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Parts 3, 4 and 5 
 HOME MECHANIC 
 Copyright, 1897 
 by 
 
 T. J. CAREY & CO. 
 
THE HOME MECHANIC. 
 
 18? 
 
 Sign, Carnage anfr §mrratik |Jaratmg. 
 
 SIG-N PAINTING. 
 
 Sign Painting is an art of a very exalted character, 
 and when brought to a state of perfection, viz., true color- 
 ing, fine, accurate divisions, and proportions duly balanced, 
 it is entitled to rank with fresco and landscape painting. 
 Indeed, I know of nothing more pleasing to the eye than a 
 sign where all the requirements are brought to bear in per- 
 fect unison — " a true sense of color in contrast n — a sweet 
 harmony of tone, a chastenessof composition, upon which the 
 senses can rest with entire satisfaction. These are the 
 points which we wish the reader and learner to attain, and 
 which we shall strive to make intelligible and clear. Too 
 many men learn and hoard up, like very misers, and too 
 many die with the gainings of a lifetime locked in their 
 bosoms, rather than give such knowledge to benefit those 
 who succeed them. And it may reasonably be supposed 
 that the arts and sciences are scores of years behind what 
 they would have been but for this very selfishness. 
 
 In everyday practice how often do we see attempts made 
 at sign painting by those who, through ignorance of the 
 first and most essential principles, who know nothing about 
 the true method of preparing grounds, the proper propor- 
 tioning of the letters, the divisions of distances, parallels, 
 contrasts of color, and other requisites to a good or at- 
 tractive sign ; how often have we seen such signs attempted 
 and become objects of ridicule, even among people who 
 knew nothing of the business themselves ? An artistic 
 sign is attractive in more ways than one, and an unartistic 
 one is agreeable to none. 
 
 Before entering upon the general outline of procedure, it 
 will be well to give an outline of the nature and properties 
 
188 
 
 THE HOME MECHANIC. 
 
 of colors employed in sign painting, together with the oils, 
 sizes, varnishes, &c. 
 
 COLORS. 
 
 Red Vermilion. — This is a bright scarlet, a chemical 
 compound of mercury and sulphur. The best article now 
 in the market is of English manufacture. 
 
 Red Lead. — This is an oxide, of orange tinge, very 
 liable to turn black. 
 
 India Red. — This is an ochre, brought from the East 
 Indies ; its shade inclines to purple. It works freely and 
 stands well. 
 
 Colcother. — A red oxide of iron. It is often called 
 " Indian Red," which is wrong. It is obtained by the dis- 
 tillation or calcination of sulphate of iron. The fine color 
 inclines more to the scarlet than the purple. It stands well. 
 
 Venetian Red. — A native ochre combined with iron. 
 When well washed, to free it from its sandy particles, is a 
 fine, mellow, pleasant red. It is very useful, and stands well. 
 
 Red Ochre. — Is yellow ochre calcined as deep as the 
 iron it contains will oxidize. A very useful color for shad- 
 ing in gold signs, etc. 
 
 Carmine. — The most valuable of that class of colors, 
 being the heaviest body-color obtained by the manufacture 
 of lake. It is made from cochineal, precipitated by solu- 
 tion of tin ) or the best lake from madder, by Sir H. Engle- 
 field's process. 
 
 Chrome Yellow. — This is a chromate of lead, and is 
 prepared by the following process : Take a solution of 
 chromate of potash in hot water and add another solution 
 of acetate of lead (sugar of lead). If wanted very pale 
 use a little nitric acid ; and if dark shades are required, use 
 bi-carbonate of potash, and by the addition of a few drops 
 of muriatic acid you can deepen the tint down to orange. 
 
 Naples Yellow. — This is prepared by lead and antimony. 
 It is much used and stands tolerably well, although of but 
 little use to the sign painter. 
 
 Yellow Ochre. — This color is a native earth. Some 
 specimens are very bright, and all are durable in oil and 
 work freely. 
 
THE HOME MECHANIC. 
 
 189 
 
 a jsrra de Sienna.— This is a brighter and deeper yel- 
 low than most of the other ochres. It is found principally 
 in Italy, and is a valuable color. 
 
 Turpith Mineral. — This is brighter in color than any 
 other yellow, except king's yellow. It works like vermilion, 
 which it greatly resembles in strength of color, etc. 
 
 King's Yellow. — Is a combination of sulphur and 
 arsenic. It is a strong poison, but has a deep, rich color, 
 although not durable. 
 
 Blues are principally composed of sulphate of iron and 
 prussiate of potash. These blues are generally called 
 Prussian blue, Antwerp blue, celestial blue, etc. They are 
 all of a fugitive character in oil. 
 
 Ultramarine. — This is the richest and brightest of all 
 blues, but is too expensive to be used in house, sign, or 
 ornamental painting, costing usually about twenty-five dol- 
 lars per ounce. But a very good and cheap substitute has 
 been discovered, manufactured from carbonate of soda, 
 sulphur, cobalt and kaoline. It works well and is durable. 
 
 Cobalt. — This is the oxide of cobalt, but its manufac- 
 ture is too complicated to describe in this little work. It 
 is a beautiful shade of blue, and both works and stands well. 
 
 G KEENS. 
 
 Brunswick Green — is copper dissolved in a solution 
 of muriate of ammonia. It is a good, pure green and 
 stands well. 
 
 Chrome Green. — Green chromium is a compound of bi- 
 chromate of potash and flower of sulphur, but the manu- 
 facture is too intricate to find a place here. It is a rich and 
 splendid green. Chrome green, formed by a union of 
 chrome yellow and Prussian blue, can be made of any shade 
 by using more or less of one or the other of the colors. 
 They are very durable. 
 
 Verdigris. — Copper reduced by a vegetable acid. It 
 can be used by the addition of a little chrome yellow. It 
 stands well, and is a good color for shading, etc., being 
 transparent. 
 
 A beautiful transparent green can be made as follows : 
 Pulverize sugar of lead and blue vitriol (sulphate of cop- 
 
190 
 
 THE HOME MECHANIC. 
 
 per), then put the two dry powders together ; mix them 
 well with the knife on a marble slab or glass. The vitriol 
 and lead, more or less of either, varies the color, making ;t 
 brighter or darker. This is a beautiful green for glazing 
 gold, or anything requiring a transparent tint. It is durable. 
 
 Scheel's Green. — Arseniate of potash and acetate of 
 copper. Beautiful, but poisonous, and should at all times 
 be used with extreme caution. 
 
