the correct use of the equipment
right out on the job under actual working conditions.
Such service is priced at just what it costs and it 1s
worth much more. It is of the utmost importance to
get started right in this method of paint application.
The best machines are remarkably fine tools, well de-
signed by able engineers and constructed with great
skill and precision. When correctly used they will
do all that is claimed for them and more.
Size and Kind of Equipment.—Most manufacturers
make spray painting outfits of several sizes which
are suitable for various kinds of work. For interior
decorating on walls, trim, floors, furniture and fixtures,
automobiles, and other articles which can be brought
to the shop for finishing, a small portable and useful
outfit is made. The motor is small, about one-quarter
horsepower in some instances, and can be attached to
any electric light socket. The large outfits have large
motors which must be connected with power lines, or
otherwise gasoline engines are used to run the com-
pressors.
The small interior decorating equipments as made by
some manufacturers use a siphon feed gun with the
material tank holding one pint or one quart attached
to the gun. Such material containers can be quickly
changed for others with different materials or colors.
Where small surfaces requiring small amounts of ma-
terials are to be decorated and where changes of ma-
terial are frequent, this type is better than the equip-
ment using large paint storage tanks which take longer
to clean. Also the siphon feed gun is good for spraying
lacquers and will atomize material into very fine spray.
It will not draw up to the nozzle more material than
it can atomize very fine.
318 HOUSE PAINTING METHODS
Some of the small interior decorating outfits use the
same spray gun types as are used for large exterior
surfaces. With them a smaller paint storage tank is
used, various sizes being available but separate from
the gun. Some of these outfits do not have air storage
tanks. They are composed of motor, compressor, paint
tank and spray gun with the necessary hose. The out-
fit is small and light enough for one man to carry when
necessary, although the outfit is mounted on wheels,—a
small truck which can be freely moved about.
These small outfits spray paint, enamel, varnish,
stains, sizes and are very handy for all interior sur-
faces which they coat more rapidly than can be done
with ordinary methods.
For the painting of large surfaces with oil paints,
mill whites, and other paints for decoration, preserva-
tion of surfaces, better light and sanitation, spray gun
outfits with larger motors or gasoline engine power,
larger compressors, air and paint storage tanks and with
the capacity for supplying with air and material one,
two and three spray guns working at the same time, are
in common use now in many localities.
These larger outfits are especially advantageous for
coating rough surfaces like brick, concrete, stucco,
shingles, rough lumber and in fact any large areas of
metal and wood surfaces. The work commonly finished
with these larger spray painting outfits includes resi-
dence exteriors, basements and fruit cellars, barns,
dairy buildings, creameries, factory exteriors and in-
teriors of brick, cement, wood and steel, state fair
ground buildings, large steel water and material storage
tanks, gas holder tanks of public service companies,
bridges and other structural steel buildings, lates fences
of wire and wood construction.
When it comes to selecting equipment it is best to
take the advice of the manufacturers after stating
clearly the character and amount of work you want to
PAINTING WITH THE SPRAY GUN 319
do by spray painting methods. Their great experience
and knowledge of technical ability and limitations of
various types of outfits will aid you in making the
right start.
Equipment for the painting contractor for exterior
work consists usually of the air compressing unit, which
includes compressor, power which is usually gasoline
engine, but sometimes electric motor, air storage tank
and necessary connections to make these three units work
together. They are mounted on skids to be conveniently
moved from job to job, or on a truck with wheels on
it. The best plan is to buy these units mounted on
skids and then place the whole outfit permanently in
an auto truck which can be run up to the curb in front
of a house to be painted or in the driveway. Enough
air hose to lead from the truck to the highest point on
the building to be painted is commonly used, two or
three hundred feet in some cases. Then the balance of
the outfit, the paint storage tank and the spray guns
are handled up on the scaffold platform or roof where
the painting is being done. To move such an outfit 1s
simple indeed and several jobs can be served by the
same equipment without loss of time at loading and
unloading. A trailer is sometimes employed instead
of a truck for mounting this outfit.
The spray gun can be worked at any height in the
air. The best operation comes when the paint storage
tank is kept not more than fifty feet below the gun at
work, so twenty-five or fifty feet of air hose is needed
from the paint tank to the gun and the same amount
of material supply hose.
Management to Save Time.—Since the opportunity to
speed the work and handle a large volume of painting
is great, the opportunity to lose time, which means
labor cost, is also great. It is important of course to
so handle men, materials and equipment on any job of
painting as to avoid lost time, but it is especially im-
320 HOUSE PAINTING METHODS
portant to have efficient management where the work is
being done by spray painting equipment, since the spray
painters coat in the surface faster. Spray painting
should be studied with a view to economy of movement
of men, materials and equipment and the elimination
of lost time as far as possible. The difference in time
required to paint similar jobs by different contractors
is often great enough to make the difference between
profit of a very satisfactory nature and ordinary profit.
That difference may be only an hour or two for the less
efficiently managed job, but it may be half a day or
more. So efficient, carefully planned operations are
especially necessary when the greatest good is to come
from painting by the use of the spray gun. The time
to plan every move on the job is a day or two before
the work begins. Then the right men, materials and
equipment will be there at the right time and the job
should progress rapidly without undue rushing of men.
Orderly progress is far better than chaos for the boss,
the men and the customer.
What makes for profit and satisfaction for all con-
cerned in this kind of work is the correct use of the
proper spray painting equipment, timely placing and
handling of the equipment on the job, the use of enough
first class scaffold equipment, forethought in planning
operations, a large enough crew of men who are familiar
with the work and the use of correct paint mixtures.
The paint ought to be mixed and strained ready for
use in the shop. It should be tinted and the color
given an O.K. before it goes on to the job.
Scaffold Equipment Needed.—While it is true that
when there is an advantage in so doing about thirty per
cent of the usual scaffolding used can be saved, and
even fifty per cent when extension brush handles are
used, there is often no economy in having too little
scaffold on the job.
The best type of scaffold is that which enables the
PAINTING WITH THE SPRAY GUN 321
operator of a spray gun to cover the most surface with-
out resetting of ladders, etc. The spray gun covers the
surface so rapidly that frequent moves of scaffold
waste much valuable time. Scaffolds of the platform
type are essential for the best results. The minimum
on the average job should be three long ladders or ex-
tension ladders, four planks and six bracket hangers
to support the planks.
Often it is better to scaffold two sides of a building
complete so that when one side has been painted the
- eun operators can shift immediately to the other side.
Then the scaffold from the first side can be shifted to
the third side by other men and so on without loss of a
moment’s time.
When a contractor can so organize his business as to
keep a large volume of work ahead on the waiting list,
it is wise to have one crew of men for doing the moving
and setting up of scaffold. Then the spray gun oper-
ators simply coat the surface and move on to the next
job where the scaffold is ready. Then by relaying the
first scaffold set to the third job the maximum surface
is painted per day. Of course this means quite an in-
vestment in scaffold equipment, but it enables a crew of
men to do two or three times as much painting and that
means two or three times as much profit during the
rush painting season, other things being well managed
and equal.
When the scaffolding for a job is set in place all of
the surface including window -sash, blinds, trim, ete.,
should be painted. These surfaces are of course painted
in the regular way with brushes and the brush
painters can usually work on the same scaffold with
the spray gun operators. Enough brush painters should
be employed to balance up the work and have all done
at the same time.
Study Surface Conditions—What has been presented
in Chapter XIV about preparation of surfaces and
322 HOUSE PAINTING METHODS
special treatment for certain kinds of new wood is fully
applicable when the paint is put on with a spray gun.
In addition there are certain other surface conditions
which must be taken into consideration. The paint on
some old surfaces is found in a checked or cracked con-
dition, even though the paint is firmly attached. Now
to fill these cracks and fine crevices more paint must be
put in them than is put on the balance of the surface.
The bristle brush will do that but the spray gun will
not. The spray gun puts on a paint film of uniform
thickness over the whole surface,—just as much paint
in the cracks as on the high places, but no more.
The most practical way to handle such surfaces is
to spray the paint on and lay it off, smooth it out, with
the bristle brush. This takes a little more time than
to spray only, but it saves considerable time over doing
all the application with the brush, because it saves the
time consumed in dipping the brush repeatedly into
the paint and transferring it to the surface.
After a first coat is sprayed and brushed on to a
checked surface the second and third coats may be
sprayed on in the usual manner.
A flat finished surface is required for spray paint-
ing when the best of results are to be gained. The
priming coat on new wood and the second coat, too,
should be mixed to dry flat, that is, enough turpentine
or mineral spirits or benzole should be used in place of
part of the linseed oil to make the paint film dry with-
out gloss. Likewise the first and all undercoats on old
surfaces should be mixed to dry without gloss.
When the undercoats of paint, enamel or varnish have
a gloss the new coat may run, sag or wrinkle,—it may
creep and crawl like water on grease. And when even
slightly too much paint has been put on to a gloss sur-
face it may run. It is possible with a spray gun to
put on as much paint in one application as is put on
with three or four brush coats.
PAINTING WITH THE SPRAY GUN 323
Surfaces having too much gloss may be reduced to
flat by wiping over with a cloth wet with benzine in
the case of exterior paints. Enamels and varnished
surfaces require rubbing down with sandpaper or
pumice stone and water.
When ready mixed paints are used for the under-
coats on exterior painting, pour off the liquid which
appears on top and replace it with turpentine or mineral
spirits in part or entirely, depending upon how porous
the surface is and how much of the oil of the paint
came to the top. Enough oil must be left in the paint to
bind it.
When white lead is mixed fresh for the job the oil
and turpentine can be correctly proportioned to gain
a flat finish and still allow enough oil to bind the paint
as required for the absorbing ability of the particular
surface at hand. As a rule not more than one-fourth
turpentine to three-fourths linseed oil is needed.
Some woods after being planed in the mills and sub-
jected to the weather a while before painting develop
a fuzz on the surface, and of course the rough sawn
weatherboards used quite extensively now are fuzzy on
the surface too. The spray painting method will not
lay this fuzz down like a common brush. The spray
will of course paint the surface completely, but the
fuzz stands up. Where the standing fuzz is objection-
able the first coat of paint on new wood should be
sprayed on and then lay it off, or smooth up with a
brush. That method will knock the fuzz down and the
paint will hold it down. The next coat or two can be
sprayed in the usual manner.
Weatherbeaten surfaces are not easy to paint by
any method, because of the wide open condition of the
wood pores, cracks and holes. Paint for such surfaces
was discussed in Chapter VI. When paint is sprayed
on to weather-beaten lumber a coat of uniform thick-
ness is put on to the whole surface. Just as much paint
324 HOUSE PAINTING METHODS
is put into the openings as upon the surface generally,
but no more. A bristle brush, on the other hand will
Wipe more paint into the cracks, open pores and holes
by repeated strokes. On such surfaces the first coat
may be sprayed on and painters with brushes should
follow the spray gun operator immediately to brush
the paint well into the cracks and pores and to lay it
off finally. Succeeding coats may be put on with the
spray gun alone.
Some concrete surfaces are filled with holes lke
cheese. They are small, to be sure, but numerous. On
such surfaces the first coat of paint may be sprayed
and brushed immediately to lay off the paint and force
it into the small holes to level and fill them. It isn’t
the roughness of the concrete which makes this brushing
desirable, but the desirability of putting more paint
into holes than on the high places. <A spray gun will
coat the roughest kind of stucco, brick and shingles
perfectly without any need for brushing to lay off the
paint.
Spread or Pattern of a Spray Gun.—Hunters are
always interested in having a shot gun which shoots a
- good pattern. The pattern is the spread of the buck
shot at various distances from the muzzle of the gun
after each shot is fired. A good gun will show a pattern
in which the shot are pretty well and evenly distributed
within a circle at so many hundred feet. A poor gun
distributes unevenly, many of the buck shot are on
one side, top or bottom, leaving few shots on other sides.
So it is with a spray gun. When a good gun is
properly adjusted, with both the air pressure on the
paint tank and the air pressure at the nozzle for
atomizing the paint correctly balanced, the gun will
shoot a well distributed pattern, or target as it is some-
times called. The paint will cover a stretch of surface
well-and with a film of paint of even thickness for hours
at a time.
PAINTING WITH THE SPRAY GUN 325
Spray guns are constructed to shoot a flat fanlike
spray and also a round, conelike spray. The flat fan
spray may be horizontal or vertical. The change from
one to the other is done instantly, without stopping the
work of the spray, by simply turning the nozzle of
the gun half way around. On some makes of spray guns
the change from a flat fan spray to a round cone spray
is done in the same manner, by turning the nozzle, while
on others it is necessary to remove one nozzle and re-
place it with another to change from flat to round spray.
i}
/
SSN
R ~S
QHY
> S
«i Ti
HORIZONTAL FAN SPRAY CONE SPRAY
Plate 133.—Fan and Cone Sprays
The flat fan spray is best for painting large areas of
flat surface, whereas the round cone spray is best for
painting structural iron, pipes, poles and similar nar-
row surfaces. Plate 133 illustrates the flat spray when
turned to the horizontal position and the same spray
turned to a vertical position, also the cone spray
pattern.
