Date No. Presented to cJ^Tr._ °f - E. I. du Pont de Nemours & Co., Inc. This book is bound in Du Pont Fabrikoid FROM THE BOOKS OF WADSWORTH & BOSTON ' ARCHITECTS WADSWORTH, BOSTON 6- TUTTLE ARCHITECTS 57 EXCHANGE ST. PORTLAND, MAINE I FI 1 M I UM INOP] ACT'D (Q) IF 1 SEEP RAD MTHfi — Price $2.00 Fourth Edition Prepared and Published by E. I. du Pont de Nemours & Co., Inc. Paint and Varnish Division 35th St. and Gray’s Ferry Road Philadelphia, Pa. 2100 Elston Ave. Everett Station, No. 40 Chicago, Ill. Boston, Mass. 250 Vanderpool Si. Newark, N. J. A-)442e * Copyright 1923 E. I. DU PONT DE NEMOURS & CO., Inc. Wilmington, Delaware The Purpose of This Book T HIS book has been written as a practical aid to plant superintend¬ ents or others responsible for the maintenance of industrial property and equipment, and as a help to architects and engineers in the protection of new construction. It covers in simple, practical fashion modern painting practice for all types of exterior and interior surfaces. It shows the reasons for decay and deterioration and describes the proper methods to follow in conquering these destructive forces. It indicates the extremely important part that good paint and varnish play in upkeep work, and proves the wisdom and economy of using high-quality materials for all painting purposes. A modern industrial plant, fully equipped, represents a large investment. Its value is not permanent, however, for depreciation begins immediately on its completion. Whatever eliminates or retards deterioration, there¬ fore, has a distinct profit value, and helps to remove one of the obstacles a manufacturer or producer meets in his endeavor to make his enterprise profitable. The rapidity of deterioration depends upon the character of the property and the kind of maintenance it receives. Neglect or carelessness causes rapid depreciation, and, when too late, extensive rehabilitation is necessary. Replacement is expensive; it costs many times as much as the comparatively small sum required each year for the purchase and application of paint and varnish to keep plant and equipment in good condition. Upkeep painting done at regular intervals is one of the best investments a plant owner can make. We recommend this book as a guide in your careful study of the general subject of plant and equipment maintenance. In addition, you will find it useful as a practical reference book whenever any specific problem presents itself. If there are unusual problems of upkeep work peculiar to your industry on which you desire additional information, the facilities of the du Pont Company are at your disposal. Roy C. Sheerer, Editor 1 Digitized by the Internet Archive in 2019 with funding from Getty Research Institute https://archive.org/details/principlespractiOOeidu Table of Contents For reference to definite treatment of specific surfaces consult Index on pages 202 and 203. CHAPTER 1 The Importance of Paint and Varnish in the Industrial World CHAPTER 2 Modern Paint and Varnish Making. CHAPTER 3 Superiority of Ready-Mixed Paint. Single-Pigment vs. Combination-Pigment Mixed Paint Colored vs. White Paint CHAPTER 4 What is Varnish?. Purpose of Varnish Classes of Varnish General Requirements of Varnish General Directions for the Use of Varnish Can Varnishes Be Safely Mixed, Reduced or Thinned? CHAPTER 5 Let the Paint Manufacturer Prepare Your Specifications .... CHAPTER 6 Woods and Their Treatment. Pagb 9 . 11 13 19 23 25 CHAPTER 7 Causes of Decay. 29 Exterior Wood Surfaces Interior Wood Surfaces CHAPTER 8 Value of Practical Tests. 33 Tests at Atlantic City Atlantic City Test Fence Results of First Inspection Results of Second Annual Inspection Tests at Pittsburgh CHAPTER 9 Defects of Paints and Varnishes. • 45 CHAPTER 10 Proper Finishes for Wood Surfaces. 55 3 Table of Contents—Continued chapter li Page Preparation of the Surface for Painting. 57 New Wood Surfaces Old Wood Surfaces CHAPTER 12 General Methods of Application.. 59 Methods of Stirring Priming Coat—New Wood Surface, or Surface Not Previously Painted Priming Coat—Previously Painted Surfaces Application Finishing Coat Enamels Varnishes Brushes Don’ts CHAPTER 13 Exterior Wood Surfaces and Their Protection. 63 Factory and Mill Buildings.63 Mill Villages.64 Houses, Garages and Out-Buildings.64 Roofs, Shingle and Tin.65-67 Porch Floors and Steps.6S Frame Office Buildings .68 Window Frames and Sash.68 Fences, Gates and Bridges.68 Passageways and Doors.68 Tanks and Their Supports. .69 Telephone and Telegraph Poles and Cross Arms.70 All Other Wood Surfaces.70 CHAPTER 14 Treatment of Interior Wood Surfaces. 71 Interior Floors—Varnish Finish.71 Interior Floors—Wax .71 Interior Floors—Stained and Varnished .72-73 Interior Floors—Painted.74 Interior Floors—Hardwood or Parquet .75 Interior Floors—Previously Finished.76-77 Interior Floors—Linoleum Covered. 