 Emerald Green. — A composition of yellow arsenic and 
 verdigris. A most malignant poison. I have known paint- 
 ers to spit blood after merely mixing and grinding forty or 
 fifty pounds of that mineral, and the taste would not leave 
 the mouth for days. Avoid such a color as you value your 
 health. 
 
 WHITES. 
 
 Flake White. — The best formerly came from Italy, 
 where the acid of the grape was employed in the manu- 
 facture, instead of commou acetic acid. It is a pure white 
 but liable to change. The flake white made in England 
 and Germany retains its purity to the end. 
 
 Kremmtze White. — This is simply white, corroded in 
 a small scale in iC chambers " instead of being done in 
 u stacks," the old Dutch method. It must consequently be 
 free from any sulphate of hydrogen or ammonia, and hence 
 its superiority over the others. 
 
 Zinc White. — An oxide of that metal, the result o' 
 combustion, commonly called (i chemical wool." It is a 
 beautiful white, not quite so full in body as white lead, but 
 possessing no affinity for either sulphide of hydrogen or 
 ammonia, or any other of the obnoxious gases. It retains 
 its brilliant whiteness longer than any white pigment known, 
 with the exception of a white prepared from antimony, 
 which has, however, never as yet become an article of com- 
 merce. 
 
 BLACKS. 
 
 Lamp Black. — The soot collected from burning animal 
 or vegetable matter. It should always be calcined before 
 using, as it will then dry better and make better color. 
 
THE HOME MECHANIC. 
 
 191 
 
 Ivory Black. — This beautiful black is prepared by the 
 calcination of ivory and bones in close vessels. It is the 
 purest and most valuable color in the sign painting busi- 
 ness. 
 
 BROWNS. 
 
 Umber. — The Turkey umber is the best ; the English 
 is rated second. They are good drying colors. In theif 
 raw state they also class as olive colors, but when calcined 
 are a fine, rich brown. They are good and durable, and 
 also very useful to a sign painter. 
 
 Terra be Sienna. — When burned this is a very rich 
 color, much in repute with fresco, sign, and decorative 
 painters. It keeps its color well. 
 
 Purple Brown. — This is composed of prussic acid with 
 the oxide of copper. It is a very fine color, and produces 
 with white very fine lilac tints. It is also a good grounding 
 color, and stands well. 
 
 Asphaltum. — This is a bituminous substance, of a deep, 
 rich brown color 5 transparent, and a good glazing or shad- 
 ing gold or any other work. It works well with boiled oil 
 or turpentine. It is found on the shores of the Dead Sea 
 and in Judea. 
 
 Note. — I would here mention the necessity of procuring 
 good, pure linseed oil. This is a very essential point, as 
 many of the oils in the market are adulterated with fish 
 and animal oils, and are, therefore, entirely unfit for use. 
 
 DRYERS. 
 
 Patent dryers act very well, if pure, but as they are all 
 more or less adulterated with whiting, which imparts a 
 toughness which destroys their fluidity or flowing qualities, 
 I would advise the artist to make his own. 
 
 Grind either sugar of lead or sulphate of zinc (white 
 vitriol) in raw linseed oil, or equal quantities of both to- 
 gether. One teaspoonful will dry from twenty to twenty- 
 five pounds of color. This dryer will not injure the most 
 delicate color, even the purest white. 
 
192 
 
 THE HOME MECHANIC. 
 
 DRYING JAPAN. 
 
 This dryer, if of a proper quality and light in color, a 
 teaspoonful will dry from twenty-five to thirty pounds of 
 color. 
 
 SMALTS. 
 
 Smalts of various colors are required, and I would hetv 
 state, upon my own experience, that they can be purchased 
 better and cheaper than they can be manufactured. I would 
 advise ail painters to purchase at any respectable color 
 store, where their own experience has given them confidence. 
 
 A few more necessaries are required, such as a slab and 
 muller of white marble, a pallet knife, pots, paint-brushes, 
 etc., etc. Let the brushes range in No.'s from 2 to 300. 
 Also a few tools, commonly called sash-tools, from No. 4 
 to 8. Flat French tools, various sizes ; a few round tools, 
 bound in tin ; also a stock of sable tools, short, medium, 
 and long, to suit all subjects that may occur. 
 
 Camel-hair tools and pencils are also good, and gener- 
 ally lay the color finer than sable. A bench is also re- 
 quired; an easel ; a set of pallets, of hard wood or ivory ; 
 a mall stick (a small slender rod of firm wood, with a ball 
 of cotton at one end covered with chamois skin), to support 
 the right hand. Some artists discard the mall stick alto- 
 gether, as it hinders a perfect freedom of the pencil, but it 
 is best for beginners, or any one slightly nervous. 
 
 A rinsing cup is also necessary ; a small tin cup, made 
 to hold about a gill. Have a small cup made to fit into 
 the large one — about one-third as deep — perforated on the 
 bottom with small holes ; fill the large cup with turpentine 
 until it reaches over the perforated bottom of the inner cup; 
 rinse the pencils in this, and the refuse color from them will 
 settle to the bottom of the large cup, leaving the turpen- 
 tine always clear. They should afterward be washed in 
 soap and water. 
 
 Having advanced thus far, lay in a small stock of oil, 
 turpentine, japan, etc., etc., a small keg of the best English 
 white lead (" B. B." brand) and then select a suitable board 
 for a sign, and commence 
 
THE HOME MECHANIC. 
 
 193 
 
 FIRST OPERATIONS. 
 
 There are various theories respecting the quality of wood 
 to be used, as also in relation to the particular "cut" of the 
 log. Some contend that the center cut is less liable to 
 warp and u shake/ 7 owing to the grain running squarely 
 through. It must be acknowledged that this theory has 
 philosophy in it, and, from my own experience, I admit that 
 it is a good board. But the outside of a log is best, for two 
 reasons, viz. : 
 
 In the first place, the outside cut has been more exposed 
 and consequently more thoroughly seasoned. Second, the 
 grain runs through more upon an angle, and, therefore, not 
 so liable to split, shake, or warp. 
 
 You must provide yourself with a can of shellac varnish, 
 which is simply shellac dissolved in alcohol, and reduced to 
 a proper consistency to spread easy. The use it is most 
 often put to is covering knots and sappy places that may 
 show after the first coat of grounding. 
 