326 HOUSE PAINTING METHODS
Some spray guns are fitted with a nozzle cap like
that shown in Plate 134 in a general way, though differ-
SPREADER AIR PASSAGES
AtromizeDp PAINT PASSAGE
Plate 134.—The Nozzle Cap of a Spray Gun. Showing the
Spreader Air Passages
Plate 135.—Holding the Gun at the Correct angle
ent in detail with each gun. The paint and air mixture
comes out of the center hole and a stream of compressed
air flows out of the two passages on the sides. These
air streams hit the atomized paint stream as it comes
out of the center hole and spreads it into the fiat,
fan spray.
PAINTING WITH THE SPRAY GUN 327
Holding the Gun at a Correct Angle-——The proper
angle at which the spray gun must be held to assure a
coating of even thickness and one which hides the sur-
face uniformly well is pictured in Plate 135. The
nozzle must be square with the surface being painted.
Keep the same distance from A to B as from B to C.
When the gun is held incorrectly a fat edge and a glossy
surface may result at F’. also the paint may run. The
distance from Z to F' being less than from EF to D, the
paint pattern will not spread so far and will be coarser
at F. So the paint may accumulate at / enough to
run while the surface at D may not be well covered.
In Plate 186 another view of the correct and in-
Plate 136.—Correct and Incorrect Angles for Holding the Spray
Gun. for Best Results
correct way of holding the gun is shown. The lower
figure shows a thin, flat poorly covered area at A while
328 HOUSE PAINTING METHODS
B shows a fat edge where the paint is glossy and may
have accumulated in sufficient amount to run.
Plate 137 indicates in another way what happens
when the gun is held at an improper angle for painting.
The paint is laid on with a rough surface which looks
like folds or ripples on the water.
Plate 137.—Rough Paint in Folds or Ripples Caused by Hold-
ing the Spray Gun at the Wrong Angle
PAINTING WITH THE SPRAY GUN 329
*
Distance of the Gun from the Surface-—As nearly as
figures can be cited the gun, it may be said, should be
held from 6 to 10 inches from the surface being painted.
When the gun is held near the surface the spray is
narrow and it lays on a paint film which is sharply
defined at the edges. As you move the gun away from
the surface the spray gets wider and the edge of the
film becomes less sharp and straight.
A shield or mask is usually held in the left hand
when spraying paint up close to trim, like window
casings which are to be painted a different color, but
an expert spray gun operator cuts a clean sharp edge
without a shield to cover the trim simply by holding
the gun near to the surface and moving it fast and
steadily over the surface being painted. Plate 138
indicates this point. A, the gun held close to the sur-
Plate 138.—The Distance of et Tee from the Surface and the
mesu
face-—from 4 to 6 inches. A narrow stretch painted
with sharp edges. B, gun held two feet from surface,
spraying a wide stretch with uneven edge.
Moving the Gun Over the Surface——One of the
important accomplishments which must be learned by
practice is to move the gun steadily and at the correct
rate of speed over a surface which is being painted. A
new operator moves with a jerky motion and changes
speed. The result of this action is to put on a thick
and thin coating. In some places the equivalent of two
or three coats of paint may be sprayed, while in others
only one thin coat is put on where the hand is moved
330 HOUSE PAINTING METHODS
2
rapidly. Perfect control of the muscular action will
come with practice and also the aim to shoot the paint
on the exact spot where it is needed will be perfected
in a few hours of operation. The ideal is to move at
the same rate of speed over the entire building surface
and with the gun at the same distance from the surface.
Repeating, that is, going back to shoot more paint
on thin spots or areas which have been skipped can be
perfectly done by experienced operators, but a new
hand is apt to put too much paint on when attempting
to spray small patches. <A careful operator, even though
inexperienced, doesn’t skip any surface.
Air Pressure Balance.—There are two points where
air pressure is maintained in spray gun equipment.
One pressure is on the paint storage tank, the other is
at the nozzle of the gun for the purpose of atomizing
the paint.
Only enough air pressure should be put on the paint
storage tank to cause the paint to run slowly out of
the gun nozzle, not squirt out, to begin the adjustment.
This means that the paint should dribble out of the gun
- nozzle when the atomizing air pressure is turned off
and when the gun is held as high up on the scaffold
or roof as will be required to do the painting.
When too much pressure is carried on the paint
storage tank more paint is delivered at the nozzle than
can be properly atomized by the air pressure at the
nozzle. Then the gun will spray too coarse a mixture
of paint and air. Part of the paint will be coarsely
atomized and part will be hurled against the surface in
thick patches. The surface will be flooded in places and
not covered well in others. This excess of paint will
then run, sag or wrinkle, especially on surfaces having
too much gloss.
The second air pressure is that at the gun nozzle.
As stated its function is to atomize the paint, to break
alas
PAINTING WITH THE SPRAY GUN 331
it up into very fine particles and convey it by force to
the surface being painted.
This atomizing pressure should be kept as low as
possible,—it should be just great enough to atomize the
paint as fast as it flows out of the nozzle. Too much
atomizing pressure breaks up the paint into too fine
a mist. There is more air than paint and so the mixture
is too lean, too much fine mist is shot out. Over
atomized paint will not hide and cover the surface well.
Too little atomizing pressure results in the same
action as too much pressure on the paint storage tank.
To overcome these difficulties balance the two air
pressures by the adjusting valves until the pressure
on the tank feeds just enough paint to the nozzle to be
completely atomized by the lowest atomizing pressure at
the nozzle which can be used. The air pressures are
balanced when the gun sprays on a coating of even
thickness which hides the surface well.
The amount of air pressure required for both
purposes is subject to variation, depending upon—
(A) The weight per gallon of the paint being sprayed.
Prepared or ready mixed paints will average about 14
pounds per gallon. Sometimes a little more and some-
times less, depending upon the amount of basic pigments
contained. White lead paints will weigh from 19 to
22 pounds, depending upon how much oil is used with
a given amount of pigment. Red lead paint will weigh
from 31 to 40 pounds per gallon, depending upon the
proportion of oil and pigment.
(B) The height of the spray gun above the paint
tank (not the air tank and compressor) when at work
determines the amount of pressure needed on the paint
storage tank to lift the paint up to the gun. Usually
the paint tank is taken up on the scaffold or roof where
the painting is being done. The paint tank should be
kept within 50 feet of the gun at work, and 25 feet 1s
better.
332 HOUSE PAINTING METHODS
To sum up, then, a heavy paint requires more
pressure on the paint storage tank and for atomizing
at the nozzle than a light paint or stain. A spray gun
being used fifty feet above the paint storage tank
requires greater air pressure in the paint storage tank
than a gun being operated ten feet above the paint
supply. The pressure on the paint storage tank may
vary from two or three to twenty or thirty pounds,
then, depending upon the weight of the paint and the
height to which it must be lifted to the gun.
The atomizing pressure varies from 10 to 60 Ibs.
Lead and oil paint requires from 40 to 50 Ibs. atomizing
pressure, depending upon how much oil or other thin-
ner is in the paint,—lighter paints require less pressure.
About Cleaning Spray Guns.—The mark of a good
mechanic in any line of business is the possession of
clean, sharp and well kept tools. And while there is
both pride and satisfaction in the possession of such
tools which do better work, even poorly kept tools
generally will do some kind of work. In the case of
the spray gun, however, absolute cleanliness is neces-
sary to make the tool work at all. It will work
perfectly only when as clean and shining as a new coin.
Fortunately it is easy to clean a spray gun, as the tool
has been perfected with this in view. The important
thing is to clean this equipment at the right time and
the right time is immediately after using it.
If a spray gun is to be given a fair chance to do its
work well it must be cleaned at the end of every day
and upon completing every job. The gun may be
allowed to stand a few hours when full of paint if it
is to be used again that day. Then it should be hung
up with both air and atomizing pressure turned on
to reach the gun. In other words the gun should be
ready to paint again simply by pulling the trigger.
The paint storage tank must, of course, be kept closed.
The proper way to clean a spray gun, paint hose
PAINTING WITH THE SPRAY GUN 333
and tank is to cut off the air pressure from the paint
supply tank, pour out any paint left in the tank and
clean out the tank. Then put benzine, mineral spirits
or turpentine into the tank, connect it up again and
turn on the pressure. Pull the trigger of the gun and
keep open until all paint is washed out of the hose,
the gun barrel and the valves, ete. Next disconnect the
hose from the gun and take out the easily removable
parts of the gun, wipe them clean with a cloth and
immerse the gun barrel in a pot of benzine or other
solvent. When all parts are clean and wiped dry the
day’s work is done. It is not necessary to remove the
paint from the paint tank if an extra, clean tank is at
hand to fill with benzine and hook up to the material
hose line. The tank containing paint must be covered,
however, to prevent excessive skinning over and the
paint must be strained before being used again with the
spray gun.
The air valve of a spray gun opens a little before
the paint valve and it closes a little after the material
valve. Thus the opening passages in the gun and
nozzle are kept clean and free from paint by the force
of the air.
The compressed air used in a spray gun outfit has a
drying effect on the paint being sprayed; and so that
is another reason for being fastidious and even ‘‘fussy’’
about keeping your spray equipment clean. Air and
material passages clogged with dry paint skins alter
the flow of air and materials,—furthermore the moving
parts of the gun are gummed up and will not work
except in a sluggish manner.
If the air spreader passages of the nozzle on the gun
become clogged up with dry paint or dirt the paint.
pattern sprayed will be fat or uneven at the edges as
noted in Plate 139. Plate 134 shows these air spreader
passages.
When the nozzle passages become damaged by a fall,
334 HOUSE PAINTING METHODS
Cc D
OUTLET FOR PAINT RNY». \R SPREADER:
AND AIR. Q > HOLES
Dry Paint
CLOGS OPENING
Dry Paint SKIN
CLOGS OPENING.
Plate 139.—Defective Painting Done by an Unclean or Damaged
Spray Gun Nozzle
or from poking at them with wires or sharp tools, the
spray pattern is uneven the same as when dirt or dry
paint skins clog up the passages. Fat edges, fat wings
or fat centers occur in the spray pattern as noted in
Plate 139.
The use of the incorrect size spray nozzle with a gun
may cause difficulty with the spray pattern. ‘Take the
_
PAINTING WITH THE SPRAY GUN 335
manufacturer’s recommendation for the correct nozzle
for each weight and body consistency of each kind
of paint or other material to be sprayed.
Care of the Machinery—Machines of many kinds are
called automatic and they are automatic in operation,
but they are not self sustaining in the sense that they
do not need care. The best machine of any kind which
ean be bought will fail to function properly sooner or
later and do itself untold damage if it is not cared for
at regular intervals.
Spray machines are no exception to the rule. They
are constructed with remarkable forethought to make
their care easy and to require little time, but care for
them you must if you want to protect your investment
and get out of the machines the work they are competent
to do.
Certain parts of the gun need oil and they should
be oiled a little after every cleaning.
The material and air line hose should be kept spot-
lessly clean inside and outside. Keep oil away from
them, since oil and grease rot rubber.
The paint storage tanks and control valves and con-
nections must be cleaned every time they are used
and kept free from dry paint skins and from an excess
of oil.
The air compressor is usually oiled from the crank-
case in which you must maintain a level of the proper
kind of oil. There is a gauge, or test drain cock, in the
erankease to tell you when the proper oil level has been
reached. The bearings in this compressor will wear ex-
cessively when the oil is too old or insufficient in
amount. The piston and walls of the compressor
cylinder will wear excessively without sufficient oil of
the right kind. Then the compressor will pump oil into
the air supply and will not pump air efficiently.
The automatic unloader or governor on the com-
pressor rarely is called into use. It may become stuck
336 HOUSE PAINTING METHODS
in its seat, so it is well to open it by hand once in a
while to make sure that it will work if needed.
If gasoline engine is used for power, it requires that
certain oil and grease cups be kept full of the proper
kind of oil. The water cooled type requires attention
to the water supply. Failure to care for the engine
results in excessive wear of moving parts, burned out
bearings, time lost trying to start the engine and
expense in many ways. Follow the manufacturers’
printed instructions to the letter.