78 Interior Floors—Oil Dressing.79 Interior Walls and Ceilings—■ Varnished or Stained and Varnished.79-80 Finished with Gloss Paint.80 Finished with Flat Paint.80 Finished with Enamel.81 Finish for Dados .83 Office Partitions.83 Doors, Door Frames, Picture Moulding, Wainscoting, etc.83 Girders, Beams and Pillars.84 Elevators, Gates and Shafts.84 Machinery and Machine Equipment .84 Racks and Bins.85 All Other Wood Surfaces.85 4 Table of Contents—Continued CHAPTER 15 Painting and Preservation of Metal Surfaces. Costliness of Corrosion Causes of Corrosion Prevention of Corrosion Unusual Conditions to Which Metal Surfaces Are Exposed Characteristics of the Products for the Arrest of Corrosion Chemical Permanence Chemical Inertness Toward Iron Resistance to Physical Damage Imperviousness to Air and Moisture Elasticity Rust-Inhibition Average Ratings of Pigments Preparation of the Metal Surface for Painting... New Surfaces or Surfaces Never Before Painted Surfaces Previously Painted Preparing Galvanized Iron for Painting New Galvanized Iron Galvanized Iron Previously Painted Application of the Material. Causes of Deterioration of Paint on Metal Surfaces Page 87 98 101 CHAPTER 16 Exterior Metal Surfaces.105 Structural Steel Construction.105-107 Roofs—Galvanized Iron, Tin or Gther Metal .107-109 Gutters, Spouting and Water Conductors .109 Fences, Iron or Wire.110 Fire Equipment—Plugs, Hydrants, Valves, Hose Carriages, Hose Houses . 110 Fire Escapes and Ladders.Ill Fire Doors.11- Handrails and Steps.113 Steel Tanks and Tank Supports.114 Bridges and Passageways.116 Supports for Pipe Lines .116 Pipe Lines—Uncovered.116 Pipe Lines—Covered.116 Steam or Electric Cranes.1 IS Smokestacks and Chimney Connections. 118 Ventilators.11S Factory Trucks and Cars, Tank Cars.119 Locomotives, Electric and Steam.120 Steel Drums and Containers.121 CHAPTER 17 Interior Metal Surfaces.123 Metal Walls and Ceilings.123-126 Steel Girders, Beams and Their Supports. 126 Electric Conduits and Switch Boxes, Indicator Tubing.127 Sprinkler Systems. 128 5 ) Table of Contents—Continued CHAPTER 17—Continued Page Piping System.129 Fire Equipment-—Doors, Buckets, Extinguishers, Valves, High-Pressure Lines, Sand Buckets.129 Machinery.129 Machinery Guards.131 W aste Cans.132 Tanks—Raw Material and Other Purposes.133 Factory Hand or Motor Trucks.134 Motors, Pumps, Steam Engines, Steam Turbine, etc.134 Elevators, Gates, Shafts, etc.134 Boiler Fronts and Boiler Connections.135 Weighing Machinery and Scales .135 Cranes and Crane Supports .135 Fume Control Systems.136 Drying Stoves, etc.136 Radiators.168 CHAPTER 18 Treatment of Concrete and Cement Surfaces.137 Necessity for the Protection of Concrete and Cement Preparation of the Surface for Painting Characteristics of the Proper Materials for the Protection of Concrete and Cement Surfaces Corrosion of Steel Reinforcements in Concrete Construction Painting Steel Reinforcements in Concrete Construction CHAPTER 19 Exterior Concrete and Cement Surfaces.143 Painting Steel Reinforcements in Concrete.142 Concrete for Structural Purposes.143 Exterior Brick and Plaster Surfaces.144 CHAPTER 20 Interior Concrete and Cement Surfaces.145 Walls, Ceilings and Pillars. 145 Dado Finish.147 Cement Floors.147 CHAPTER 21 Light-Reflecting Finishes for Interior Wails and Ceilings.149 The Handicap of Poor Light Requirements of Good Illumination Advantages of Good Lighting Comparative Light Values Diffusion and Reflection Qualities to Be Desired in an Interior Finish Concrete Walls and Ceilings.158 Plaster Walls and Ceilings.160 Brick Surfaces.160 Wood Surfaces.161 Metal Walls and Ceilings.162 Acid Fumes.162 Dado Finishes.163 6 Table of Contents—Continued CHAPTER 22 Pac.e Plant Standardization Systems .I tin Specimen Standardization Chart .166 The Scientific Identification of Piping Systems. 167 Painting Radiators for Efficiency.171 Prescription Paint Service .172 CHAPTER 23 Zoning Systems in Industrial Plants. .173 Regulating Traffic.'71 Painting Fire Hydrants.175 CHAPTER 24 Mechanical Paint Application.177 Diversity of Use of Mechanical Painting Machine . . .1 S3 Applying Interior Flat Paint.184 Applying Metal Paints. 184 Uniform Composition of Paints Applied by Mechanical Means . 184 Painting Oil Tanks.185 Oil Tank Car Painting. 185 Estimating Figures on Standard Lines of Ready-Mixed Paints for Priming and Finishing Coats.186 Advantages of Mechanical Painting.188 Comparison of Quantity of Paint Used for Machine Painting and Brushing.160 Sanitation. 191 Practicability of Mechanical Painting.192 Investment. 194 Makers of Mechanical Painting Machines. 194 CHAPTER 23 Brushes and Their Care ..195 Buying Brushes The Care of Brushes CHAPTER 26 How to Operate a Paint Shop.199 CHAPTER 27 Periodical Paint Inspection and Guide to Its Performance. 201 Guide to theUse of du Pont Paints and Varnishes for Industrial LTpkeep Purposes i Chapter 1 THE IMPORTANCE OF PAINT AND VARNISH IN THE INDUSTRIAL WORLD If one were to make a survey of the industries of the country, from the standpoint of the use of paint and varnish for upkeep purposes, he would find that the importance of surface protection was apparently not realized by many plant managers. A careful analysis of a typical plant would show a wide variety of sur¬ faces either badly in need of renewed protection or in a state of disrepair from lack of any protection. It would bring to notice rust and corrosion of metal surfaces in different stages of progress, woodwork worn and cracked, concrete showing evidence of disintegration. Rust and decay are con¬ stantly at work, day and night, proceeding silently and unnoticed, until, when too late, not only extensive repairs but expensive replacements may be necessary. Paint and varnish, used at the right time, is an investment of