 Another and a better way to use it is, to give the whole 
 board a flowing coat of it, thus making the whole surface 
 equal, and kills any resinous spots, discolorations, etc. The 
 best way to serve knots, however, is to bore them out en- 
 tirely with a center-bit, boring a trifle outside of the knot> 
 and an eighth of an inch or so in depth. This being 
 stopped with stiff putty, effectually disposes of all trou- 
 ble arising from knots. 
 
 It is a good idea to have a little " stout " shellac on pur* 
 pose for small knots, as before-mentioned, for in many in. 
 stances it will completely obliterate them. Make your own 
 shellac, if possible, as it can be more relied upon than the 
 most that is in the market, being generally adulterated 
 with soft gum. It not unfrequently occurs that the tur- 
 pentine and oil mixes with such shellac, after dissolving It 
 (provided it is not good), but if you make it of shellac alone? 
 you may depend upon its quality. 
 
 When your shellac is dry mix up as much white lead as 
 you require, beating it up in oil, stiff ; then add yourdryers, 
 in about the same proportions as already given ; then add a 
 little turpentine, just enough to reduce it to the proper 
 thickness ; then give your sign-board a good, even, full coat, 
 
194 
 
 THE HOME MECHANIC. 
 
 When this is dry rub it down with pumice-stone, so that 
 the surface will be perfectly even and free from all plane- 
 marks. Avoid sand-paper, for it never cuts down a surface 
 so well as pumice-stone, although it will do for ordinary 
 work. Then putty up all holes, etc., with good, stiff putty 
 (common putty and white lead mixed, is good). 
 
 The second coat may be similar to the first, only let 
 there be less oil in it. The third coat must contain still 
 less oil 5 say one-third oil and two-thirds turpentine. The 
 fourth, or last coat, must contain very little oil ; dry with 
 drying japan. 
 
 I have found by years of experience and observation that 
 too much oil is the cause of the blistering and scaling so 
 frequently seen upon sign-boards. The fact is very patent, 
 for, as in coach painting, the more oil used the more con- 
 traction and expansion 5 and, consequently, no other method 
 of mixture will stand all exposures, summer, winter, sun- 
 shine, and rain, so well as the one I have given. 
 
 As we now proceed to consider the most suitable colors 
 and tints for the various grounds, etc., it will be necessary 
 to enter into the philosophy of contrasts and harmonies, 
 force of color, so as to be able to select proper colors for the 
 work that is to follow. 
 
 Contrast in its first element may be called black and 
 white, and this is confined to light and shadow and the dis- 
 position of lines. Though both are necessary in works of 
 color, I will take it for granted that you understand them 
 already, and so pass at once to contrast of colors which 
 give the principal charm to painting. 
 
 As the present object is to avoid dullness we shall strive 
 to obtain the opposite — brightness, and err, if at all, on the 
 credit side, leaving mellowness of tone to follow as a natur- 
 al result of an educated eye. 
 
 Force or power does not consist in strong and gay col- 
 ors, but is entirely the result of proper combinations and 
 contrasts. Two contrasting tones must be brought together 
 md then the power of each will be felt. 
 
 Thus, if our grounds are warm and yellow tints, we 
 should have blues and purples in contrast. 
 
 If our grounds are cool, then reds and yellows are a fine 
 contrast. The three principal contrasts are Hue opposite 
 
THE HOME MECHANIC. 
 
 195 
 
 to orange, red to green, yellow to purple, and by carrying out 
 this principle of opposition of color throughout the scale, 
 you will obtain an endless variety of contrasts. 
 
 Remember this, a color and its opposite naturally increase 
 as they approach, but when once they mingle, they destroy 
 and neutralize each other. To give a shadow to a letter, 
 the student must be cautioned not to use merely a darker 
 shade of color, either of the letter or of the ground, for 
 that would only result in a tame, dull effect. Many carry 
 this principle into sign painting, and thus lose the advan- 
 tage of contrast that an opposite color would give. 
 
 The shadow is to represent a certain modification of at- 
 mospheric effect, and will, in almost every instance, partake 
 of a natural tone or harmony of contrast. 
 
 For instance, let a small block of wood be placed upon 
 a sign 5 paint the block the color you want for your letters 
 place it so as to throw a shadow either to the right or the 
 left, from the sun, and observe the particular tint of the 
 shadow so cast. You will observe a compound effect or 
 tone, proceeding both from the block and from the sign, a 
 natural blending of the two. This gives you a true con- 
 trast always in harmony. 
 
 Contrasts in great variety can also be had upon the prin- 
 ciple of force of color, but there must be a distance left 
 between the letter and the shadow, to relieve it, otherwise 
 the strong contrasts would appear harsh and hard. Always 
 bear in mind that a sign is not like a picture, to be exam- 
 ined at short distances, but generally from fourteen to forty 
 and fifty feet from the eye ; consequently the colors used 
 must possess sufficient force (although in harmony) to have 
 effect at such a distance. 
 
 The same idea is the point to be gained in scenic repre- 
 sentations and a study of effect and force of color, as seen 
 m stage scenery, is a good one for either student or professor. 
 
 As a general thing you will find that the reds require a 
 shadow of a purplish or dull brown ; in some cases, where 
 the ground admits of it, almost positive black. 
 
 And in yellows, of the umber shade, you will require a 
 gradation of golden hues for your first shade, ranging down 
 to nearly black. 
 
196 
 
 THE HOME MECHANIC. 
 
 RULES FOR CONTRASTS. 
 
 Positive and sweet contrasts, such as the following, may 
 be taken as a general idea : 
 
 Light pink upon a white ground can be best shadowed by 
 a warm brown. 
 
 Light grays and drab grays shadow with rich browns. 
 
 For greens, reddish brown shadow. 
 
 White to flesh-color, rich purple shadows. 
 
 As a standard rule, warm shadows to cool, light colors ; 
 and cool shadows to colors of a warm tint. 
 
 Avoid the use of greenish blues and greenish yellows ) 
 they both appear unsatisfactory and sickly. 
 
 Blue and yellow both become agreeable as they incline 
 to red. Red becomes rich as it inclines to blue, and bril- 
 liant as it inclines to yellow. 
 
 A shade of purple and orange are agreeable, but no 
 greens except those that incline to yellow. 
 
 All tertiary tints, such as citron, olive, russet, etc., are 
 agreeable, and have value by contrast of their own shades. 
 
 HARMONY. 
 
 It may be as well, before leaving the subject of con- 
 trasts, to point out how far harmony affects the sign painter, 
 although its principal use has reference to the finished work. 
 