If an electric motor is used for power it will require
less attention. It, however, is provided with oil or
grease cups to lubricate the shaft bearings. Keep them
filled. Dust is detrimental to the proper working of
motors. The armature and fields inside should be kept
free from dust. It can be blown out often with com-
pressed air. The carbon brushes on the motor will wear
down and must be replaced at intervals. Inspect them
often, not only to determine when they need to be
renewed but to see that they are riding evenly on the
armature surface. They should not spark when the
motor is running. They will spark if any oil or dust
gets on the smooth armature surface, if there are hard
spots in the carbon brushes and if the armature surface
becomes roughened up for any reason. A rough
armature can often be smoothed up by taking a piece
of very fine sandpaper about an inch wide and wrap-
ping it over the end of a soft white pine stick of wood.
When the motor is running hold the sandpaper firmly
against the armature surface to grind it smooth.
Repeat this two or three times. Then blow out the dust
and fine sandpaper grit from the motor with air. The
springs on the armature brushes sometimes break or
lose their tension. All of them should bear down on the
carbon with equal pressure.
Before connecting up your motor to any power or
light circuit there are several points which you must
oe av ele
PAINTING WITH TIE SPRAY GUN 337
know absolutely. The large motors require too much
current to operate from light circuits. They must be
connected to power circuits, or circuits run into houses
for cooking ranges. The smaller motors may be con-
nected to light circuits. Also you must know whether
the current is direct or alternating, the voltage, the
eyele and phase of the current at hand and what is
required by your motor.
Number of Coats Necded.—On some surfaces ijmas
possible to put on with a spray gun a paint film which
is as thick as that put on the usual three or four coat
brush job. But it is also possible to so control and
direct the spray gun as to apply a very thin coat of
uniform thickness over the entire surface.
What is good practice in painting by older methods
with the brush is also good practice when painting with
the spray gun. Thin coats of paint dry faster and
harder than thick coats. Thin coats make better foun-
dation for future painting jobs than thick coats. So,
while it is entirely practical to apply paint equivalent
in thickness to three or four coats of brush applied
paint, it is not wise to do so as a rule, but there are
some exceptions. On many jobs it is practical to apply
only one coat of paint with the spray gun and apply
it thick enough to hide the surface and look well, but as
a general thing two coats of paint put on with the spray
eun will prove more satisfactory than one thick coat.
The limitations as to the number of coats of material
required are the limitations of the paint and the surface,
not any limitations of the spray gun. You can spray
the material on to the surface to form as thick a film
as will remain there without running and as will dry
properly. A thick film is apt to dry so slowly as to
pick up enough dust or insects to discolor it.
Inexperienced spray brush operators usually put on
a thicker paint film than is necessary. It is easy to
vive a man a four coat job when he pays for only two.
338 HOUSE PAINTING METHODS
That wastes material. A careless brush operator will
also waste material by putting it on too thick in places.
Time and Material Required.The first jobs finished
with a spray gun by a new operator often require as
much time as when the paint is put on with the brush
in the common way. As experience is gained, however,
speed will be acquired, too. An experienced operator
working under favorable conditions will coat in from
500 to 600 square feet of surface per hour and average’
from 4,000 to 6,000 square feet of surface painted per
day of 8 hours. There are many records of greater
accomplishment in this direction, 10,000 square feet
of surface in an 8-hour day is not uncommon when the
job is well managed and conditions are favorable. It
is obvious, however, that the management of the job as
to having proper materials on hand at the right time,
correct scaffolding in place and other factors govern
to a large extent the amount of surface covered. And,
naturally, the skill and disposition of the operator and
his helpers to work are determining factors.
As to material used by a spray gun. It will vary
from a little less to about ten per cent more paint than
would be used for the same job and applied with a
brush in the ordinary way. There is little or no loss
of paint caused by working in a wind, contrary to popu-
lar ideas. The gun is held so near to the surface (8 to
10 inches) that there is no opportunity for loss in this
respect. Such losses as occur are the result of spraying
on paint films which are too thick or from spillage in
handling the material. The latter item should not, how-
ever, be greater than when the paint is handled for
brushing.
Protecting Window Glass.—It is very easy to
protect window glass from paint spray or spatter,
Provide a strip of drop cloth large enough for each
window,-—about two feet longer. Usually a 7 or 8 foot
strip is long enough. Lower the upper sash, hang the
PAINTING WITH THE SPRAY GUN 339
canvas over the top of the sash and close the upper sash.
Raise the lower sash, tuck the bottom of the strip under
it and lower the sash in place. When the windows are
difficult to open, or not accessible from the inside, use
glass push pins such as are used to hang pictures
on interior walls to hold the cloth in place.
Brush Painting Necessary Too.-The large trim
like cornice facing on the average house may be prac-
tically painted with the spray gun but small trim like
window sash, doors, mouldings, etc. are more quickly
painted with the brush. It is customary to have enough
brush painters on a job to finish up the trim as fast
as the spray guns coat the sides and large surfaces like
roofs, ete.
The spray gun operator can use a mask, or guard,
made of tin six or eight inches wide and a foot or two
long when spraying paint close up to window frames,
corner boards and other trim which is painted a
different color than the body. Experienced operators
do not require the mask. They reduce the trigger pull
on the gun, hold the gun close to the surface to cut a
sharp edge and move it over the surface rapidly. <A
surprisingly sharp line can be cut in this manner.
A cleaner edge is often cut this way than is cut with
a brush.
Health and the Spray Gun.—In the painting business,
as in most other trades and some professions, it is
possible to carry on business in a way which will be
injurious to health. It very largely depends upon the
habits of the men. Some habits are, of course, due to
ignorance of the risk and the better way to do the work.
Practically speaking the health risks using the spray
gun are identical with those involved in painting by
any other method. The greatest risk is from inhaling
dust resulting from dry sandpapering surfaces, par-
ticularly interior surfaces. Then working in rooms
with turpentine, benzine, benzole, ammonia, hydro-
340 HOUSE PAINTING METHODS
chloric acid, oxalic acid, fusel oil, amyl acetate, bronzing
liquids and numerous other materials without having
the windows open for plenty of ventilation is injurious
to health and a violation of common sense.
Spray guns regulated properly to atomize the paint
at lower pressures and used from 6 to 10 inches from
the surface as they should be used, have little oppor-
tunity to cast off an amount of spray which is injurious
when the ventilation is what it should be. When work-
ing in rooms which are small, bathrooms, closets, ete.,
it is advisable to wear a mask or respirator.
It all comes down to the fact that a careless, sloppy
painter can injure himself with the spray gun just as
he can with a swing stage, extension ladder, blow torch
and sharp tools of many kinds. Reasonable care and
clean habits will assure a safe and efficient use of spray
guns and other painters’ tools.
Durability of Sprayed Paint.—There are innumer-
able jobs upon which the paint was sprayed a dozen
years ago about the country and enough time has passed
to confirm the statement that the durability of paint
which is sprayed on is exactly the same as the dura-
bility of that paint if it were applied by other means.
The spray gun doesn’t alter the paint except that some-
times more volatile thinners like benzine, mineral
spirits or turpentine are added to reduce the body of
the paint. These thinners, however, evaporate com-
pletely and almost immediately leaving the paint as it
was before spraying.
The spray gun drives the paint into every crack and
hole, giving the paint ample penetration and anchorage
in the pores of the wood. There has been much talk
among old-time painters about forcing paint into the
wood by rubbing it in well with a brush, and while
there is no doubt that good brushing is beneficial a
study of a wood surface painted by any means, brush,
spray or dip will show that after all the paint remains
PAINTING WITH THE SPRAY GUN 341
on the surface and gains very little penetration. Cut
a painted board in two making a clean cut with a knife.
Study it with a magnifying glass and you will get this
point better.
A confirmation of this idea comes from the methods
which were found necessary among the railroads in the
treatment of wood ties. They are dipped in a creosote
oil preservative to keep them from rotting. Penetra-
tion to any considerable extent by this very thin liquid
was not gained until the ties were treated with the
dipping process carried on in a tank from which the
air was largely pumped out to create something like a
vacuum. Even then penetration of the preserving
liquid is not more than a fraction of an inch after the
ties are dipped and soaked in the liquid.
The difficulty encountered when we try to: make
paint penetrate deeply into wood is, simply, that of
working against air pressure in the wood. The struc-
ture of a living tree is somewhat similar to that of a
sponge. The cells of the wood are filled with sap or
water. When the wood is seasoned by air, or in a kiln,
the liquid is driven out. Nature will not allow a
vacuum and so air rushes into the open pores. Now to
fill those pores with paint we would have to draw out
the air. Paint simply seals up these pores or air cells
and penetrates only in a limited way whether brushed,
sprayed or dipped.
Drying Time Required.—Because paint sprayed on
covers a surface so quickly, there is a tendency to rush
the work, largely through anxiety to finish the job and .
move on to the next one when an organization is keyed
up to volume production. Fully as much time should
be allowed for the drying of the paint between coats
as when the paint is put on by brush methods. Then
the undercoats will become harder and a more durable
job is bound. to result.
Creeping and Crawling—When the undercoats of
342 HOUSE PAINTING METHODS
paint are not fully dry, when a wood surface is oily,
like cypress, when undercoats of paint have too much
gloss, paint which is sprayed on is likely to creep and
crawl,—that is, the new coat acts like water on oil,
it will not stay where you put it. Brush coats of
paint do the same thing, but sometimes a brush coat can
be made to stick to a surface by repeated brushing when
a sprayed coat would not stick.
If a paint surface, or a bare wood surface like pitch
pine or cypress, is wet from dew or frost or fog
the paint may creep and crawl. Water or oil in the
paint from the air supply would cause this same
trouble. When the air is very moist the condenser
may liquify a little of it. If this water gets into the
air tank and accumulates until it is forced out into the
air hose and through the spray gun, it may cause a
little temporary creeping and crawling of paint.
The remedy for this difficulty is to have your under
coats dry and flat and clean. A coat of dry paint with
too much gloss ean often be remedied quickly by wiping
over it with a cloth wet with benzine or turpentine.
Or, sometimes a bit of benzine sprayed on to the paint
is sufficient to overcome the trouble. When sprayed
paint creeps and crawls it is often quickly made to
stay where you put it by simply brushing over the
paint with a brush. Varnished and enameled sur-
faces sometimes must be rubbed down with sandpaper
before they can be painted with either spray or brush.
A thin coat of benzole (160 degree solvent naphtha)
brushed on will eut the gloss and rough up the varnish
enough to allow paint to adhere to it.
Paint Runs.—What causes paint to creep and crawl
sometimes causes it to run, sag and wrinkle. The
remedy then is the same, too. When a spray gun is
held too long in one place with the trigger pulled open,
more paint is sprayed on to the surface than it will
hold. And of course moving the gun too slowly over
2
PAINTING WITH THE SPRAY GUN 343
the surface amounts to the same thing. It must be
moved steadily and fast enough to put just the right
amount of paint on the surface to hide it well and
stay there. With a little practice and observation this
is easily done. When the air pressures on the paint
in the storage tank and at the nozzle are not. balanced,
too.much paint will be put on in spots or streaks and
then it will run. When the paint is too rich in oil,
having been mixed with too little turpentine, mineral
spirits or benzine, it may run if sprayed on to a hard,
non-absorbent surface or a very coid surface.
Crimpy, Puckered Paint.—When the paint is put on
too thick it gets crimpy, or wavy, and will dry in that
condition if not brushed out well and evenly. The
remedy is to readjust the gun and add more turpentine
or mineral spirits to the paint to make it thinner.
Paint Doesn’t Hide Surface.—Paint which has been
mixed too thin and paint which is of poor quality
fail to hide the surface well, even when well spread
out to an even thickness. Cheap paints lack opacity
and no quantity which could be sprayed or brushed
on will hide the surface as well as good paint.
CHAPTER XVI
EXTERIOR STAINS AND STAINING
THE procedure in doing a staining job is even more
simple than on painting work. When both roofs and
shingle belts or gables are to be stained where part
of the building is also to be painted, it is advisable to
complete the staining operations before the painting
is done. Stain is so thin that it spatters and splashes
without a show of much carelessness, and if stain of the
creosote type is splashed on to newly painted wood,
it will be difficult to remedy the defect at once. So
finish staining the roof, gables, frieze belts and brick
chimneys before going on to the painting.
Stain may be applied with fiat wall brushes or with
spray guns. Stains on roof shingles especially are much
better preservatives when the new shingles are first
dipped into stain and then brush coated after being
nailed in place on the roof.
Stains for Exterior Surfaces-—The use of stains on
wood shingles placed on roofs and sides of houses is
growing in favor. Stains on other exterior wood, such
as rough-sawed clapboards, porch timbers and even on
walls and chimneys built of common yellow brick are
in common use. Unlike paint coats, shingle stain
doesn’t hide the wood grain. It colors and brings out
the wood grain figure; it preserves from decay.