recognized worth in efficient plant management. Aside from the arrest of decay and deterioration, there are other practical reasons for providing proper paint protection for plant and equipment. Walls and ceilings treated so as to add to the effectiveness of the natural daylight do much to relieve eyestrain, speed production and decrease the number of accidents. Attractive and cheerful surroundings are reflected in loyalty and contentment of employes, with increased production a natural consequence. Paint and varnish makers, through their research laboratories, have developed finishes that are thoroughly practical and well suited to meet every requirement. There is, therefore, no reason why the plant manager or superintendent should defer giving the necessary attention to plant or equipment through any lack of knowledge on his part. Paint manufacturers are always willing to investigate the paint problems of any industry, and if they do not already make a product that will satisfy the needs of that industry, in most instances one can be developed. No matter what the surface to be finished, nor what conditions such surfaces must withstand, within reason, there is a paint or varnish made specifically for the purpose. It is the object of this manual to present in practical, usable form the necessary information covering the use of paints and varnishes for proper maintenance of plant and equipment. 9 GOOD PAINT COSTS NOTHING Chapter 2 MODERN PAINT AND VARNISH MAKING Paint and varnish manufacture is a scientific industry, based upon formulae and methods perfected by years of research and experiment. Hun¬ dreds of raw materials, gathered from the four corners of the earth, are utilized in its intricate processes. Powerful machinery grinds and mixes these ingredients and turns out finished products that are amazing in their range of usefulness and service. All raw materials are given a thorough chemical and physical analysis before acceptance. The larger paint manufacturers make their own white lead, lithopone, tinting colors, etc. They are thus in a position to govern every step in the process of manufacture. At various stages the product is subjected to tests to determine its adherence to established standards. The finished products must measure up to standards set for uniformity, color and quality. Scientifically accurate control of every manufacturing process has resulted in the high standard of efficiency of the modern mixed paint. Similar progress is reflected in the science of varnish making. The mak¬ ing of varnishes has always been in the hands of the specialist varnish manufacturer. It requires apparatus and knowledge of raw materials and methods of manufacture that are foreign to the average layman. Not so many years ago, practically the only varnishes made were combinations of linseed oil, gum and rosin; today they embrace hundreds of raw materials that were unknown two generations past. The marvelous development of china wood oil, the discovery of countless other oils, volatiles, solvents, resins, gums, etc., is the result only of the large investment in research and laboratory work made by varnish manufacturers during the past few years. The varnish manufacturer is today one of the most valuable contributors to the world’s progress and the conservation of its resources. Varnishes are made today to successfully meet the widespread needs of the industrial world. There are hundreds of different qualities and kinds, each manufactured for a specific purpose. The selection of the brand of the varnishes you purchase is the most important consideration. You can be reasonably certain that the results derived from their use will be satisfactory, if you use the best known brands made by the leading manufacturers. Satisfactory performance of the paint or varnish under actual con¬ ditions of service is the result only of painstaking care in every step of its manufacture. 11 PAINTING IS CHEAPER THAN REPLACEMENT Chapter 3 SUPERIORITY OF READY-MIXED PAINT Modern prepared or ready-mixed paint is a development of compara- ti\ely recent years. In its most generally used form, it is the combination of pigments and liquids that has proved in actual service to perform most satisfactorily the work required. It is the result of many years of careful research and countless tests conducted by paint manufacturers and certain disinterested organizations. The one outstanding characteristic of modern mixed paint is its UNI¬ FORMITY. This is due primarily to the system of absolute control exercised throughout its manufacture. This uniformity is shown in its: Ingredients Consistency Color Weight Quality Time is the only test of the durability of a paint in actual service; but the modern, high-quality, ready-mixed paint is as far superior to the old-style, rule-of-thumb, hand-mixed product as the Mazda bulb is superior to the candle light. Both are the result of many years' development in their respective fields along scientific lines. Standardizing on a high-quality mixed paint enables the plant super¬ intendent to give better protection to his property and reduce upkeep cost, due to the longer life of the paint coat and better general satisfaction given by it in every way. Single Pigment vs. Combination Pigment Mixed Paint Tests conducted by paint manufacturers