 Harmony is the art of uniting two extremes of light and 
 shadow, or of warm and cool colors, by the introduction of 
 such intermediate tones as will subdue the crudeness of 
 effect, caused by the use of opposites alone. By intro- 
 ducing half tints which partially unite the dark masses of 
 color, when placed between them, their relation to each 
 other becomes toned down, and in a measure deprived of 
 this rudeness. 
 
 Thus the primary colors, red, yellow, and blue, are op- 
 posed or in contrast to the secondaries, green, purple, and 
 orange, when standing together, but become united and 
 harmonized by the friendly introduction of a neutral, placed 
 between them. 
 
 This is the case with the compound tints, however far 
 
THE HOME MECHANIC. 
 
 197 
 
 removed from the primary colors, the qualities of color 
 being always brought out by harmonious opposition. 
 
 Harmony, then, consists in using such materials between 
 these colors or tones that are opposed as may diminish the 
 violence of the contrast, and conceal the aim of the painter 
 in bringing them together. If this is not done, the attempt 
 and not the deed will confound not only the painter but the 
 reader of his sign. 
 
 Harmony, then, is simply that expedient which the force 
 of contrasts compels us to adopt, and is useful to this ex- 
 tent — that by it we secure that force without which our 
 work would be either too tame or too harsh. It is really 
 the golden link in composition. 
 
 In describing the mixtures of colors and tints, all that is 
 necessary is to exercise due caution in applying them to 
 your lead or zinc that you have beat up in oil, being care- 
 ful not to mix too thin, for by so doing you will find it a 
 difficult matter to bring your color to a true assimilation. 
 
 As some colors are light and others heavy, you will see 
 the necessity of keeping your color stiff ; and always thin 
 your tin ting-colors ; and always put in the color which is to 
 predominate, or give the general tone, first, and until you 
 see that you have enough, then add the others, if any, to 
 the mixture until you have obtained the required shade. 
 
 TABLE OF TINTS. 
 
 Gray. — White and lamp black. 
 
 Buff. — White, red, yellow, and a little black. 
 
 Pearl. — White, ultramarine blue, and carmine. 
 
 Orange. — Yellow and red. 
 
 Violet. — White, ultramarine blue, and carmine. 
 
 Purple. — Same as above, only in different quantities. 
 
 Gold. — White, stone ochre, and a little burnt umber. 
 
 Oliye. — White, yellow, black, and red. 
 
 Chestnut. — Red, black and yellow. 
 
 Flesh. — Vermilion, white, and yellow. 
 
 Fawn. — White, red, yellow, burnt umber. 
 
 Drab. — White, yellow, red, burnt and raw umber. 
 
 Do. — Ochre, burnt sienna, black. 
 
 Do, — Any variety can be obtained by these colors. 
 
198 
 
 THE HOME MECHANIC. 
 
 BROWN Green. — Chrome green, yellow, black, and 
 red. 
 
 Pea Green. — Chrome green with white lead. 
 Rose Tint. — Carmine and white, or madder lake and 
 white. 
 
 Copper. — Red, chrome, yellow, and black. 
 
 Lemon. — Pale chrome and white. 
 
 Claret. — Vermilion and blue. 
 
 Dote Color. — White, vermilion, blue, yellow. 
 
 Pinks. — White, vermilion, madder lake or carmine. 
 
 Cream. — White and pale yellow ochre. 
 
 Salmon. — White, light red, and yellow. 
 
 Straw. — Chrome or yellow ochre and white. 
 
 Lilac. — Carmine, blue, and white. 
 
 These constitute the principal tints in general use, but 
 by practice in composition, a great variety more can be ob- 
 tained. 
 
 Having proceeded thus far let us now turn our attention to 
 LETTERS, 
 
 their proportion, etc., and take as an alphabet the most 
 beautiful one the world ever knew — the Roman. 
 
 The Roman Italics differ from the capitals only by being 
 slightly inclined from a perpendicular, and this inclination 
 should not vary much from an angle of sixty degrees, al- 
 though natural taste has much to do with governing it. 
 
 The letter A is generally formed with more faults than 
 any other in the alphabet, and in nine cases out of ten it is 
 occasioned by spreading its angles too much. It should 
 not be wider than H or N, hair lines included. 
 
 The upper part of B, E, F, and R should take up a par- 
 ticle less space on the main line of each letter than the 
 lower part, and the upper, horizontal projecting curve of 
 B and R should in the same proportion be a trifle the 
 smallest. 
 
 The connecting bar of the letter H should be a trifle 
 above the center of the letter. 
 
 The perpendicular width of the curve for P should take 
 up just half the length of the main limb of that letter. 
 
 The bottom curve of J is allowed a handsome sweep, so 
 
THE HOME MECHANIC. 
 
 199 
 
 that the projecting horizontal line at its top and its curve 
 will occupy the same space as C or S. 
 
 The upper curve of S should be smaller than the lower 
 curve, and for this reason — the bottom of all letters should as 
 near as possible form the base of their apparent structure. 
 
 The middle top line of W is dispensed with, and that 
 center limb terminates in a peak or point. 
 
 To form a curve to the last of R is preferable to a flat, 
 straight termination, provided the curve be made full, and 
 the letter seems to stand firm. 
 
 The last limb of G should terminate at seven-sixteenths 
 of its hight, or a little less than half its hight. 
 
 Eight letters, B, D, E, G, 0, P, Q, and T, will oc- 
 cupy the same space from left to right as they do in 
 hight. 
 
 Six letters, C, F, J, L, S, and Z, will take one-sixteenth 
 less width than hight. 
 
 M and W, one-sixteenth more width than hight. 
 I, one-half its hight wide. 
 
 If two lines are drawn upon a sign or sheet of paper, 
 say half an inch apart, and eight compartments set off, 
 half an inch square, B, D, E, G, 0, P, Q, and T, each 
 will fill one square and be well-proportioned letters. 
 
 Then divide off six compartments, one-sixteenth part 
 narrower than they are high, for C, F, J, L, S, and Z. 
 
 Then make nine compartments, one-sixteenth wider than 
 they are high, for A, H, K, N, R, U, V, X, and Y. 
 
 For M and W, allow one-sixteenth more width than 
 hight ) for I, one-half its hight ; for &, one-eighth more 
 width than hight. 
 
 These proportions will form a very graceful letter, but 
 they can be either compressed or extended from this rule so 
 as to suit both taste and space. 
 
 The small letters are more difficult to form than the 
 large ones. The main body of thirteen letters, viz., a, b, 
 d, g, h, r, n, p, q, u, v, x, and y, will occupy a square each. 
 