In some sections there are wood boring insects, white
ants and others, which attack shingles unless protected
with a creosote stain. And shingle stain also pro-
tects against fungus growths which occur in some
climates. Such growths promote decay by harboring
moisture,
344
EXTERIOR STAINS AND STAINING 345
Dipping Shingles—The best handling of shingle
stains is to dip one coat and brush one coat. Dipping
gives a more uniform color. The shingles are dipped
two-thirds their length. A barrel or tub is used. A
metal trough is placed with one end on the tub or
barrel and the other end raised so the excess stain will
drain back into the barrel. Note this equipment in
Plate 140.
The dipping operation is done by first breaking open
Plate 140.—Dipping Shingles in Stain
a bundle of shingles; then take as many shingles as
you can hold in two hands and with butt (thick) ends
down dip them into the stain. Pull out the shingles
immediately and place on the drain trough and dip
another batch. When the drain trough is full remove
346 HOUSE PAINTING METHODS
the first few lots of shingles dipped and scatter them
in a pile loosely on the ground so they will dry. Allow
the shingles to dry at least over night before gather-
ing them again into bundles or handling. The shingles
should not be allowed to soak in the stain—dip them
in and pull them right out again.
Mottled Colored Roofs——Color blend roofs are ar-
tistic, indeed, and are becoming popular. They are
produced by dipping the shingles for one roof into
from two to four different colors or shades of one color;
—that is, a few handfuls of shingles will be dipped into
light gray, for instance; then some are dipped into a
little darker gray and next a still darker gray is used.
All the shingles are thrown into one pile loose to become
mixed, They are laid just as they come, giving the roof
a varigated or mottled appearance. Sometimes various
colors are used such as dull brown, dark brown, dull
gray, dull green, dull red-brown, ete. The stain liquids
have very little color in them and so the difference in
the colors of various shingle batches are very little, but
on the roof a beautiful mottled blend is the result. If
strong greens, reds, browns, ete., are used the artistic
effect is lost, in fact, the roof would appear quite as
much in poor taste as the many mixed color composi-
tion shingle roofs one sees.
Staining Old Shingles.—Restaining old roofs which
have been stained before is often done, and, of course,
only one or two brush coats are possible. Best results
come often from staining the same color as before,
but some changes of color are effective. A restained
roof over old stain will dry out darker than the same
stain on new shingles. An old red stained roof cannot
be stained green satisfactorily. Your green stain is
transparent and will not hide the red color,—and the
reverse is also true.
A light brown old stain can be restained with red
stain and the result will be a deep maroon. Dark
EXTERIOR STAINS AND STAINING Mae
brown over light brown succeeds well, while dark green’
over light brown makes an attractive dark green.
Paint vs. Stain—Shingle roofs in some sections are
painted with common house paints mixed rather thin,
— »vith about one quart extra of turpentine per gallon
of paint.
The painting of old shingle roofs is of doubtful merit,
in fact, there are good painters who reason that to
paint shingle roofs hastens their destruction by decay.
Their theory is that even when carefully painted the
paint seals up the top surface only of each shingle.
The sides and butts to some extent remain open and
absorb the rain and snow. The paint on top of the
shingles, then, not only fails to keep water out but pre-
vents the shingles from drying out, or at least retards
the evaporation of the water and favors decay. Stain
doesn’t necessarily seal up the wood, but creosote and
linseed oil have preservative qualities.
If new shingles were dipped in paint and then brush
coated, they would, of course, be well preserved. This
is not a customary method as far as the author is aware.
Suitable Stains.—Certain manufacturers have done
extensive research work in this field and have developed
remarkably beautiful stains which are both brilliant as
to color and permanent. Strictly speaking they are
not non-fading in sunlight but they fade only enough to
subdue and soften the vivid colors and that adds beauty
to them. Even the vivid blue-greens retain their lively
hue after many months in the sun, although a bit sub-
dued and softened in tone. Some stains are good pro-
tection for the wood, especially when the wood is
dipped first and then brush-coated.
When any considerable area of surface is to be
stained it is most practical and satisfactory to pur-
chase factory-prepared shingle stains, especially in the
vivid greens or other bright colors. Such stains are
always uniform in color and composition.
348 HOUSE PAINTING METHODS
Stain Formulas.—Shingle stains have been mixed
by painters in past years using the best grade of tinting
colors, ground in oil, such as are used for tinting white
paint :—
Brown Stain—Use burnt umber, or raw umber.
Black asphaltum varnish thinned with turpentine or
benzine makes a good brown or weathered, mission stain.
Yellow Stain.—Raw sienna makes the most durable
light brown or yellow stain.
Green Stain.—Medium or dark chrome green is the
only color available to the painter. Such a stain fades
rather too quickly in sunlight to be satisfactory. A
stain mixed from raw umber, raw sienna and enough
chrome green to make a dark green is more durable.
The factory-prepared green stains are much more per-
manent as to color, as a rule.
Red Stains—Burnt sienna and Venetian red are
the most satisfactory for red stains. They are earth
pigments and are permanent as to color in the sunlight.
Black Stains—Raw umber and ultramarine blue
make the best blue-black stains. Juaampblack may be
used, Asphaltum varnish and benzine or turpentine
brushed on generously make a dark brown stain that
is nearly black. |
Blue Stains.—Ultramarine blue is the most practical,
more so than Prussian blue which fades rapidly when
exposed to sunlight. Factory-made blue-green stains
are better.
Silver Gray Stain——Gray stains are much in favor
for both exterior and interior surfaces. Such a stain
may be mixed on this basis :—
20 Ibs. zine oxide in oil paste
1 qt. pale japan drier
1 qt. raw linseed oil
14 gal. yellow ecresylie acid
1 or 2 ounces lamp black
1 to 2 gal. benzine
EXTERIOR STAINS AND STAINING 349
Cresylie acid is used as a preservative instead of
ereosote oil which would discolor a light gray stain.
Liquids for Stains—The liquids used with tinting
colors are these: Thin the tinting color paste with tur-
pentine to rather thick brushing consistency. Then thin
finally with these proportions—2 gallons raw linseed
oil, 1 gallon coal tar creosote oil and 1% gallon of japan
drier.
The crude creosote oil (dead oil) is very dark in color
and smells like carbolic acid. Not a pleasant material
to work with; in fact, it will burn the skin. When
dipping shingles one should rub linseed oil over the
hands and face, also wear gloves as a precaution. If
the oil does get on your skin, rub oil, not water, on it
and wipe off with a cloth. Water makes it burn more
because erude creosote oil contains water-soluble acids.
Crude creosote will dry on any surface, even on
metal, unless thinned with kerosene. Benzine is better
for thinning to make the oil lighter in color so tinting
colors added to it will exert their strength. Refined
ereosote is better for making colored stains, although
the erude oil is suitable for very dark colors.
For dipping shingles or clapboards thin one gallon
of the color paste (which has been previously broken
up with turpentine) with about 7 gallons of the liquids
—linseed oil, creosote and japan drier in the propor-
tions described above. }
For brush coats mix about 2 gallons of the color and
turpentine mixture with 7 gallons of the liquids in
the above proportion.
When cheaper stains are to be mixed the liquid
portion may be mixed in these proportions and with
these ingredients :—1 gallon kerosene (water white 150
degree test) 1 gallon coal tar ereosote oil and 3 pints
of japan drier.
For covering capacity of stains see chapter ROvL
CHAPTER XVII
PAINTING DEFECTS, CAUSES AND REMEDIES
Wuen thinking about paint and painting there-ap-
pear to be no constants,—all elements are variables.
It is quite impossible to find a job of painting which is
exactly duplicated by another as to surface, paint, work-
manship and weather. There is continual necessity for
exercising good judgment. And so, obviously, consid-
erable knowledge of surface, paint, proper application
and suitable painting weather is essential.
When a job of painting fails it is not always easy
to find the cause. We ought not to draw hasty con-
clusions because a proper conclusion must be based upon
knowledge of all factors. These four elements influence
the success or failure of every paint job:—
1. Surface—Kind, whether soft and porous, hard
and impervious in structure, open or close grain, tough
or weak fibre.
Condition,—dry and well seasoned, air seasoned or
kiln dried, wet, full of oil, sap, gum and resin, rough
or smooth.
2. Paint—Very soft and chalky, moderately soft
and elastic, very hard and brittle, moderately hard and
elastic, very elastic and tacky.
3. Workmanship—Correct brushing, sufficient brush-
ing, application of a coat of even thickness and uni-
formity, time allowed for drying between coats, mixing
proportions of pigments, vehicles and thinners.
4, Weather—Rain, snow, sleet, frost, dew and tem-
perature at time of application of the paint.
350
PAINTING DEFECTS, CAUSES AND REMEDIES 35]
We soon forget conditions of surface, weather, and
as a rule have no measure or record of the workmanship
on a job. So usually the failure of paint satisfactorily
to protect or decorate a surface is stated as having been
caused by poor paint or a poor painter. And it is
easier to lay the blame on the material which is tangible
and ever present when all other elements have been
forgotten.
Paint value is relative. No paint is foolproof. The
best of paint when subjected to unfavorable conditions
of surface, workmanship or weather is apt to fail.
That is why we must have not only good paint but
good painters who have the necessary experience and
knowledge upon which to base good judgment and so
assure proper application of good paint to fit surfaces
and under favorable conditions.
Cracking and Scaling Paint——Perhaps the best
thought to fix in mind first about this form of paint
failure is that all surfaces painted, wood, brick, ce-
ment and metals, expand when heated by the sun and
contract during cold weather. In fact surfaces alter-
nately expand and contract each day and night as the
sun heats them up and the night cools them off. In
other words, there is constant movement of the sur-
face painted.
If there was no movement of surface or if paint ex-
panded and contracted to the same degree as the sur-
face under the influence of temperatures it would be
less difficult for paint to remain attached to the sur-
face. But paint expands to different degrees or amounts
depending upon how much or how little oil is used
with the pigments.
It is plain that when a surface expands more than
the paint covering it the paint film cracks. Likewise
when one coat of paint, an under coat, expands more
than a top coat the top coat cracks. The weather gets
into these cracks and usually the paint scales off.
352 HOUSE PAINTING METIIODS
With certain kinds of paints the oil of one coat
penetrates other coats and tends to establish an equilib-
rium. But, of course, when a coat lacking in oil and
elasticity is spread over a coat rich in oil, but which
is dry, there is no such balancing of the oil content.
Another factor which is concerned in the cracking
and scaling of paint is that of penetration. When
paint is so mixed that it gains good penetration into
the pores of the wood and anchors itself, there is much
less likelihood that the paint will scale off. Paint which
has cracked usually scales off eventually, but not always.
Cracking of paint is usually considered that condi-
tion when the cracks on being looked at with a magni-
fying glass extend clear through the paint coats from
top to the bare surface. Checking and alligatoring, on
the other hand, refer to the condition where the cracks
are only on the surface coats of paint. The cracks are
usually fine and are superficial.
In the condition called cracking the cracks are usually
wider apart, including wider areas between and they
may run either parallel or across the grain of the wood.
Wood shrinks a great deal more across the grain
than in the direction of the grain on drying or season-
ing. How much lumber shrinks after being painted
depends, of course, upon how well seasoned it was before
painting. Considerable shrinkage is possible as may be
noted from the wood fibre construction. A piece of
wood is not a solid, but is made up of fibres and cells.
The cells are filled with water. Proper seasoning re-
moves most of this water by air or kiln drying methods.
When wood shrinks excessively after painting the
paint is bound to erack and to bulge. The cracks will
extend in the direction of the grain length, although
the shrinkage is across the grain. The wood fibres run
parallel to the grain of the wood, so when the moisture
leaves the fibres come closer together, causing the
shrinkage across the grain of the wood.
PAINTING DEFECTS, CAUSES AND REMEDIES 853
Upon drying, paint shrinks to some extent. Linseed
oil shrinks in volume, although it gains in weight upon
drying. How much the paint shrinks upon drying de-
pends upon whether or not there is a chemical reaction
taking place in the paint after application. The shrink-
age of the paint is in all directions, while the wood
shrinks considerably across the grain but hardly to any
appreciable extent parallel to the grain. When the
wood contracts more across the grain than the paint, the
paint bulges and then cracks in the opposite direction.
It is obvious, then, from these facts that good paint
must be elastic enough to expand and contract with the
wood in order to avoid cracking and the scaling which
follows as a rule.
The remedy for the prevention of cracking and
scaling consists of controlling both the composition and
the mixing proportions of paint pigments and liquids.
Thick paint films are more likely to crack and seale
than thin ones. Paint may not scale for years,—until
the surface has been painted about three times. If the
paint used each time doesn’t gradually wear off, that
is, chalk off moderately and naturally, it will sooner or
later form a thick film which is too hard, brittle and
inelastic. Because the film is so thick it is strong and
heavy. The moisture in the wood, then, more easily
forces it off in scales. '
The paint, then, should be mixed so it will wear off
very slowly. A balance must be found. If the under-
coats are too soft as a result of the oil content and
the pigment character the softness will promote check-
ing. If the undercoats are too hard and inelastic they
will promote cracking and scaling. |
Having the wood well seasoned and thoroughly dry
at the time of painting is also one of the best ways to
overcome sealing and cracking.