and other organizations have proved that a surface finished with a properly-balanced, combination- pigment paint will be given better protection than that afforded by a single-pigment paint. A combination-pigment paint may be composed of a wide variety of raw materials, but in its general application, it is made up of the correct per¬ centage of White Lead, White Zinc, and inert material such as Asbestine, Barytes, etc., together with whatever coloring matter may be necessary to produce the proper tint. The one-pigment paint,—White Lead and Linseed Oil, mixed by hand,— has a number of serious defects. It chalks rapidly, much too quickly to afford proper protection to the surface beneath. If a dried film, composed of White Lead and Linseed Oil. were examined under a microscope, it 13 PANELS ON ATLANTIC CITY FENCE Two Lower Sets of Panels are Painted with Combination Pigment Paints. Excellent Results Shown . / . ' ■ . STANDARDIZE YOUR PAINT PURCHASES would show open spaces between the White Lead crystals, thus producing an imperfect film, lacking many of the characteristics necessary for maximum protection. Usually a paint so composed affords a ready lodging place for dust, dirt, plant pollen and the like, which not only destroy the appearance of the finish, but shorten the life of the paint coat. Furthermore, when repainting is necessary, which usually comes more quickly than it should, costly preliminary work is frequently required to properly prepare the surface for repainting. Panel on Left Painted with Single Pigment Paint; Panel on Right Painted with Combination Pigment Paint. Photograph taken after Two Years’ Exposure on Pittsburgh Test Fence White Zinc or Oxide of Zinc, when used alone, is brittle and soon cracks and chips, due to expansion and contraction of the surface under atmos¬ pheric conditions. The combination, however, of the correct percentage of White Lead and White Zinc, the two products held together by asbestine, or other inert material—which acts the same as hair in plaster—has been proved to give the best all-around service that is possible to obtain from any paint coating. The hardness of the White Zinc offsets the softness of the White Lead, and the defects of one are thus balanced by the merits of the other. Generally speaking, this is the composition of most of the high-grade prepared paints on the market, together with whatever coloring material may be required to produce various shades. The authority for these statements is borne out by the results of tests conducted at various points throughout the country by the Educational Bureau of the Paint Manufacturers’ Association of the United States with a view to determining the relative merits of various types of one-pigment vs. combination-type paints. Inspection of Atlantic City Test Fence in March, 1909, showed that: “A paint made from any mixture of more than one white opaque pigment, either when used alone or in combination with small percentages of inert pigments, is far superior to any one-pigment paint. It was found that the straight white lead paints failed in every case.Paints made with large percentages of white lead, however, gave excellent results.’ 15 RUST AND DECAY ARE THE ONLY PERPETUAL MOTION View of Atlantic City Test Fence First inspection, made in May, 1909, of the Pittsburgh Test Fence showed - * , “A mixture of more than one prime white pigment, whether this mixture be alone or in combination with a small percentage of inert pigment, pro¬ duces a paint far superior to a paint manufactured from one pigment alone. Second annual inspection, May 7, 1910, showed that: “The combination type of paint proved more durable than the single¬ pigment paints. They‘indicated in most cases very excellent wear, with a minimum of blackness and a general good condition of surface. “The Committee finds that the best white paint for general exterior use is made of white lead combined with zinc oxide and a moderate percentage of inert pigments, such as silica, asbestine, or barytes. Inspection of the Test Fence erected at North Dakota Agricultural College, Nov. 20, 1909, showed that: “Mixtures of white lead and zinc oxide, properly blended with moderate percentages of reinforcing pigments, such as asbestine, barytes, silica and calcium carbonate, are most satisfactory from every standpoint, and are superior to mixtures of prime white pigments not reinforced with inert pigments.” “Paint Technology & Tests' —H. A. Gardner. Colored vs. White Paint It has been proved that a paint to which has been added certaiin " long. The other type is known as a “knotted” brush—i. e., the bristles are grouped in sections, bound with stout wire, in two, three, or four groups, or “knots.” These brushes are less expensive than those just described, and are made of common or more ordinary bristle mixed with horsehair, the stock being about 33^" long. Roof brushes are suitable for painting all types of roof surfaces, especially those of metal. Round and Flat Dusters: These are of many types and sizes; some made of various kinds and mixtures of Russian and Chinese bristle. The flat duster is the more practical type for upkeep work. They are made pitch-set, wire-drawn or set in rubber; the last-named brush is the most eco¬ nomical, as it can be cleaned in gasoline or turpentine, or