 The letters c, e, o, r, s, t, and y, require one-sixteenth 
 less width than hight ; i and 1, one half their hight in 
 width. 
 
 These relative proportions are given without the pro- 
 jecting limbs above and below their main body, which pro- 
 
200 
 
 THE HOME MECHANIC, 
 
 jections should be one-half the hight of the main body of 
 the letter. 
 
 The proportions for Italics are as follows : 
 Seven capitals, C, G, J, E, 0, Q, and 8, occupy a 
 square. 
 
 Sixteen letters, A, B, D, E, F, H, X, N, P, R, T, U, V, 
 T, Z, require one-sixteenth more width than hight ; M, 
 three-sixteenths wider than high ; W, two-sixteenths wider i 
 than high ; and I, one-sixteenth less ; with a given angle of 
 from sixty to sixty-three degrees. 
 
 In the small alphabet, seven letters, viz., a, i, k, r, s, t, 
 v, will occupy a square each, subject to the same rule re- 
 garding their projecting parts as given for the others, the 
 small Roman letters. 
 
 Thirteen letters, b, d, f, g, h, j, n, p, q, u, x, y, z, will 
 occupy one-quarter more width than hight ; m, two-fifths 
 more width than hight. 
 
 It may be observed here that the block-letter alphabet 
 is of about the same proportion of hight and width as the 
 Roman capitals do, except in extra full lettering, for which 
 proportions the additional thickness of the body of the letter 
 must be added to the rules given in relation to the Roman. 
 
 All these letters are only varieties of those given above, 
 and are left to the taste of the painter. Practice, with the 
 rules already given, will unfold much that cannot be writ- 
 ten, and much that can only be attained by experience,, 
 
 Practice what has thus far been given, and then we will 
 go one degree higher, to the consideration of 
 
 GILDING. 
 
 Before considering this branch of the sign-painter's art 
 it will be best to treat upon the various sizes in general use 
 among them. And here I wish to guard the uninitiated 
 against the use of gold size, sold at most of the color stores. 
 They are generally got up from recipes published by men 
 who are totally ignorant of the nature and properties of a 
 permanent gilding size. My own experience amply con- 
 firms this assertion. 
 
 Let every painter make his own size, and then he will be 
 less likely to be a stranger to what he wants. If it be too 
 
THE HOME MECHANIC. 
 
 201 
 
 slow in drying, or if it dries too quickly, he will be able to 
 know what is required to make it right. 
 
 An excellent size is made by putting boiled oil in a good 
 stone pot ; place it upon a slow fire, and let it rise to such 
 a heat as nearly to ignite ; then with a match or a bit of 
 lighted paper set fire to it, and let it burn fur a few minutes, 
 so as to thicken ; then take a piece of cloth and cover the 
 pot, to put out the flame, and it will trhen be like syrup or 
 thin tar. 
 
 This done, strain it through a silk stocking or handker- 
 chief into a bottle and keep it closely corkecU ,When you 
 wish to use it, thin it with turpentine, bu* : - ireful and 
 not use it too thin. 
 
 ANOTHER RECIPE. 
 
 Another good size for gilding may be made in this way : 
 Procure some pure old drying oil, the older the better; 
 grind into it some ochre and a little of the best quality of 
 red lead ; then thin it to a proper consistency ; form your 
 letters carefully, laying it very even and thin, and let your 
 work stand until so dry as only to have sufficient " tack " 
 to hold your leaf. Apply the leaf with a gilder's tip 
 carefully and lay it smooth with a flat camel-hair brush 
 or a ball of fine cotton wool, but do not brush off all 
 the superfluous gold until you are sure that the under size 
 is perfectly dry and hard. This gives the gold its full 
 brilliancy and stands the weather well. 
 
 QUICK DRYING SIZE. 
 
 Take a little good, quick-drying copal varnish; add to it 
 a small quantity of your old boiled drying oil, just enough 
 to give it " tack," and when dry enough lay your leaf as 
 before directed. 
 
 A SIZE KNOWN TO BUT FEW. 
 
 Take one pound of good, pure drying oil ; put it in a 
 metal pot with a cover; slowly add to this, after it has 
 come almost to a boiling point, four ounces of pure gum 
 animi (not copal ; gum dealers are of the opinion generally 
 
202 
 
 THE HOME MECHANIC. 
 
 that animi and copal are one and the same, but such is not 
 the case). Have your animi reduced to a fine powder ; 
 take it upon the point of your pallet-knife and put it in cau- 
 tiously, little by little, until you have it all in, allowing 
 time to dissolve, and all the while keep stirring the mixture. 
 Boil to the consistency of tar, and while warm strain ify 
 through a piece of silk into a heated, wide-mouthed bottle; 1 
 keep well corked, and when required, thin with turpentine 
 'and mix thoroughly. If you grind a little vermilion with 
 this size it will show you what you are doing when using 
 it. 
 
 This size will gild on glass, china, metal, signs, and 
 nearly everything, and if properly made has no equal ; being 
 more durable, it gives more luster to the gold than any other 
 size, and has the very singular property of retaining the 
 " tack " longer than any size known. 
 
 This is the " secret size," used by the best artists in Lon- 
 don and Paris, and the one used by the justly celebrated 
 japanners of Birmingham, who produce the finest work in 
 decoration to be found in the world's market. 
 
 The artist must be furnished with a gilder's cushion, with 
 parchment back and ends ; a knife to cut his gold ; a " tip," 
 or brush, to lift his leaf with ; a ball of cotton wool, and a 
 flat camel-hair brush to clean off with. 
 
 Take a little clean tallow on the back of the left hand, 
 and then draw the " tip " quietly over the tallow and it will 
 receive enough to take up the gold. Then place it lightly 
 upon the work, to which it will adhere readily, and so con- 
 tinue until all your sized work has been covered with it. 
 
 The next thing to do is to pad it down lightly with your 
 cotton ball, being careful to omit no portion of it, for if a 
 mistake occurs on the first going over, you will find it very 
 difficult to mend it afterward. So be particular in your 
 work and miss no part of it. As before stated, do not 
 thoroughly brush off your work until entirely dry. 
 
 Always, when gilding, try your size upon a piece of 
 painted board or glass, in order to determine accurately the 
 length of time it requires to dry. If it dries too quick, add 
 some oil. If you size to-day and gild to-morrow, and 
 should you find the size too dry in the morning, you will 
 have to add a little old. fat, raw linseed oil, as this tempers 
 
THE HOME MECHANIC. 
 