Very soft woods like cottonwood when painted with
moisture in the wood will dry-rot under the paint. The
354 HOUSE PAINTING METHODS
wood fibres so weakened crumble and of course the
paint cracks and scales off. Also this wood moulds very
quickly when wet and paint put on over mould is apt
to erack and scale off when the weak fibres crumble
because of the mould.
A study of this subject will lead one to note that
poor paint often doesn’t manifest its weakness until a
house has been painted about three times. At the end
of ten or twelve years the paint film has become so heavy
and thick that it falls off of its own weight, after
cracking and scaling has developed a little. So, unfor-
tunately, we must often go to the point where repaint-
ing has taken place twice to determine the value of |
paint. The first painting may be satisfactory, and some-
times even with paint which is too hard and brittle to
wear off gradually the second painting will stand up
without a great deal of checking, cracking or scaling,
but the third painting tells the tale and brings on the
expense of burning and scraping all of the old paint
off before a substantial job can be done which the
painter can afford to guarantee against continued crack-
ing and scaling, no matter how good his new paint
and workmanship may be.
Blistering and Peeling—Many do not differentiate
between cracking and scaling and blistering and peel-
ing, yet there are important differences. Moisture plays
a part in both cases, but in the case of blisters the
moisture gathers in spots under a film which is not
cracked, under paint which is firmly attached to the
wood.
When wood is painted while wet from lack of suf-
ficient seasoning, when painting is done while it is
raining, while there is frost, dew, mist or snow on the
wood the moisture is sealed up. Moisture has the faculty
of gathering together in one place and then the hot
sun on the surface draws it out of the wood and into
a pocket between the paint film and the wood. Next
PAINTING DEFECTS, CAUSES AND REMEDIES 355
the paint film breaks from pressure set up by the heat
of the sun and the paint over the blister naturally
peels off. The peeling is not general over the whole
surface, but only appears in spots where moisture or
sap accumulates.
Wood may become wet in many ways. It may be too
young, too little time having been allowed for the green
wood to dry out. Wood may become water soaked from
eareless use of water by the plasterers in new buildings,
from leaks in roofs, rain gutters, flashing over windows
and doors or from leaks in plumbing or heating pipes.
Moisture may creep up into wood in contact with the
earth.
Oil or grease on a surface painted over will also
cause blistering.
The use of old fatty or rancid linseed oil will cause
blistering of paint.
Whatever the explanation as to the cause of the
moisture, the remedy for the difficulty is to remove the
cause first. When the supply of moisture has been shut
off, let the wood dry out thoroughly, scrape off the
blisters, touch up the bare spots of wood and repaint
the whole surface.
When the painter is at all suspicious that the wood
is not dry in a new building he is wise to allow much
more time than usual for drying after the priming coat
has been put on. This thin coat will allow moisture to
escape through it from the wood out much more effec-
tively than it will allow more moisture to get into the
wood from the outside. As a rule there is much more
dry weather than wet. A month for drying after the
priming coat is none too much in some cases.
There is no necessity for burning and scraping all
the paint off of the whole surface of a building when
there are only evidences of blistering and peeling.
That is purely a local condition. But when it 1s a
ease of eracking and scaling, indicating an insecure
356 HOUSE PAINTING METHODS
anchorage of the paint on the whole surface, there is
no remedy which will justify giving a guarantee against
future cracking and scaling unless every inch of the
old paint is removed down to the bare wood, so the
new paint can gain anchorage and penetration for
itself. It cannot depend upon the old paint which is
an insecure foundation.
The paint on iron and steel surfaces will blister and
peel off sometimes. , And it is impossible, of course, that
this is due to moisture from the surface. These metal
surfaces will, however, rust under the paint when condi-
tions are favorable for electrolysis. The blisters may
be formed by some gases released from the corroding,
rusting action of the electric currents on the metal.
The blistering of paint noted on doors which face
south is usually due to painting the doors with coats
mixed too rich in oil; the paint is too elastic. Some-
times such doors contain moisture from poorly seasoned
wood. The remedy in such eases is to burn and scrape
off all of the old paint and varnish. Then mix your
first coat of paint with about one fourth linseed oil
and three fourths turpentine. The next coat or two
should be mixed to dry entirely flat. Colors ground in
japan and thinned with turpentine only are often used
for the second and third coats. The last coat, then, is
first class spar varnish. The method used by English
decorators in such eases is to put on two coats of water
paint and one or two coats of oil paint on top. If the
final coat is to be varnish, the next to the last coat must
be mixed to dry flat, with turpentine mostly and very
little oil.
Blistering usually occurs only on new coats of paint
on new surfaces, but when both moisture and heat are
excessive it may occur on old paint too. The moisture
which came out and caused the blisters may disappear,
but the paint remains detached from the wood and will
peel off sooner or later.
PAINTING DEFECTS, CAUSES AND REMEDIES 357
Checking and Alligatoring of Paint.—This is the con-
dition of paint which shows many fine surface checks or
eracks which do not go through all coats to the bare
surface below. Note this difference. Cracking as ex-
plained heretofore shows deep cracks to the wood.
When paint shows numerous fine cracks enclosing
areas of small size it is called checking, while larger
areas of paint in the same condition are called alliga-
toring. In the latter case one or two sides of the paint
of each area may be curled or turned up while the others
are apparently attached firmly to the surface. These
two conditions are no doubt the result of the same
eauses. Alligatoring is said by some authorities to be a
continuation of checking. It is so named because the
paint in that condition looks like the skin on the back of
alligators. At any rate when the cracks are fine inter-
lacing lines the condition is called checking and when
the cracks are larger, farther apart and enclosing larger
areas of paint within them the condition is called
alligatoring.
The use of heavy coats of slow drying paint on wet or
unseasoned wood, or wood loaded with sap, gum or resin’
may cause alligatoring or checking. Tough and in-
elastic paint is especially a favorable factor in devel-
oping this defect. The application of varnish over
undercoats of paint which are rich in oil and conse-
quently more elastic than the varnish will cause alliga-
toring of paint. This is easily noted on much of the
graining work done on window sash. If the undercoats
are yellow ochre or any similar paint which doesn’t dry
hard the alligatoring is especially pronounced.
The application of a second coat of paint over a first
coat rich in oil before the first coat has time to become
thoroughly dry, not just dry enough on the surface
to permit brushing on another coat, affords a favorable
condition for checking or alligatoring. The first coat
358 HOUSE PAINTING METHODS
remains soft while the second coat continues to oxidize
until much harder than the first coat.
When we have undercoats which are more elastic
because they contain more oil or because they have not
been allowed to dry thoroughly before the next coat has
been put on we find that the last coat continuing to dry
gets harder, less elastic and shrinks more than the under
coats. Then the last coat cracks up into the condition
we call checking or alligatoring. The way to avoid this
defect is to allow your undercoats to become thoroughly
dry, not merely dry enough on the surface to permit
spreading on another coat, and to have fully as much or
more oil in the last coat as in the undercoat. Usually
less oil in the undercoat is to be preferred. Too much
oil in undercoats causes creeping, crawling, running and
sagging during damp or cold weather.
When undercoats of paint have non-drying mineral
or other non-volatile oils in them, when the undercoats
are yellow ochre or any paint which will not dry hard
checking or alligatoring is quite certain to appear as the
finishing coat becomes dry, shrinks and gets harder with
oxidation.
The causes and remedy for checking and alligatoring
were ably expressed by Dr. G@. W. Thompson, Chief
Chemist of the National Lead Company in these words:
‘‘From the writers’ experience, the causes of checking
are identical with the causes of alligatoring, and he has
experimentally produced a series of paint defects be-
ginning with very fine checks on one side and ending up
with very large alligatoring on the other side. If alli-
gatoring takes place, it simply means that the under
coat is relatively much softer than the outer coat. If
checks occur, it means that this difference in the hard-
ness of coats is not so great as in the case of alligatoring,
but the difference is in degree, not in kind.
‘In order to avoid checking and alligatoring, it is
best to seek to have the undercoats as hard as is practi-
PAINTING DEFECTS, CAUSES AND REMEDIES 359
eable, and to have these coats, relatively speaking, mueh
harder than the outer coats. This is the practice in
coach and earriage painting, where very little oil ‘is
used in the undercoats, and as we know coach and car-
riage painting is perhaps the best type of painting there
is. Now in the case of house painting, suppose we have
checking and want to avoid it, how shall we proceed?
The answer is inevitable. We must so modify our
undercoats as to secure a hardness sufficiently greater
than that to which the outer coat will attain, and then
checking will be avoided. To make the undercoats
sufficiently hard, various methods can be adopted.”’
There is reason to believe that checking and alliga-
toring, being only surface conditions and not going
through all paint coats to the bare wood, are to be pre-
ferred to cracking and scaling as the lesser of two evils.
A checked surface may be painted over without burning
and scraping off all of the paint, while cracked and
sealed paint must be removed because the cracks go
through all coats and because the paint has lost its at-
tachment to the wood. If you make paint too hard in
attempting to avoid checking it will crack and scale off.
If you mix all coats too soft to avoid checking and also
eracking and scaling you are apt to produce chalking.
But chalking moderately is a desirable occurrence, it is
the better choice between two evils one of which is
necessary. |
As in the ease of blistering and peeling the best pre-
caution to avoid checking and alligatoring is to allow
plenty of time between coats of paint to assure complete
and hard drying of the under coats before the final coats
are put on. Avoid the use of non-drying oils like
kerosene and other mineral oils, avoid the use of slow
drying materials like ochre and lamp black in large
quantities and avoid the use of materials which do not
dry hard like asphaltum paints and varnishes under
finishing coats on exterior surfaces. Avoid the use of
360 HOUSE PAINTING METHODS
old fatty or rancid linseed oil which has stood around in
open pots for some time. Avoid the use of rosin oil or
similar rosin products, hard oil, ete.
Chalking of Paint.—At the outset it should be kept
in mind that moderate chalking is as stated before the
better choice between two evils one of which is necessary.
Excessive chalking is not desirable or necessary.
All paint will wear out sometime and it usually wears
out in one of two ways, speaking generally. Paint will
either crack and scale off, necessitating removal with
blow torch or gas paint burner and scrapers, or it will
chalk off leaving a surface in good condition for re-
painting.
What constitutes moderate chalking and excessive
chalking is the point of interest. A paint which is too
soft, one which lacks enough linseed oil to satisfy the
suction of the wood or old paint and to leave enough
oil on the surface to bind the pigment together and to
the surface will chalk excessively. But such a paint will
remain elastic enough to avoid cracking and scaling,
even though it does lose its gloss too soon and does dust
off the surface too rapidly, making repainting necessary
before reasonable service has been given. A paint which
is mixed from pigments which form too hard a paint
film will never chalk but it will crack and scale off.
The perfect paint is that which is hard enough to retard
chalking to the utmost and yet avoid cracking and
scaling, one which wears out finally by slow chalking
and leaves the surface in perfect condition for repaint-
ing and avoids the expense of burning and scraping off
old paint.
White lead, lithopone and titanium oxide paints are
said to be too soft when used alone and to chalk, while
zine oxide is said to be too hard and to promote cracking
and sealing if used alone or in excessive amounts with
the first named pigments.
Whether chalking is desirable or undesirable, then,
PAINTING DEFECTS, CAUSES AND REMEDIES 361
is a matter of degree. Excessive chalking means that
the dry pigment will brush off on the clothing, it will
powder off and will be washed off by the rains. Mod-
erate chalking is hardly perceptible, the action is so
slow. The best of paints do not remain in good con-
dition on an average more than three or four years. If
by the end of that service it has chalked enough to
reduce the thickness of the film a little and has left
the surface slightly rough with a ‘‘tooth’’ which helps
the new coats of paint to gain firm attachment, that
paint has served well. It avoids the accumulation of a
thick body of paint which favors cracking and scaling
later on when the film becomes very heavy, too heavy
to be held to the surface by the penetration and anchor-
age of the priming coat which is a dozen or more years
old during the movements of the surface caused by tem-
perature changes.
How to slow up the rate of chalking of paint and to
reduce the extent to which chalking may proceed, with-
out making a paint which is so hard and inelastic that
it will erack and scale off, is the paint problem which
has received a great deal of attention for many years.