washed with soap and water without affecting the setting. The 4 }/± flat Duster has bristles 4 ii" long. Buying Brushes Brushes w r hose only recommendation is cheapness should never be purchased. The more costly brushes are usually the least expensive in the end. They not only permit better work to be done, but enable it to be done with less effort and fatigue, and they have far greater “mileage.” They give a considerably smaller total brush cost. By buying brushes of the better sort, the total year’s brush expense will be much less, regardless of the initial cost. Brushes, like anything else that is “made,” sometimes develop defects in workmanship. The better manufacturers guarantee their brushes and wall gladly replace such brushes that are returned to them. All new brushes, w'hether the bristle is set in cement or vulcanized in rubber, will probably shed a few bristles which were not caught wTen the brushes were made. Before putting any brush into paint or varnish work rub the hand back and forth across the bristle and work out those few loose ones. Do not be too quick to condemn a new brush that sheds a few 7 bristles. The Care of Brushes Second in importance only to the selection of brushes is the care given them after they have been put to w'ork. Just as it is impossible to do a perfect job of painting or varnishing with brushes made for some other purpose, or with brushes made to sell at a low' price, so is many a job made 196 LET THE PAINT MANUFACTURER SOLVE YOUR PAINT PROBLEMS inferior or ruined altogether by brushes which have been improperly kept. Good brushes of any kind are costly and it is obviously poor economy to buy good brushes and then not take care of them. When paint and varnish brushes are not in use, they shou Id be suspended in raw linseed oil, free of the bottom of the container at leasttwo inches, and to a depth of at least an inch above the bottom of the ferrule or strap. The addition from time to time of a little turpentine, or ether, or similar thinner will keep the oil from getting “fatty.” Linseed oil, being the natural paint- solvent, will tend to clean brushes suspended in it in this manner, and brushes so kept will always retain the natural springiness of the bristle. Water, on the contrary, is not a paint-solvent; it tends to make brushes “lousy” and makes bristle soft and flabby. The very best of brushes will be ruined in it. Brushes should be suspended free of the bottom of the container, because when they are allowed to rest on the bottom, the weight of the brush tends to bend or curl the ends of the bristle and ruin the brush. The bottom of the ferrule or strap should be below the surface of the oil, for otherwise the oil will dry around the exposed part of the bristle, tending to make the brush lousy, or shortening the actual working length of the brush. Every industrial paint shop should be provided with a suitable tub or tank in which brushes can thus be kept. The simplest way to suspend the brushes is to drill a small hole through the handle of the brush near the top of the ferrule, and putting a wire through it, let the wire lie across the edges of the container. Brushes made by some manufacturers have this hole drilled in the handle when the brush is made. When brushes are suspended in linseed oil the oil will dissolve the pig¬ ment, which, being heavier, will sink to the bottom of the container, thus cleaning the brush. From time to time clean the containers and supply fresh oil for the keepers. Do not put brushes into water. There is no possible excuse or reason for doing so. On the small job, when no container is available, work as much paint out of the brushes as is possible, lay the brush on a flat surface and wrap it in paper, but be careful not to bend the bristle. Any paper will do, but a glazed or nonporous paper is to be preferred. Lay the wrapped brushes out flat; don’t stand them on end. Varnish brushes should, of course, be kept in separate containers, and should have the oil thoroughly washed out of them before they are put into varnish again. If the oil is not entirely removed it will have a tendency to interfere with the drying of the varnish. Varnish brushes on the job may be suspended in the varnish in which they are being used. Be careful, however, that the brush does not rest on the bottom of the bucket and that the varnish comes above the bottom of the ferrule. 197 A PAINT FILM IS ONLY 1/500TH OF AN INCH IN THICKNESS Brushes which through neglect have been permitted to harden, or have had their bristle bent or twisted out of shape, might just as well be dis¬ carded. It is cheaper than attempting to reclaim them. There are chemical preparations offered which claim to clean hardened or lousy brushes, but ruined brushes are seldom restored successfully. Take care of the brushes — that’s the real economy. Keep duster brushes clean. Those made vulcanized in rubber are easily cleaned in benzine or other solvent, or may be washed with soap and water. Do not clean pitch-set brushes with either a paint-solvent or with hot water; the solvent will dissolve the pitch, the hot water will soften it—in either case the brush will fall to pieces. Buy good brushes, use them intelligently and take care of them. New brushes should not be used for final coats of paint or enamel. Work them