 203 
 
 it so that you can set your own time for the gilding. A few 
 experiments in this connection will enable you to master and 
 regulate the nature and operation of size 
 
 FOR A SIZE EXPOSED TO THE WEATHER. 
 
 One thing has been proved by experience, that is, that; 
 no gilding exposed to the extremes of summer and winter,' 
 wet and dry, cloud and sunshine, should ever be varnished. 
 
 The bare gold, if good, and on good size, will stand bet- 
 ter, change less, retain its luster longer, with less liability 
 to u dulce,' ? or crack, than when varnished, although done 
 with the best copal varnish ever made. 
 
 I have seen a sign done with gold, upon a black ground, 
 that had stood the weather forty years! The board had 
 given way to the effects of the weather, and had fallen 
 away in many places, leaving the letters standing out bold 
 in good form and well preserved. So much for good size 
 and no varnish. 
 
 DRYING OILS. 
 
 It may not be out of place to give, at this point, a few 
 formulas for preparing drying oils, as many of the oils sold 
 at the stores are of a spurious character, totally unfit for 
 the development of good work. 
 
 A fine, pale drying oil can be made as follows : Take eight 
 pounds of linseed oil, one ounce of calcined white lead, one 
 ounce of yellow acetate of lead (also calcined slightly), one 
 ounce of sulphate of zinc (white vitriol), twelve ounces of 
 vitrious oxide of lead (litharge), and one head of garlic. 
 When the dry substances are pulverized mix them with the 
 garlic and oil over a fire hot enough to keep the garlic and 
 oil in a state of ebullition ; continue the process until the 
 oil ceases to throw off scum, and until it assumes a reddish 
 color and the head of garlic becomes brown. 
 
 A pellicle will then be formed upon the surface of the 
 mixture, which indicates that the operation is completed. 
 
 Take the vessel from the fire, and the pellicle being pre- 
 cipitated by rest, will carry with it all the parts which ren- 
 dered the oil fat. When the oil has become clear, separata 
 
204 
 
 THE HOME MECHANIC, 
 
 it from the deposit and place in wide-mouthed bottles, where 
 it will completely clarify itself in a short time and im- 
 prove in quality. 
 
 The oil will be lighter in color if the dryers are put into 
 a bag and suspended by a cord fastened to a stick laid across 
 the mouth of the bottle ; but you must use more dryers if 
 you wish to adopt this method ; in bther respects operate 
 as described. 
 
 To manufacture drying oil without heat : When linseed 
 oil is carefully agitated with white vinegar of lead (tribasic 
 acetate of lead) and the mixture allowed to clear by set- 
 tling, a copious, white, cloudy precipitate forms containing 
 oxide of lead, while the oil is converted into a drying oil 
 of a pale straw color, which makes an excellent strong dry- 
 ing oil or varnish, which ought to dry in about twenty -four 
 hours. It contains from four to five per cent, of oxide of 
 lead in solution. 
 
 THE BEST PROCESS, 
 
 The following proportions appear to be the most advan- 
 tageous for a preparation of drying oil : 
 
 In a bottle containing four and a half pints of rain water 
 put eighteen ounces of neutral acetate of lead, and when 
 the solution is complete put in eighteen ounces of litharge, 
 in a very fine powder. The whole is then allowed to stand 
 in a moderately warm place, frequently agitating it to assist 
 the solution. This preparation may be considered complete 
 when no more small scales of the litharge are apparent. 
 
 The deposit of a shining white color (sex ba^ic acetate of 
 lead) may be separated by filtration. This conversion of a 
 neutral acetate of lead into vinegar of lead, by means of 
 litharge and water is effected in about a quarter of an hour, 
 if the mixture be heated to ebullition. When heat is not 
 applied the process will take from three to four days. The 
 solution of vinegar of lead thus formed is sufficient for the pre- 
 paration of twenty-two pounds or three gallons of drying oil. 
 
 For this purpose the solution is diluted with an equal 
 amount of ram water, and to it is gradually added, with 
 casual agitation, twenty-two pounds of oil, with which 
 eighteen ounces of litharge have been previously mixed. 
 
THE HOME MECHANIC. 
 
 205 
 
 When the points of contact between the lead solution and 
 the oil have been frequently renewed by agitation of the 
 mixture (three or four times per day), and the mixture is 
 allowed to settle in a warm place, a limpid, straw-colored 
 oil rises to the surface, leaving a copious white deposit. 
 
 The watery solution, rendered clear by filtration, con- 
 tains intact all the acetate of lead originally employed, and 
 which may be used in the next operation, after the addition 
 to it as before, of eighteen ounces of litharge. By filtra- 
 tion through paper or cotton, the oil may be obtained as 
 limpid as water, and it can also be bleached by exposure in 
 the sun. 
 
 If this oil requires to be absolutely free from lead, it may 
 be so rendered by the addition of dilute sulphuric acid to 
 the above, when, on being allowed to stand, a deposit of 
 sulphate of lead will take place, and the clear oil may be 
 obtained, free from all traces of lead. 
 
 ZINC DRYER. 
 
 This dryer is prepared from the oxide of manganese and 
 raw linseed oil. 
 
 The manganese is broken into pieces as small as peas, 
 dried, and the powder separated by a sieve. The fragments 
 are then placed in a bag made of iron wire gauze — this to 
 hang in the oil contained in the iron or copper vessel — 
 and the whole heated gently for twenty-four or thirty-six 
 hours. 
 
 The oil, however, must not be allowed to boil, for there 
 is gi*eat danger of its running over. When the oil has 
 acquired a reddish color it is to be poured into an appropri- 
 ate vessel to clear. 
 
 For one hundred parts of oil, ten pai'ts of manganese 
 may be employed, and which will serve for several oper- 
 ations when freshly broken and the dust separated. 
 
 Experience has shown that when fresh oxide of mangan- 
 ese is employed, it is better to introduce it into the oil on 
 the second day. The process occupies a longer time with the 
 fresh oxide. Very great care is required to prevent acci- 
 dent, and one of the principal points to be observed is that 
 the oil be not overheated. If the boiling should render the 
 
806 
 
 THE HOME MECHANIC. 
 
 oil too thick, this may be remedied by an addition of tur- 
 pentine, after it has thoroughly cooled. 
 
 COLD-MADE DRYING OIL FOR ORDINARY 
 PURPOSES. 
 
 Four ounces of litharge to the gallon. Stir it often, and 
 allow it to settle. Pour off carefully, and you have a good, 
 clear, drying oil. 
 