In the manufacture of prepared or ready mixed paints
paint chemists have added zine and inert pigments to
white lead on the theory that a mixture of these two
pigments, a hard one and a soft one each, would add its
virtues to the paint. In the very recent development of
titanium oxide paints, zine is added to the former to
offset its marked tendency to chalk excessively. And to
lithopone in its improved form zine and inert pigments
like barytes and silica are added to make paint for ex-
terior surfaces.
Chalking is kept down to a moderate degree in the use
of white lead paints by judicious use of linseed oil and -
turpentine. Only enough oil is used in the priming
coat on new wood to satisfy the suction of the wood and
bind the pigment together. A few years ago lead was
- 362 HOUSE PAINTING METHODS
mixed for the priming coat with from 5 to 6 gallons of
oil and 1 gallon of turpentine to 100 Ibs of white lead.
Now the best thought is that about 4 gallons of oil and
1 gallon of turpentine is the best proportion for the
average new wood. And for the second or body coat
much less liquids are used in order to put more pigment
on the surface and make a harder wearing more compact
film of paint. The proportion of liquids for the second
coat are commonly stated as 11% gallons of oil and 14%
gallons of turpentine to 100 pounds of white lead. The
turpentine has about twice the thinning ability of oil,
so the paint really isn’t as thick as might appear on
first thought. The finishing coat for this method uses
from 31% to 4% gallons of oil and only 1 pint of tur-
pentine to 100 lbs of lead. Painted in this manner the
chalking of the paint is reduced very considerably.
The natural wearing out or chalking of paint is ac-
complished both by mechanical action of the weather,
atmospheric oxygen, and chemical actions going on in
the paint. The destruction is progressive. When the
surface or outer layer of paint chalks or washes off
another layer is exposed to this action and so continual
action is taking place until the final and complete de-
struction of the paint, leaving the wood bare and ex-
posed to destruction. So the best paint chemists of
today mix their paints to establish a chemical balance
between pigments, oil vehicles, volatile thinners, driers
and colors aiming to produce an ideal paint which will
not check, crack, seale or flake off, but will chalk or wear
away very gradually leaving a good surface for
repainting.
Loss of Gloss.—The gloss on exterior paints is the re-
sult of using linseed oil, of having an excess of oil on
the surface over what is needed to bind the paint. In
the best of work the gloss is a very temporary finish and
it has no doubt been overemphasized as to its importance.
Boiled linseed oil will give a higher gloss than raw oil,
PAINTING DEFECTS, CAUSES AND REMEDIES 363
but it too will not last more than days or weeks at best.
When too little linseed oil has been used in the last
coat of paint there will be little or no gloss. When too
few coats of paint have been used on a dry and porous
surface the paint will be dead flat in spots and only
fairly glossy in others. When a job is finished late in
the day and a frost or dew settles on the wet paint the
gloss will often disappear, though no harm has usually
been done to the wearing ability of the paint.
Thinking of the chemistry of the problem the loss of
gloss means the beginning of the destruction of the oil
in the paint. Oil is destroyed by oxidation. When it
begins to dry it begins to oxidize. It continues to take
on oxygen until the complete destruction of the
film. That is one reason for using only a minimum of
japan drier with paint. Drier speeds the drying, or
oxidizing process. Too much drier simply causes the
paint to wear out too soon.
Washing of Paint.—Cases of washing, that is the
removal of the paint pigment by rains upon the surface,
are not at all common. The point to be noted in this
defect is the accumulation of pigment at the bottom of
walls on the water table and at the foot of porch
columns.
The cause of washing is usually stated as the action
of sulphur gas from soft coal burned in industrial dis-
tricts, by railroads or other coal burning institutions.
Oil refineries and many other kinds of industries throw
off sulphur gases from their manufacturing processes.
Washing of paint results from the presence of water
soluble compounds on the surface. These water solubles
may result from the action of the gases of the air or
from the chemical actions of the paint pigments and
liquids with each other. Excessive chalking of the paint
indicates a condition similar to washing in so far as the
rain washes down the loose pigment on the surface.
Paint which washes is usually in good condition under
364 HOUSE PAINTING METHODS
the surface and, of course, the washing does no harm
until it proceeds to the point where the wood is left bare
and unprotected.
As a rule washing doesn’t occur until after the gloss
of the paint has disappeared, so the methods suggested
under the heading of chalking for retarding that defect
and prolonging the gloss are also effective to overcome
or retard washing. A surface from’ which the paint
has washed is usually in good condition for repainting.
Another characteristic of surfaces from which the
paint is washing is that of streaks of dirt and blotches
and stains. These can usually be removed by washing
the surface with clear water, especially soft water.
Washing is of course more likely to occur in the cities
and in the industrial districts than in the country, be-
cause of the greater amount of soft coal smoke and
sulphur gases in the former localities.
Tacky and Slow Drying Paint.—Most cases of tacky
paint on exterior surfaces become dry eventually, but
often only after they have become discolored with dust
or insects. Occasionally a job will turn up which will
not dry hard in months and the author has inspected
jobs which did not dry in a year and a half.
The causes of slow drying are many. The first one
to look for is the use of adulterated linseed oil, oil in
which kerosene or other mineral oils have been mixed,
oil containing ish oil, rosin oil, gloss oil or some non-
drying oil. Japan drier which has been mixed with one
of these non-drying oils causes the paint to act in the
Same manner if used in any appreciable quantities.
Even pure linseed oil which has stood around in open
cans for a long time and which has become fatty or
rancid will cause tacky paint. The foots from pure lin-
seed oil, the thick oil drawn from the bottom of a barrel
of pure linseed oil which has been subjected to many
fluctuations of temperature, will cause paint to remain
soft and tacky.
PAINTING DEFECTS, CAUSES AND REMEDIES 365
The use of large amounts of tinting colors of a cheap
grade and which are ground in mineral oil or fish oil or
some other non-drying oil will cause tacky paint.
The use of raw linseed oil in large proportion on a wet
surface, a hard sap-filled wood, and oily or greasy wood
or a surface washed with sal soda, when the soda has
not been completely removed by washing, will cause the
paint to remain soft and tacky. Cold, wet weather and
hot, wet weather both retard the drying of paint. The
use of slow-drying tinting colors like lampblack, yellow
ochre and chrome green without enough japan drier
will result in slow drying paint and under some con-
ditions tacky paint. The spreading of a coat of paint
over previous coats before the under coats have become
completely dry is not only apt to cause slow drying or
tacky paint but checking and alligatoring of the paint
later on.
The application of a full oil paint to a high gloss
surface of paint enamel or varnish without first sand-
papering down the surface may cause slow drying and
tacky paint for a while.
As to the remedy for tacky paint which is now on
the surface. A coat of turpentine with about one fourth
drier brushed on to the paint will often cause the tacky
surface to disappear. If that fails, the application of
a thin coat of paint composed mostly of turpentine,
drier and pigment may remedy the difficulty. Other-
wise about the only recourse is to burn and scrape off the
paint and replace it with properly mixed paint of good
quality.
Runs, Sags and Wrinkles——Slow drying is one of the
causes when paint runs, sags and wrinkles. The appli-
cation of full gloss paint on to gloss surfaces, instead of
flat or semi-flat surfaces, is the most common cause and
of course the remedy is to mix the undercoats to dry
flat or semi-flat by using more turpentine and less oil in
undercoats.
366 HOUSE PAINTING METHODS
Paint which is put on too thick, that is, when too -
much paint is put on and it is not well brushed out, is
apt to result in one of these defects. The use of raw
linseed oil in paint during wet, cold seasons or hot,
wet seasons, especially over gloss surfaces and with slow
drying colors like lamp black, chrome green and yellow
ochre is likely to cause paint to run, sag or wrinkle.
Any of the causes related above for tacky paint and
slow drying is apt to cause runs, sags or wrinkles.
When paint shows a tendency to perform in this way
it can often be made to brush or spray on properly by
first wiping over the surface with a cloth wet with
benzine or turpentine; this to remove the gloss or grease.
Sandpapering is effective, of course, in cutting the
gloss on wood trim to be painted and washing interior
walls with water in which a little sal soda has been put
will usually overcome the gloss enough to allow the
spread of the paint easily.
Creeping and Crawling Paint.—These difficulties
with paint are caused by the same conditions as are as-
signed for tacky paint, slow drying, runs, sags and
wrinkles. Slow drying, too much gloss on undercoats,
wet weather, wet surfaces and cold temperatures are at
the bottom of such troubles. The remedy is proper mix-
ing of undercoats, sufficient and correct brushing or
spraying of the paint, wiping with benzine rags or
rubbing down gloss with sandpaper.
Flies, Gnats and Dust.—Note what was written about
tacky paint, slow drying and also about discoloration of
paint.
Streaking of New Paint Coats—Sometimes on brush-
ing out new coats of paint little dark streaks or clouds
of color are noted on the surface. This is always due
to insufficient mixing or improper mixing. The streaks
are caused by little specks of tinting color paste which
were not well mixed with the paint. Strain the paint
PAINTING DEFECTS, CAUSES AND REMEDIES 967
through a metal screen or cheese cloth and mix well to
remove the color not broken up.
Fading Out of Color in Spots——When too few coats
of paint have been spread upon a dry and porous sur-
face the oil is likely to sink into the very dry spots.
Then the gloss will disappear from those spots and the
color of the paint will also change. Gray paints are
likely to show this blotched appearance more than others.
Lamp black appears to fade or bleach out when the oil
leaves the surface.
Yellowing of White Paint—Considering first paint
mixed for and exposed on exterior surfaces, the most
prominent causes of yellowing is the presence of a heavy,
non-volatile mineral oil. Even kerosene in quantity will
turn white paint yellow. Linseed oil is yellow and when
mixed with white paint there is first an impression of a
yellowish cast, but that disappears after thorough mixing
and spreading the paint on to the surface. But mineral
oils turn yellow on being exposed to the air and conse-
quently white paint containing mineral oil turns yellow,
too. Mineral oil also tends to dissolve gums or pitch in
some woods, bringing them to the surface and causing
more discoloration of a yellowish or brownish nature.
Another cause of yellowing is the presence of alkaline
substances. When linseed oil soap is made it is simply
the result of the combination of linseed oil and an alkali.
Such soap is dark yellow. So when there is present on
a surface an alkali like soda ash, borax; silicate of soda
éte., the oil will saponify and turn yellow. Then the
paint will appear yellow, too. .
Ammonia fumes from ice making plants or other
sources have been known to turn white paint yellow,
but there are few opportunities for sufficient fumes of
this sort to act upon paint.
Storm sash and window screens which have been re-
cently painted and almost immediately stored away in
dark rooms will be found to have turned quite yellow.
368 HOUSE PAINTING METHODS
The reason for this is plain. Sunlight is required to
bleach out the linseed oil used in white paint. When
these screens or sash are exposed to the sunlight a week
or two, however, the paint will bleach out white.
The yellowing of white paint and white enamel on in-
teriors is more often noticed. The use of linseed oil in
interior white paint should be carefully proportioned.
Use it sparingly in the undercoats on new plaster and
wood and not at all for finishing coats. Use turpentine
or flatting oil as a thinner. Use white enamel in the
finishing coats to gain a gloss surface. White enamel
and turpentine or any light colored varnish and tur-
pentine will give your interior white paint coats all the
gloss you want and a more washable surface.
Discoloration of Paints.—The discolorations due to
yellowing and to mildew are discussed elsewhere in this
chapter.
The most common discoloration of paints, perhaps, is
the result of mixing the paint so that it dries too slowly,
remains tacky so long that considerable dust, pollen from
growing plants or multitudes of small flies, gnats or
other insects accumulate on the surface and stick to the
paint. The remedy for this defect is obvious. Mix the
paint to dry reasonably fast and avoid the slow drying,
tacky paint discussed early in this chapter.
The pollen from trees, flowers and grasses is a much
more fruitful source of discoloration of fresh paint than
might be thought. The pollen is very abundant at
certain seasons; it is more or less sticky and while it is
yellow or light color while alive, the decayed pollen is
nearly black and will stick to old paint as well as to new.
After a surface has been wet by rain the paint is some-
what softer and both pollen and dust from roads, roofs
or nearby fields will stick to the paint and discolor it.
Probably the average painter leaves this proposition
pretty much in the hands of fate. He can mix his paint
to minimize the risk of discoloration by making his
PAINTING DEFECTS, CAUSES AND REMEDIES 369
finishing coat harder,—by using less oil, more turpentine
so as to put more pigment on the surface closely packed.
But here he is confronted with the loss of high gloss,
which is of little or no consequence up to a certain point
except as the customer may think it important,—and he
is also tempted to make his paint too hard by the mix-
ture of pigments and so risk cracking and sealing of the
paint. This, like most other problems in this business,
is one where good judgment must be shown to establish
a nice balance in the mixing and composition of the
paint and its application.