out first in priming coats. Keep them free of dust and they will work themselves free for the finishing coats. It is a very good practice to wash new varnish brushes in some inexpensive thinner, such as benzine, before putting them into varnish. This solvent, of course, should be thoroughly shaken out of the brush before placing it in varnish. Before attempting to apply paint to any surface work the brush well into the paint, or, more properly, work the paint well into the brush. Hold the mixing paddle tightly over the rim of the bucket, dip the brush into the paint to a depth of two or three inches, then wipe the brush clean across the edge of paddle. Do this several times to insure having the brush filled with the paint to be used. (Note: The foregoing information has been compiled from a book entitled “Painting and Decorating ” published by the International Association of Master House-Painters and Decorators of the United States and Canada.) J98 PROPER PREPARATION OF THE SURFACE IS ESSENTIAL FOR GOOD RESULTS Chapter 26 HOW TO OPERATE A PAINT SHOP Every industrial plant of sufficient size should have its own crew of painters. Where there are many buildings and surfaces to care for, it is far more economical in the long run to keep one or more painters employed the year round, touching up interior and exterior surfaces where needed, than to permit rust and decay to proceed to such a length that replacement is necessary or the work of a contracting painter is required. When it is not possible to do exterior work, there are many interior surfaces that can be given attention. If the plant employs its own painters, a paint shop is a necessity. This should be located preferably near the center of the plant, so that all parts of the plant may be readily accessible. The room selected should be well heated and well lighted. It should be fitted with tanks for the storage of oils and thinners; with shelves for holding gallon cans or smaller sizes of paints and varnishes; with space for storing larger packages and barrels. The proper care of opened packages of paint is important. Packages smaller than half-gallons usually are furnished with friction tops, making it possible to keep the contents indefinitely. Gallon and half-gallon cans, five-gallon packages and larger containers, however, present a different problem. After the lid is cut out or removed, and a portion of the con¬ tents used, the best method of keeping the remainder is to place a stout paper cover over the top, tying it on with a heavy twine. When the time comes for the use of the remaining contents, a heavy skin will usually be found on top. No matter how tightly the paper cover may appear to adhere to the package, air is sure to creep in to a greater or less degree; and the presence of air is responsible for the formation of the skin. The skin viust be carefully removed. It should never be stirred into the paint. The addition of a small amount of oil may be necessary to prepare the contents for use. This can be determined after a thorough stirring. Make it a point to keep plenty of material on hand for use in an emer¬ gency. Frequently shipments from paint manufacturers are necessarily delayed and long delays may be costly. Determine upon the kinds of paints or varnishes that are most widely used in the plant, choose the manufacturer from whom you wish to purchase and order sufficient of the material in various sizes to keep you well supplied. The brush stock should be handled in a similar manner. It should be preferably under lock and key and in charge of the boss painter. He should be responsible for the proper care of the brushes and for requisitioning addi¬ tional supplies where necessary. 199 ALLOW AMPLE TIME FOR THOROUGH DRYING BETWEEN COATS Cans for holding oily waste or rags should be tightly covered, and all open lights or matches kept away. The contents of a paint shop are highly inflammable and too much care cannot be taken on this point. Many paint shops make a practice of having a barrel or tub into which are poured odds and ends of all sorts of materials. This is not to be com¬ mended. The mixture will inevitably become “fatty” and “livery” and is worse than useless for any purpose—either for priming or finishing coats. For the sake of efficiency and economy, such small amounts as may be left, if too small to preserve in the way indicated above, should be thrown away. Make cleanliness in the paint shop a fixed rule. This may be difficult to adhere to in some instances, but is essential for the efficient conduct of this department. r?