 Any of the drying oils described will work and stand 
 well, if you use sufficient turpentine in the mixing, and you 
 will thereby be able to dispense with raw oil and japan 
 dryers. If you wish to hurry up your work a little drying 
 japan can be used. 
 
 GILDING OTS GLASS. 
 
 This beautiful art is worked in many different ways, every 
 artist having his own peculiar method. 
 
 One very good way is to first outline with a piece of hard 
 soap, your letters, scrolls, etc., (on the outside) then com- 
 mence to outline on the glass (inside) with some suit- 
 able color, a light shade line for the top and left side of the 
 letter ) then upon tne bottom and right side of them use a 
 black, or, in fact, almost any color you may select. When 
 £ry proceed to lay on your gold. 
 
 Some use gin, some whisky, others simply water ; gum 
 arabic in solution, white of egg, may be used. One can 
 merely breathe upon the glass and it will sometimes answer 
 the purpose of a " tack " for the gold. 
 
 I have found an excellent size, made from a solution of 
 gum tragacanth in water. The first part that dissolves is 
 the part that suits bes* ; that portion being pure, while the 
 residue is cloudy and unfit for use. 
 
 When wanted to use, reduce a portion of the gum with 
 water to a very weak standard, as in all cases you will find 
 your gilding bright in exact ratio to the thinness and trans- 
 parency of your size. I consider this the most desirable 
 size, especially for large work. 
 
THE HOME MECHANIC. 
 
 20? 
 
 OUTLINING I PON GLASS. 
 
 First Method. — Draw your lines upon the glass at the 
 proper distances for the size of your letters, etc., with a 
 piece of hard soap, which will make very distinct lines. 
 Then form your letters accurately, and in true distances or 
 space, one from the other, being satisfied that all your pro- 
 portions, etc., are correct. You will now be ready to com- 
 mence your gilding. 
 
 Second Method. — Have your letters, etc., drawn out on fine 
 paper ; prick with a pin the outlines of your letters, scrolls, 
 etc. Next take a bag made of muslin, filled with fine pow- 
 dered charcoal ; lay the paper carefully to its proper place 5 
 then pounce the charcoal bag against the paper, and you 
 can then trace the outlines in full with black japan. To 
 make all secure it will be necessary to give the work 
 two or three coats, and when dry, wash or rub off all super- 
 fluities with a sponge or soft cotton rag. 
 
 N. B. — This method is only used after gilding, where the 
 leaf is placed full without any outline. 
 
 Third Method. — To get accurate lines upon glass, pre- 
 paratory to gilding. In the first place, clean the glass 
 thoroughly ; then with a mixture of whiting, water, and a 
 Jittle milk, brush carefully all over the outside of the glass. 
 When dry, draw your parallel lines, letters, scrolls, etc., with 
 a pointed stick. 
 
 For small work, turn the glass around, and letter back- 
 ward. If inside of a window, work upon the same prin- 
 ciple. This is an easy and a true method of forming your 
 lettering or ornamentation, a^ any fault in the drawing can 
 be easily corrected. 
 
 MODUS OPERANDI FOE GILDING ON GLASS. 
 
 Whichever size you agree upon, lay it on with a full pen- 
 cil, and proceed w T ith your gold at once, so as to secure a 
 solid "cover" without being obliged to u touch up/' and if 
 you wish to use two coats of gold, blow your breath upon 
 the first coat to hold the second. 
 
 Lay as much gold as possible before your size dries, and 
 so proceed until your lines are finished. Then rub it down 
 
208 
 
 THE HOME MECHANIC. 
 
 gently to remove the superfluous gold. Then proceed to 
 outline as in second method above ; or draw your parallel 
 lines through the gilding (if in capitals of one given length) 
 and cut in your letters with black japan very carefully 1 
 forming them all backward. This is the principle of the 
 first method, but it requires considerable practice to do it 
 correctly. 
 
 If any ornament is wanted in the body of the letters, lay 
 them in with oil size. When dry, gild and shade if re- 
 quired. When all is dry, lay in the entire letter with the 
 size (spirit or water size) and gild and back, as above, viz. : 
 with two or three coats of black japan. 
 
 The shading is done afterward, and in any colors the 
 artist may decide upon. It generally takes two coats to 
 cover solid upon glass. 
 
 Gilding upon glass requires gi*eat practice and very nice 
 handling, but with proper care, this process looks very beau- 
 tiful and stands well. 
 
 Silver leaf is laid on in the same manner, only it requires 
 a little stronger size than the gold calls for. The silver 
 being heavier relatively, use the size of gum tragacanth. 
 
 One point seems rather difficult — that of having to form 
 the letters backward, but practice is the only thing that 
 will make perfect, in this respect, and enough of it will make, 
 what at first seems a difficulty, as easy as the formation of 
 letters in the ordinary way. 
 
 CHANGEABLE SIG-TV^. 
 
 Have a board made of any convenient size, and have a 
 projecting baud or molding around it. Then cut into th< 
 band grooves the thickness of a handsaw, an inch apart, 
 allowing each cut to reach to the bottom of the band, lr 
 each of these slots insert strips of tin, just wide enough U 
 fill the entire slot, and long enough to reach entirely across 
 the sign board. 
 
 When all fitted, take them out and place them edge to 
 edge upon a flat surface, and paint any word you like upon 
 their combined surface. When dry, reverse and paint other 
 words upon the other side. 
 
 Next paint any words you please upon the surface of the 
 
THE HOME MECHANIC. 
 
 209 
 
 sign board, and, when dry, again insert the strips of tin into 
 the slots in the board, taking them up in the same order 
 in which they lay when painted upon. 
 
 This is really a magical sign (three signs, in fact), and 
 changes as the observer changes his position, at one angle 
 showing one thing, and at another quite a different one. 
 They are coming much in use now-a-days, and it is a good 
 branch of the art to make one's self perfect in. 
 
 JAPA1NNED TIN SIGNS. 
 
 Draw your letters on paper to suit your sheet of tin, 
 having first cleaned it with diluted alcohol and a piece of 
 cotton. This will remove any grease or other matter that 
 might hold the gold. Then take some whiting and rub it 
 over the back of the paper upon which your design is made 
 and lay it upon the japanned tin. 
 
 Place a weight upon the four corners of the paper, or 
 otherwise fix it securely to the tin ; then, with a fine point- 
 ed piece of hard wood, trace the design carefully, bearing 
 upon the paper with the point just hard enough to cause 
 the whiting on the under side of the paper to adhere to the 
 tin, and after going carefully over the whole, you will have 
 transferred the entire design in fine white outline to the tin 
 you are to finish it upon. 
 