The use of raw linseed oil without japan drier or the
use of oil which has been adulterated to the point where
slow drying occurs is the usual cause of paint discolor-
ation by dust, smoke ete. Your paint should be mixed
to dry dust free in not more than twelve hours.
An accumulation of rust from metal roofs, rain
gutters ete, and accumulations of dust and soot have
been known to wash down and discolor not alone fresh
paint but old paint.
In some instances severe electrical storms will turn
white paint gray in spots or in large areas, but the cause
has apparently not been learned.
Discoloration by Sulphur Gas.—White paint and light
tints are sometimes turned gray or darker by contact
with sulphur gas. Industrial districts, where much soft
eoal is burned, throw off quite a volume of sulphur gas.
Oil refineries and many other industries generate this
gas, Coke ovens, steel and iron furnaces liberate this
gas.
Sulphuretted hydrogen gas which is given off by
stagnant water of swamps, sewage and manure heaps
or similar decaying matter will discolor white paints
and light tints made from lead compounds. White lead,
carbonate, is changed by sulphuretted hydrogen gas to
lead sulphide which is black. This gas has the odor
characteristic of rotten eggs. This discoloration is not
370 HOUSE PAINTING METHODS
at all of common occurrence and usually it is not per-
manent.
Discoloration from Copper.—The increasing use of
copper wire fly screens and of copper for roof decks,
rain gutters and down spouts is presenting a problem
for painters the solution of which apparently has not yet
been arrived at.
The corrosion of copper forms a greenish black in-
erustation on the surface which washes down during
rains over white and light colored paint under windows
and elsewhere. This dark stain penetrates the paint
and it is quite impossible to remove it. The only remedy
appears to be to paint over the stained areas and then
coat the gutters, etc., with paint. The fly screens can
of course be painted or coated with spar varnish to pre-
vent this defect. There appears to be no other way,
since the action of the weather on the copper is a con-
tinual process. As fast as the rain washes off the
accumulation another forms and so the paint is stained
anew scveral times each season.
Discolor:tion from Mildew.—Some _ discolorations
thought to be mildew are accumulations of pollen from
plants and trees. Inspection with a microscope to note
the plant formation is the best test. Mildew is a fungus
or vegetable growth. A ‘wet cloth rubbed over mildew
will usually show a green stain on the cloth.
Mildew develops most readily in hot, humid climates
and in hot weather. The spores are sometimes found in
new wood and sometimes the growth starts on top of the
paint, penetrating through many coats and forming a
black or dark discoloration. Soft, elastic paint rich in
oil offers a more favorable condition than hard paint
surfaces. And, of course, slow drying or tacky paint
offers ideal reception to the development of mildew.
Painting done in hot, humid weather is most likely to ae-
quire this defect. Once mildew appears on a surface it
is: not easy to eliminate it, but it ean be done.
PAINTING DEFECTS, CAUSES AND REMEDIES 371
As to the remedy for mildew and its prevention several
points are of interest. On surfaces where mildew has
appeared the first step is to scrub the dark spots with
warm water and strong soap, laundry soap, using steel
wool. Then thoroughly wash off with clear water and
let the surface dry. When dry sandpaper these spots
and coat with turpentine or a very weak solution of
mercurous chloride and water.
Surfaces which have been treated as above should be
painted with paint having little oil in it. The first coat
may be mixed with about half-class linseed oil made
from North American seed, not LaPlata oil, and half tur-
pentine. Allow plenty of time for each coat to dry be-
fore putting on another coat. On new, porous, soft wood
it is wise in some cases to increase the amount of oil a
little and decrease the turpentine for the first coat. The
object is to make a hard paint film which offers a mini-
mum opportunity for the mildew spores to develop. So
the second coat on old work may be mixed with only
about 31% gallons of raw linseed oil and 1144 pints of tur-
pentine to 100 lbs. of lead when lead is being used. When
prepared paint is used pour off the oil on the top and re-
place about one forth of it with turpentine. When raw
oil is used about 1 pint of good drier is needed for the
100 Ib. lead mixture.
When mildew has penetrated several coats of paint
and is lodged in the wood the washing with soap and
water may not do any good. It is necessary in such
cases to treat the mildew spots with a germicide to kill
the growth or it will continue and come to the surface
through many coats of paint. A wash of a weak solution —
of corrosive sublimate (bichloride of mercury, or mer-
curous chloride) should be brushed on with an old ealci-
mine brush. One ounce of corrosive sublimate to three
gallons of water is about the correct strength for this
germicide. When this wash is dry apply the paint, but
not before. A small percentage of this germicide in
372 HOUSE PAINTING METHODS
the paint will be beneficial. When the corrosive sub-
limate is to be added to the paint dissolve one ounce
of the chemical in a very little denatured alcohol and
mix it into each gallon of paint for the first coat and
the second coat. Mix this chemical well into the paint
and also stir the paint occasionally while in use to keep
the mixture right, otherwise the chemical will settle to
the bottom of the pot. Remember that corrosive sub-
limate is a deady poison. Handle it with care. Keep
it out of cuts in your skin and out of the way of
children.
In addition to reducing the oil content of paint to a
safe minimum on surfaces which are subject to mildew
some painters like to add a little zine oxide to white
lead mixed for the last coat only to make a little harder
wearing surface. About 15 per cent or 20 per cent of
zine will serve this purpose. :
Spotting of Paints—The usual spotting noted is in
the form of lighter spots on light tinted paints. These
occur most often around putty, nail heads and along
cracks. This kind of spotting appears more often in two
coat work than in three coat jobs. It is the result of
putting on to the wood too little oil or not enough coats
of paint to satisfy suction of the wood in very dry,
porous places. When the oil sinks into the porous places
the pigment appears lighter in color but when more
oil is added to those spots the color often returns to the
original hue. The remedy is that of allowing plenty of
time for each coat to dry so that this spotting will show
up before the final coat is put on and so the spots can
be touched up with more paint or oil before finishing
the job. Gray paints and blue paints are especially
likely to develop this spotting defect. The gray ap-
pears to bleach out in spots and sometimes in large
patches.
A different kind of spotting sometimes results when
an upper story of a house is finished with plaster stucco.
PAINTING DEFECTS, CAUSES AND REMEDIES 373
Little splashes of lime drop on to the unfinished wood
below. If not completely removed this hot lime burns
the life out of the oil in the paint andscauses the color
to bleach out.
CHAPTER XVIII
THE PAINT SHOP
APPRECIATION of the important part which the paint
shop plays toward the realization of profits in a painting
business is growing greater year by year. As contract-
ing painters see more of modern factory planning,
organization and equipment they realize the necessity
for applying the same principles of organization and
management to their own businesses. And that is very
encouraging to all concerned, because it is doubtful if
any other business can be found which requires in its
every day conduct of business so many materials, so —
many tools of varying kinds and such a quantity of
other equipment all at the same time. This great va-
riety of materials, tools and equipment properties makes
the opportunities for loss by poor management greater
and also the benefits from good management the more
attractive.
The question before us, then, is—what is a good shop ?
It has always been necessary in the painting business to
keep expenses down and it always will be necessary.
The same is true in all business undertakings. The most
successful merchants do not have fine stores because they
can afford them, but because it pays to have them, it is
good business. If a painter waits until he has ac-
cumulated enough money to have a fine shop to support
just as a luxury that is poor business. And for that
reason he probably would not support a fine shop as a
luxury because by the time he learns how to make
enough money to do that he is too good a business man
374
THE PAINT SHOP 375
to support anything which doesn’t pay as a business
proposition.
The right kind of a shop will pay its way and bring in
more business. By the right kind of shop is meant one
which is well located for business reasons, one which is
adequately heated, lighted, decorated and arranged in
a way which will make customers and employes alike
feel that here is a business which is sound and knows
what it is about ;—that is confidence and more business
ean be built upon confidence than upon cold cash in the
bank.
Shop Locations.—Several considerations enter into the
selection of a shop to be rented or to be built. A cen-
tral location, one where the shop will be quite as near
one part of the section to be drawn upon for trade as
another, has always been considered of first importance.
It is important but not so important as at one time.
The use of automobiles and trucks has made it possible
to select better locations which are sometimes not
central.
The placing of a painter’s shop on the main business
street or in a good location down town where many
people pass by and see it has been considered unim-
portant. As a matter of fact it is of great importance.
So a shop in a good location where many people may
see it along with other businesses of the community will
pay well by keeping the painter’s name before the pro-
spective customers, by making it easy for the customers
to drop in and talk about their needs in the line of
painting and decorating, by making it possible to display
samples of decorating and painting jobs done in at-
tractive shop windows not only to indicate the skill of
the painter but also to suggest jobs which others may
want done.
The other factors involved in the selection of a lo-
cation are rents, prices of land, taxes, insurance, trans-
376 HOUSE PAINTING METHODS
portation conveniences for the journeymen and a few
. others of less importance.
Plans and Arrangements——Many satisfactory plans
and arrangements of the essentials of a good shop may
be made, depending upon the size and shape of the
shop at hand. Plate 141 offers some suggestions which
may be of benefit in this direction.
Lighting Essentials—Few factors are of greater im-
portance in a paint shop where good work is to be done
than light. And daylight is far better than any arti-
ficial light, so the paint shop should come as near in
design to a greenhouse as is practical. At least large
windows and many of them are highly desirable. Then
in addition electric lights of ample size and well dis-
tributed with extension cords are likewise important for
dark days. Surprisingly poor painting and decorating
ean be done with poor light and without the knowledge
or intention of even good workmen. Then the matter of
colors always enters. Good judgment of colors cannot
be had unless the light is good, and natural light is
necessary unless the special electric light bulbs made for
color correction are used.
The Paint Shop Office—Most craftsman dislike office
work, but that doesn’t help the business any and usually
is a great detriment to it. A light, clean and warm shop
is essential, and doubly so when women are about for
helping with this part of the business. Another point,
customers are apt to call and a businesslike office is one
of the strongest factors toward building up confidence
in the shop and the service it sells.
The Material and Tool Stock Room.—It would be dif-
ficult to find a business which loses more money in tools
and materials which are wasted by carelessness and lost
by theft. Most factories large and small have en-
countered the same problem and the universal practice
is that of establishing a stock room in charge of one
man who is held responsible for materials and tools re-
THE PAINT SHOP 377
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Plate 141.—A better Paint Shop Plan. For efficlent operation
and all year round work
ceived and what is issued for each job on requisitions
signed by some one in authority. With such an arrange-
ment the materials and tools received can be checked up,
materials sent to jobs will be known and materials re-
turned and used on jobs will be known.
Paint Mixing Facilities—A great deal of time is lost
in most shops by not having reasonable facilities for
378 HOUSE PAINTING METHODS
mixing materials. In some shops not even a bench is
available and the idea of mixing by machine power seems
quite novel to many. No shop which even pretends to
handle expensive labor with methods which assure a
fair day’s work for fair pay should be without a mixing
bench of good size which is covered with sheet iron and
which has shelves on it to conveniently carry all colors,
liquids and tools needed in mixing materials,
Large batches of materials can be much more profit-
ably mixed with power mixers and much better paints
are so mixed than can be done by hand. Plate 98,
Chapter V, pictures such mixers. At least one of these
machines should be in service near every mixing bench.
Storage tanks for oils, turpentine, benzine, varnishes,
ete., located in the basement with hand pumps near the
mixing bench constitute an important and safe equip-
ment in any shop. Where barrels are used racks and
proper provision for measuring and weighing should be
at hand. Also spigots of a non-leaking type should be
used and locks provided for each barrel.
About the Shop Man.—The opportunity for keeping
a dirty and disorderly shop is far greater in the painting
business than in others, especially when labor costs are
high as compared to material costs, but the urgency of
orderly conduct of business and arrangement of shops
is also greater, due.to fire risks and the loss of materials
and tools. It is doubtful if any shop ean be properly
kept in order without at least one man of a neat and
orderly disposition and above all an honest man to take
eare of this end of the business.
The Finishing Room.—A paint shop which is going to
do high class finishing of furniture, automobiles and any
other jobs of that character must be clean throughout
and must be arranged in such a way as will permit
keeping the place clean without too much work.
Having one room set apart for doing mussy, dirty
jobs is one way to help keep the main shop clean. Such
THE PAINT SHOP 379
a place is essential for the cleaning of automobiles,
scraping and sanding of furniture, removing paint and
varnish, etc.
Then a room for doing finishing with fine color coats
and varnishes is likewise essential. In such a room ar-
rangement should be made to keep it free from dust, for
increasing or decreasing the ventilation and for main-
taining temperature up to 100 degrees or more when
necessary. Absolute control of dust, air and heat, as
well as moisture, is essential for best results.