—"''the surface and 7 Sy, » u ' I 200 GOOD PAINT AND VARNISH HOLDS DOWN UPKEEP COST Chapter 27 PERIODICAL PAINT INSPECTION AND GUIDE TO ITS PERFORMANCE Periodical inspection of plant and equipment—at least once a year—- should be made to determine the condition of all surfaces. Such a plan will reduce the cost of maintenance and is conducive to economical plant operation. It will inevitably bring to light surfaces that are showing evi¬ dence of rust and decay and make possible their preservation before replacement becomes necessary. A record showing date of painting, the color and the material used will be found of great assistance in checking up the durability of the paints and varnishes employed. Where this practice has not been followed, a start can be made by marking the date painted upon the surface within reading distance of the eye; or, a record can be kept by the painter, giving the necessary data. This will indicate the finishes that are not giving proper protection or length of service and.enable you to purchase better materials in the future. The time of inspection must be left to the management of each industry. As a suggestion, however, such inspection could be made during slack periods or at inventory time, when, in many industries, the plants are closed or running part-time. A record should be made similar to the following: Building When last Material Color Condition Recorn- Surface or Painted Used mendation Article A record such as this will guard against permitting surfaces to decay and deteriorate through lack of paint protection, and at the same time will be invaluable in showing the service derived from paints and varnishes used. The surfaces or articles to be painted vary with each industry. The following is a list of the most general types of surfaces of industrial plants and may be used as a practical guide for periodic paint inspections. For convenience, the particular material best suited for each surface or article is indicated by the number opposite it. See list of Du Pont Paints and Varnishes on page 204. (For full information regarding materials, appli¬ cation, etc., see preceding chapters.) 201 A PAINT FILM IS ONLY 1/500TH OF AN INCH IN THICKNESS Guide to the Use of Du Pont Paints and Varnishes for Industrial Upkeep Purposes Exterior Wood Surfaces Products Index Surface to use to Contents PAGE Factory and Mill Buildings.1-6 63 Mill Villages Houses.1-7 64 Roofs. 6-7 65-67 Porch Floors and Steps.5 68 Garages and Out Buildings.1 64 Frame Office Buildings Siding.1 68 Roofs.6-7 68 Window Frames and Sash.1 68 Porch Floors and Steps.5 68 Fences and Gates.1-6 68 Bridges and Passageways.1-6 68 Doors.1-3 68 Framework of Brick or Concrete Buildings.1 69 Wood Tanks and Their Supports.1-6-8 69 Telephone Poles and Cross Arms.6-9 70 All other Wood Surfaces. 70 Interior Wood Surfaces Floors (Office, Mill Village, Factory) 5-10-16-11-12-13-14-15-42-43-44 71-79 Walls and Ceilings—including Wainscoting and Baseboards 46-1-13-17-18-19-20-25-26-27-41-42-43-44-45 79-83, also 161 Doors, Door Frames, etc.46-20-1 83 Girders, Beams and Pillars.1-17-18-20 84 Elevator Gates and Shafts.1-6 84 Wood Machinery Parts.1 84 Racks and Bins.1 85 Exterior Metal Surfaces Structural Steel Construction.2-3-4 105-107 Roofs—Galv. Iron, Tin, or other Metal.2-3-6 107-109 Siding—Galv. Iron, Tin or other Metal .2-3-6 109 Gutters, Spouting and Water Conductors.2-3 109 Fences, Iron or Wire. 2-3-4 110 Fire Plugs, Hydrants, Valves, Alarm Boxes, Hose Carriages, etc.2-21 110 Fire Escapes and Ladders.2-3 111 Fire Doors.2-3-21 112 Hand Rails and Steps.2-3-5 113 Steel Tanks and Tank Supports. 1-2-3-4 114 Bridges and Passageways.2-3 116 Supports for Pipe Lines.2-3 116 Pipe Lines, Uncovered.2-3-23 116 Pipe Lines, Covered.3-23 116 202 don’t do exterior painting in wet weather Steam or Electric Cranes and Crane Supports Smokestacks and Chimney Connections. Ventilators. Factory Trucks and Cars, Tank Cars. Electric Locomotives. Steam Locomotives. Steel Drums and Containers. ....2-3 PAGE 118 .22 118 ... 2-3 118 .2-3-23 119 ,..2-23 120 .24-35 120 8-4-23 121 Interior Metal Surfaces Walls and Ceilings—Galv. Iron.2-3-4 Walls and Ceilings—Stamped Metal.17-18-19-1-20-25-26-27-41-45 Steel Girders, Beams and Supports.2-3-4—17-18-20-1 Electric Conduits and Switch Boxes, Indicator Tubing.2-3-23 Sprinkler Systems.2-3-4-21 Piping Systems.28-21-23-4-3-29 Fire Doors, Fire Buckets, Sand Pails, Fire Extinguishers, etc.. .2-3-21-23 Machinery.2-3-30-31-32-33-23-34-29 Machinery Guards.2-3-23-29-8-4 Waste Cans.2-23-28 Drinking Water Tanks.2-23-28 Raw Material Tanks, etc. 2-3-4-23-31-32-33-8 Factory Hand and Motor Trucks.2-3-23 Motors, Pumps, Turbines.2-3-30-31-32-33-23-34-29 Elevators and Elevator Shafts.2-3-23-21 Boiler Fronts and Connections.2-3-24-35-29-31-32-33 Weighing Machinery and Scales.23-28 Crane Supports and Cranes.2-4-3-8 Fume Control Systems.2-3-4-8 Drying Stoves and Similar Surfaces.2-3-24-35-29-31-32-33 Radiators. 1-3-4—5-17-18-19-20-28-41 123, also 162 124, also 162 126 127 128 129 129 129 131 132 133 133 134 134 134 135 135 135 136 136 168 Exterior Concrete Surfaces. . . .36-1 Exterior Brick and Plaster Surfaces.1-36-38 Interior Concrete Walls and Ceilings, Pillars.1-17-18-19-38-20-45 Interior Cement Floors.37-5 Interior Brick Surfaces.17-18 Plaster Walls and Ceilings.17-18 Zoning Systems.21-23-28-40 143 144 145, also 158 147 160 160 171 203 WHY EXPERIMENT WITH UNKNOWN BRANDS? Du Pont Paints and Varnishes for Upkeep Purposes £1. Du Pont Prepared Paint. 25. Du Pont Flow Kote Enamel. 2. Kromate Metal Primer. 26. “ Interior Decorative Enamel. 3! Ferro-Keep. 27. “ Sanitary Gloss Enamel. 4. Antoxide. 28. Colored Enamels. 5. Floor and Deck Paint. 29. (( Aluminum Paint. 1 6. Barn and Roof Paint. 30. 44 Machinery and Engine Fillers. 7. Shingle Stain. 31. 44 Oil-Resisting Flat Machinery 8. Acid-Resisting Black. Enamel. 9. Pole Paint. 32. 4 4 Oil-Resisting Egg-shell Ma¬ 10. Supremis Floor Varnish. chinery Enamel. 11. Oil Stain. 33. 44 High Gloss Machinery Enamel. 12. Penetrating Stain. 34. 44 Machinery Paint. 13. Tufcote Varnish Stain. 35. 4 4 Front End Black. 14. Prepared Wax. 36. 44 Cement & Stucco Coating. 15. Crack Filler. 37. 4 4 Concrete Floor First Coater. 16. Wheeler’s Paste Wood Filler. 38. 44 Elastic Wall Primer. 17. Du-Lite Undercoater. 40. 44 Traffic White. 18. Du-Lite Flat, Egg-shell, Gloss. 41. 44 Enamel Undercoat. 19. Flat Wall Paint. 42. 4 4 Graining Ground. 20. Dado Enamels. 43. 44 Graining Compound. 21. Fire Equipment Red. 44. 44 Paint & Varnish Solvent. 22. Stack Black. 45. 44 Lab. Enamel. 23. Motor Truck and Wagon Paint. 46. Shipoleum Interior Finish. 24. Locomotive Black. 204 . fpi ) Paints and Varnishes Color Chart Supplement to “Principles and Practices of Upkeep Painting” Prepared and Published by E. I. du Pont de Nemours & Co., Inc. Paint and Varnish Division 35th St. and Gray’s Ferry Road Philadelphia, Pa. Chicago Varnish Works Everett Station, No. 49 Chicago, Ill. Boston, Mass. DU PONT PREPARED PAINT • • No. 138 CREAM No. 115 PINK No. 749 FRENCH GRAY No. 82 DEEP IVORY No. 1038 BRIGHT STRAW YELLOW No. 67 DARK BUFF No. 77 OAK LEAF BROWN No. 90 VIENNA DRAB No. 1387 SANDSTONE No. 74 DRAB No. 860 FAWN No. 25 TERRA BROWN No. 133 GRAY No. 746 PEARL GRAY i-' «fc\'. .■■ ■ No. 160 SCOTCH GRAY No. 68 DARK LEAD No. 93 BLUE NOTE: Starred (*) Shades are higher in price. Also * No. 40 Outside White * No. 215 Enamel Gloss White * No. 38 Inside Gloss White * No. 142 Inside Fiat White No. 47 Black DU PONT PREPARED PAINT No. 138 CREAM No. 82 DEEP IVORY No. 115 PINK No. 749 FRENCH GRAY No. 90 VIENNA DRAB No. 133 GRAY No. 1038 BRIGHT STRAW YELLOW No. 67 DARK BUFF No. 1387 SANDSTONE No. 746 PEARL GRAY No. 74 DRAB No. 160 SCOTCH GRAY No. 540 SPRUCE YELLOW No. 77 OAK LEAF BROWN No. 860 FAWN No. 68 DARK LEAD No. 25 TERRA BROWN No. 93 BLUE NOTE: Starred (*) Shades are higher in price. Also * No. 40 Outside White * No. 215 Enamel Gloss White * No. 38 Inside Gloss White * No. 142 Inside Flat White No. 47 Black 2 DU PONT PREPARED PAINT (Conttnued) No. 135 APPLE GREEN No. 162 DARK APPLE GREEN No. 163 PATINA GREEN "No 86 BRIGHT GREEN •No. 118 DARK GREEN n .V.' • •V.'-.T. ;; .V r.V~y<3^ -vr:vQ ; *r*Fi A..v ; ' No. 151 DARK MOSS GREEN- No. 164 LIGHT BLUE No. 87 MAPLE LEAF RED •No. 191 CRIMSON RED No. 172 MAROON No. 77D OLD ENGLISH BROWN No. 106 BRONZE GREEN 3 DU PONT PREPARED PAINT (Continued) No. 135 APPLE GREEN •No. 118 DARK GREEN •No. 191 CRIMSON RED No. 162 DARK APPLE GREEN No. 163 PATINA GREEN •No 86 BRIGHT GREEN No. 151 DARK MOSS GREEN No. 164 LIGHT BLUE No. 87 MAPLE LEAF RED No. 172 MAROON No. 77D OLD ENGLISH BROWN No. 106 BRONZE GREEN 3 Du Pont Flat Wall Paint No. 13 IVORY No. 36 BLUE TINT No. a CREAM No. 12 GRAY No. 16 YELLOW TINT No. 32 GREEN TINT No ll LIGHT BUFF No. 25 DARK TAN No. 23 LIGHT TAN No. 15 FRENCH GRAY No. 58 LIGHT ROSE TINT No. 27 LIGHT BLUE Also a Beautiful SNOW WHITE Du Pont Cement and Stucco Coating CREAM TILE MILWAUKEE BRICK . . $?:> - . ,.. v. : /. ■* i ■ CEMENT G« ANITE TILE RED Aleo WHITE 4 No. 13 No. A No. 16 No. 11 No. 23 No. 58 Du Pont Flat Wall Paint Du Pont Cement and Stucco Coating IVORY No. 26 BLUE TINT CREAM TILE YELLOW TINT No. 32 GREEN TINT CEMENT LIGHT TAN No. 15 FRENCH GRAY TILE RED Also WHITE LIGHT ROSE TINT No. 27 LIGHT BLUE Also a Beautiful SNOW WHITE 4 Du Pont Tufcote (Varnish Stain) Du Pont Penetrating Stain LIGHT OAK LIGHT OAK on OAK DARK OAK CIRCAS. WALNUT on GUM BROWN OAK on OAK MAHOGANY GOLDRN OAK on OAK LIGHT MAHOGANY on BIRCH DARK MAHOGANY on BIRCH BROWN MAHOGANY on BIRCH WALNUT on BIRCH 5 Du Pont Tufcote (Varnish Stain) Du Pont Penetrating Stain DARK OAK LIGHT OAK on OAK CIRCAS. WALNUT on GUM LIGHT MAHOGANY on BIRCH DARK MAHOGANY on BIRCH CHERRY BROWN OAK on OAK BROWN MAHOGANY on BIRCH MAHOGANY GOLDEN OAK on OAK WALNUT on BIRCH WALNUT ENGLISH OAK on OAK BROWN MAHOGANY FLEMISH OAK on OAK GRAINING GROUND MISSION GREEN on OAK 5 Du Pont Motor Truck and Wagon Enamel Paint Du Pont Antoxide RED GRAY MAROON BRONZE GREEN KROMATE METAL PRIMER Du Pont Ferro-Keep RED GRAY Also BLACK GREEN Du Pont Motor Truck and Wagon Enamel Paint TRACTOR GRAY GREEN MAROON Also BLACK Du Pont Antoxide RED GRAY MAROON BRONZE GREEN BLACK KROMATE METAL PRIMER Du Pont Ferro-Keep RED GRAY GREEN Also BLACK 6 Du Pont Oil Stain Du Pont Colored Enamels DARK MAHOGANY YELLOYV DELFT BLUE WALNUT ORANGE PALE GREEN MISSION OAK VERMILION WILLOW GREEN RICH PORCH RED Also WHIT E and BLACK LAWN GREEN 7 Du Pont Oil Stain Du Pont Colored Enamels LIGHT OAK DARK OAK IVORY SILVER GRAY BROWN LIGHT BLUE MAHOGANY BUFF MEDIUM BLUE DARK MAHOGANY WALNUT YELLOW DELFT BLUE ORANGE PALE GREEN MISSION OAK VERMILION RICH PORCH RED Also WHITE and BLACK LAWN GREEN 7 Du Pont Floor and Deck Enamel Paint and Du Pont Dado Enamels DEEP ORANGE EIGHT BROWN BROWN STONE M AROON GREEN Du Pont High Gloss Machinery Enamels STXEE MAROON EIGHT GREEN VERMILION AIwj BLACK and WHITE 8 Du Pont Floor and Deck Enamel Paint and Du Pont Dado Enamels BUFF SPRUCE DARK SPRUCE DEEP ORANGE LIGHT BROWN BROWN STONE MAROON DUST DARK STONE GREEN Du Pont High Gloss Machinery Enamels VERMILION Also BLACK and WHITE 8 ’■ h ' Pont Barn and Roof Paint iMT ».rr> GRAY BROWN •Bj Pont Shingle Stain 9 Du Pont Barn and Roof Paint BRIGHT RED BROWN GREEN Du Pont Shingle Stain No. 10 VENETIAN RED No. 29 RICH RED No. 13 BRIGHT GREEN No. 5 DARK GREEN No. 30 BRONZE GREEN Also No. 1 NATURAE No. 31 GRAY 9