CHAPTER XIX
OXIDIZING COPPER SURFACES
Tu use of copper for store and shop fronts, for can-
opies out over doors and sidewalks at hotel and theatre
entrances, for cornices, rain gutters, down spouts, roof
decks and elsewhere is becoming quite extensive. And
in consequence painters are called upon at times to has-
ten the natural oxidizing of the copper to gain a mottled
bright green color. This is the appearance given to
copper by long exposure and is called patina. It is
sometimes mistakenly called verdigris.
Verdigris Green Finishes.—Real patina is an incrus-
tation, a corrosion of the copper metal resulting from
gases or other atmospheric conditions. Verdigris green
finishes are paint coatings.
Verdigris finishes are put on to wood, iron and other
surfaces by first painting them with a copper color to
dry without gloss. Then the tinting color known as ver-
digris green, ground in oil, is used as a glazing color
over the flat copper colored surface. A glazing liquid
composed of about half boiled linseed oil, one fourth
turpentine and one fourth benzine is mixed up and a
thin coat is brushed on to the copper ground color.
Then a little of the glazing liquid is mixed with the
verdigris green paste and daubs of the green are put on
here and there while the glazing liquid is wet. Then a
wad of cheese cloth is used to stipple the surface and to
motile ‘and blend. the oblor out: Ante an imitation of the
aatural patina. ‘ "For exterior “exposure 4 coat of spar
varnish should be put on to pee the surface from the
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OXIDIZING COPPER SURFACES 381
weather. A stippling brush may be used to do the
blending instead of the cheese cloth.
Natural Copper Patina.—Real patina, serugo nobilis,
on copper is called antique bronze by some and is simply
basic carbonate of copper or hydroxide of copper, a
chemical change in the copper metal produced by at-
mospherie and earth conditions. A long time is re-
quired to make the change on the surface of the metal
by natural incrustation. It takes too long, so painters
hasten the process in this manner.
Scrub the surface clean with warm water in which a
little sal soda, washing soda, has been dissolved. Use
fine steel wool for the scrubbing. Next wash off the
copper with clear water and wipe dry.
Several acid and alkaline solutions with water can
be used for producing the natural patina, but some are
better than others. Acid solutions work more slowly
than alkaline. The acids dissolved in water and used
for this work are acetic, oxalic and muriatic. The al-
kalines dissolved in water and used in solutions are sal
ammoniac and carbonate of ammonia.
Here are some of the formulas used for producing
natural patina without waiting for the slow natural
action of the atmosphere and age. One of the most dur-
able of finishes of this kind on copper is produced by
this solution. Four or five days are required for the
final color to appear, although sorhe change is noticeable
at once:
1 ounce sal ammoniac
3 ounces tartaric acid
9 ounces common salt
15 ounces boiling water
Dissolve the above in the boiling water and then add
8 ounces of a solution of nitrate of
copper of a specific gravity of 1.100
Brush this mixture on to the clean copper, let it dry
382 HOUSE PAINTING METHODS
a few minutes and repeat the wash several times. This
formula acts with greater speed when the air is moist
than when dry. A rainy day is a good time to do the
job. More salt in the solution makes the finish more
greenish in tone, while less salt gives a bluish color.
Another formula which is sometimes used follows.
It is even slower to gain the final color than the first
formula mentioned :
1 ounce acetic acid, 1.04 specific gravity
50 ounces water
Sponge the surface several times each day with this
solution after cleaning it to as bright a finish as pos-
sible. In two or three days a coating of acetate of cop-
per will appear. Then in contact with the carbonic acid |
in the air this incrustation will form carbonate of copper
which is very similar to natural patina. It will take a
week or two before the final color appears on the copper,
although some color will appear almost at once.
A third solution used for oxidizing copper is mixed
this way:
2 ounces sal ammoniaec
5 ounces tartaric acid
22 ounces common salt
40 ounces copper nitrate solution in water, specific
gravity 1.100
30 ounces common vinegar
3 ounces water
A. fourth solution used for quick results is mixed in
this way:
4 ounces verdigris green
2 ounces sal ammoniac
1 quart acetic acid, 15% strength
Brush on and repeat if necessary to get color wanted.
Wash off, let dry and brush on a coat of thin spar
varnish.
INDEX
A
Acetylene gas burners, 123.
Adjustable folding scaffold, 96
Agitators, paint, 132
Air and material regulating de-
vice, 64
Air compressor, 63
Air pressure balance, 330
Air storage tank, 64
Alcohol, 222
Aluminum bronze paint, 245
American Vermilion, 248
Amyl Acetate, 222
Anchorage, 272
Asbestine, 201
Asphaltum paint, 247
Atlantie City paint tests, 232
Attractive colors, 188
Automatic governor
er, 63
unload-
B
Badger hair blender, 61
Banana oil, 222
Barytes, 200
Basswood, 282
Beach air brush, 66
Benzine, 220
Benzol, 221
Binks airway paint gun, 65
Black paint, 181
Blistering and peeling, 354
Blow torch, 121
Blue lead, 240;
mulas, 242
Blue paint, 186
Brick, cleaning,
mixing for-
270; liners,
68; lining, 270; new, 268;
old, 269; paints and paint-
ing, 263; staining, 270
Bridling brushes, 44
Bristles, 22
Brown Paint, 182
Brush, badger flowing, 60;
construction, 25; Dutch eal-
cimine, 52; extension handle,
126; fitch flowing, 60; flat
artists’, 55; flat calcimine,
51; flat color, 61; flat duster,
54; flat roof painting, 56;
flat sash, 49; flat varnish, 50;
flat wall, 45; flat wall stucco,
46; floor waxing, 57; fresco
stencil, 59; holding the, 37;
metal-bound, 47; oval sash,
49; oval varnish and paint,
48; revolving steel wire,
255; round duster, 53;
round roof painting, 97;
soft flowing, 59; steel wire,
133; stencil, 58; wall stip-
pling, 54; water color or
cove, 50; whitewash, 52
Brushes, bridling, 44; keeping
for long periods, 32; care of,
30; deseription, uses and
care, 22; for painters and
decorators, 22; prices of,
28; reclaiming hard, 35;
use of, 36
Brushing, 304; spraying and
dipping, 259
Bulking values
195
Bung spout, 135
of pigments,
INDEX
; C
Cedar, 283
Cement and brick paint and
painting, 263; floors, 267;
preparing old, 265
Cement-set brushes, 27
Chalking, 360
Chestnut, 284
China wood oil, 215
Coats, second and third, 306
Color cards and formulas, 181
Color, transparent, 175
Colors, fading of, 176; mixing
dark, 178; changing, 193;
opaque, 174; tinting, 173
Copper surfaces, oxidizing, 380
Cornice hook, 102
Cottonwood, 282
Cracked and scaled paint, 273
Creeping and crawling, 341
Creosote oil, 217
Cypress, 279
Defects, painting, causes and
remedies, 350
DeVilbiss spray gun, 65
Dipping, 259, 345
Discoloration, 368
Douglas fir, 281
Drier, extra, 158
Driers, 203, 223
Drop cloths, 139
Durability of sprayed paint,
340
E
Enamel for exterior surfaces,
314
Estimating material required,
285
Eureka spray gun, 69
Expansion and contraction, 273
Extension ladder, 90
Exterior doors, paint for, 311
Exterior stains and staining,
344
F
Factory ready-mixed paint, 189
Fading, 367
Felt rubbing pad, 143
Finishing room, 378
Floor paint, 164; surfacing
machine, electric, 139; wax-
ing brush, 57
Formulas, for stains, 348; for
white paint, standard, 156
Fresco angle liners, 55
G
Galvanized iron surfaces, 257
Glass eutter, 136
Gloss, loss of, 362
Glue-set brushes, 27
Graining stippler, 62
Graphite, 243
Gray paint, 181
Green paint, 186
H
Hard pine, 277
Health and spray gun, 339
Hemlock, 281
Hog bristle, 23
Hoisting machine, 109
Holding gun at correct angle,
326
Holding the brush, 37
Horse hair, 23
Hose and connections for spray
guns, 76
Iron and steel surfaces, 255
J
Job of painting with brush, 299
K
Knife, mixing, 131
Knots and hitches, 115
Knots, treatment of, 303
L
Ladder brackets, 94, 97; exten-
sion feet, 92
Ladders, scaffolds and swing
stages, 83
Linseed oil, 205
Lithopone, 199
INDEX
M
Machinery, care of, 335
MacLeod paint sprayer, 68
Market survey, 17
Matthews material gun, 66
Measuring structural iron sur-
faces, 293
Measuring surfaces, 286
Menhaden fish oil, 217
Metal cleaning tools, 250; cor-
' rosion, 230; paints and paint-
ing, 230; paints, average
ratings of, 233
Mills, paint, 128
Mineral spirits, 220
Mixing and tinting paint, 300;
eolored paints, 177; facts,
general, 145; machines,
paint, 130; white lead, 148
Moulding scraper, 135
N
Naphtha, solvent, 221
Natural copper patina, 381
Neutralizing new cement, 264
O
Oil and water separator, 78
Oil, China wood, 215; creosote,
217; Menhaden fish, 217;
perilla, 215; soya-bean, 216
Oxidizing copper surfaces, 380
ik
Paasche air brush, 67
Paddles, 130
Paint agitator, 64
Paint, amount of in pounds,
159
Paint defects, 214; factory
ready-mixed, 189; mixing
facilities, 377; oils, prepared,
214; oils, thinners, driers
and removers, 203; painter-
mixed, 144; runs, 342; shop,
374; storage tank, 64
Painter-mixed paints, 144
Painting, cement and brick,
263; defects, causes and
remedies, 350; where to be-
gin, 306; with a brush, 299;
with the spray gun, 316
Para red vermilion, 248
Penetration and anchorage of
paint, 272
Perilla oil, 215
Pigments, characteristics of,
194
Pneumatic scaling hammer, 254
Poplar, 279
Pots and tubs, 131
Power unit, 64
Priming coat, 303
Prince’s mineral, 202
Proficiency in color mixing, 179
Pulley block, 103
Purposes served by paint, 20
Putty gun, automatic, 137;
knife, 124; mixing, 165
Q
Quantities of lead, liquids, 151
R
Ratings of metal paints, aver-
age, 233
Red Lead,
mulas, 237
Red paint, 184
Redwood, 283
Remover formulas, paint, 227
Removers, 203, 225
Removing cracked and scaling
paint, 308
Roof ladder hooks, 94
Roofs, mottled colored, 346
Rope falls, 104; materials, 106;
eare of, 106; lubricating,
107; storing, 107
Rubbing pad, 125
Rung repair plate, 93
Ss
Sand bellows, 134
Sand-blast machine, 252
234; mixing for-
INDEX .
Scaffold, 83, 300; built up,
117; equipment, 320; planks,
90
Sealed paint, 273
Seraper, 132
Seraping knife, 125
Shingles, dipping, 345; stain-
ing old, 346
Ship scraper, 136
Shop Man, the, 378
Shop, the paint, 374; lighting,
376; locations, 375; office,
376; plans, 376; stock room,
376
Silica (silex), 200
Simons paint spray brush, 69
Soya-bean oil, 216
Spotting, 372
Sprayco paint gun, 68
Spray guns, 63; cleaning, 332
Spray gun coats, number of,
337; distance from surface,
329; management, 319; mov-
ing over surface, 329; paint-
ing, 316; size and kind of,
317; spread or pattern, 324
Spray painting equipment, 63
Sprays, fan and cone, 325
Spreading paint, 39
Stain formulas, 348
Staining brick, 270
Stains and staining, exterior,
344
Steel trestles, 85; wool, 142
Step Ladder, 88
Stock white, 201
Storage tanks, colors for, 261
Strainers, 127
Straining paint, 149
Swing stage, 83, 99
Surfaces, cement, 291; meas-
ruing structural iron, 293;
metal, 291; new brick, 291;
new wood, 290; old brick,
291; old wood, 290; prepara-
tion of, 249
Survey of market for painting,
17
yi)
Tacky paint, 364
Testing linseed oil, 211
Thinners, 203
Tin plate, 258
Tinting colors, adding, 150;
their use, 172; ground in
on ite
Titanium oxide, 195
Titanox, 195
Tools, miscellaneous painters’,
121, 302
Trestles, 85
Trowel pointing, 143
Trucks and skids, 79
Tubs, 131
Turpentine, 218; substitutes,
219
Vv
Verdigris green finishes, 380
W
Washing, 363
Weather-beaten surface, paint
for, 169
Weather, painting, 307
White lead, pure, 146
White paint, standard formu-
las for, 156
White pine, 275
bias and spray pumps,
Whitewash, colored, 169; ex-
terior, 167; interior, 166;
lighthouse, 168; mixing, 166
Whiting, 200
Window bracket, 94
Wold air brush, 67
Woods and surfaces, study of,
272
po
Yellowing, 367
Yellow paint, 182
Z
Zine copper, 258
Zine oxide, 160
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