 Then size with either quick or slow drying oil size, and, 
 when sufficiently dry for gilding, lay on the gold leaf, and 
 "bat" it down thoroughly, afterward brushing off with 
 your flat camel-hair brush or cotton. 
 
 REMARKS OINT SHADING. 
 
 There is a difference between shading and shadows. 
 Shading a letter is simply making an artificial representa- 
 tion of a raised letter, and consequently requires a light 
 fine shade upon the top and left side of the letter, and a 
 dark one upon the bottom and right side. 
 
 These shades will have the effect of raising the letter, 
 but the deception is incomplete without the shadow. This 
 is to be attained by representing a shadow cast by the 
 painted object, and should always be of one uniform color: 
 dark, but very thin. A mere glaze, as it were, composed 
 
210 
 
 THE HOME MECHANIC. 
 
 of ivory black, Vandyke brown, raw and burnt umber, as- 
 phaltum, etc. 
 
 Always keep in view the tone of the ground, for that has 
 all to do with choosing the most natural shadow, as stated 
 before. The above enumerated colors, by Judicious and 
 well balanced composition, will yield an excellent shadow 
 to suit any ground. 
 
 In shading letters, considerable judgment is necessary, 
 as some of the alphabet requires less shade than others, for 
 this reason : a portion of them would be filled up too much 
 if the shade was of uniform weight. B, S, K, G, and N, 
 the body angles of which do not admit of so heavy a shade 
 as perpendicular or bottom letters. 
 
 It is very general with sign painters to make the bottom 
 shades a trifle heavier than the perpendiculars, and for this 
 reason : the sun casts a heavier shade to the bottom in 
 proportion to the angle of light, and for this reason a heav- 
 ier shade is demanded. 
 
 In regard to the formation of letters, one rule will hold 
 good in all respects, at least so far as Roman letters are 
 concerned ; in case you do not wish to paint them square — 
 as wide as they are high — diminish the width in exact ratio 
 to the increase of the hight, and vice versa. 
 
 PAINTING ON CLOTH OR SILK. 
 
 For Masonic or Oddfellow's aprons, banners, or any 
 work of like nature, a few words may be useful. 
 
 First have your material put upon a stretcher, and then 
 complete your lettering and design. Prepare a size as fol- 
 lows : Dissolve bleached shellac in alcohol, and thin as 
 much as will cover the parts to be painted or gilded, using 
 the precaution to cut over the outline a little, so as to pre- 
 vent the color from spreading. 
 
 Another size may be prepared by simply using the white 
 of an egg. This size will do where the work is not ex- 
 posed to the weather, or when it is required to be done 
 quickly ; and for such work, where gilding is to be done, 
 lay the gold while the size is wet, and when dry, dust off 
 the surplus gold and proceed with the painting, shading, 
 etc., when you are sure that the size is dry, remember. 
 
THE HOME MECHANIC. 
 
 211 
 
 SIZE FOR BRONZING. 
 
 A good size for bronzing, or pale gilding, is a mixture of 
 asphaltum, drying oil, and spirits of turpentine. 
 
 A size for gilding on cloth, silk, plaster, etc., is made as 
 follows : Take a little honey, combined with thick glue. 
 When reduced properly, this size has the effect of bright- 
 ening the color of the gold leaf, sticking to it well and giv- 
 ing it a very fine luster. 
 
 VARNISHES FOR SIGN WORK 
 
 The artist has already been cautioned against the use of 
 varnish for gilt signs ; but there can be no doubt that the 
 varnish not only improves, but is actually necessary upon 
 a sign where the decorative or ornamental style is intro- 
 duced. Varnish has the effect of bringing out the force of 
 colors ; brings them to their true tone, and gives the artist 
 an opportunity to be judged on his merits, relative to har- 
 mony, contrast, and force. 
 
 For this reason, considerable care must be taken in se- 
 lecting a suitable, durable varnish for this purpose. 
 
 An excellent varnish for sign painters may be made as 
 follows : To eight pounds of best African copal, add two 
 gallons of pure, clarified, drying linseed oil, half a pound 
 of sugar of lead (acetate), three and a half gallons of tur- 
 pentine. 
 
 Boil the copal in the oil very slowly, for from four to five 
 hours, until quite stringy ; then allow it to cool to about 
 130 degrees F. ; afterward add three and a half gallons 
 of turpentine at the same temperature. Mix well, and 
 strain into cistern or tank. This makes a slow-drying 
 elastic varnish, not liable to crack by any out-door expos- 
 ure. 
 
 QUICK DRYING VARNISH. 
 
 " Japanner's gold size," or quick drying varnish, may be 
 made in this manner : 
 
 Eight pounds gum animi, half a pound dried sugar of 
 lead, two gallons of clarified drying oil, three and a half 
 gallons of turpentine. 
 
212 
 
 THE HOME MECHANIC. 
 
 Boil for four hours, strain, etc., as above. 
 
 Use one pot of this varnish to two of the former kind, 
 the slow drying. This mixture will dry in about four 
 hours in summer and six in winter. 
 
 This quick drying varnish makes a good dryer for deli- 
 cate colors ; about a dessert-spoonful to twenty-five pounds 
 of color being a fair proportion. 
 
 Should the artist not wish to manufacture his own var- 
 nish, let him avoid buying any cheap article, but inquire 
 for " slow drying, body copal varnish," and also for the 
 best drying japan, so that if required to varnish a piece of 
 work that is wanted to dry quick, he can do so by adding a 
 little of the japan. 
 
 MISCELLANEOUS RECEIPTS. 
 
 To Clean Old Sign Boards. — Brush over the face 
 of the board with warm alcohol, and repeat two or three 
 times if necessary, after which the " smalt will come off 
 easily, by the use of a dull chisel or an old plane-iron. Care 
 should be taken not to cut into the surface, as such places 
 are hard to patch up again. 
 
 Another Method. — Take three and a half pounds of 
 stone lime, two pounds pearl-ash, two ounces soft soap, 
 three ounces of ammonia. Slack the lime, then add the 
 soft soap. It may require a little water to form a paste ; 
 then add the pearl-ash and the liquor of ammonia. Keep 
 in a close-stopped, wide-mouthed bottle, or stone jar, with 
 a little water, like paint. This mixture, when laid on a 
 sign or any old piece of painting, will soften it so that it 
 will wash off with the utmost ease. 
 
 Still Another Method. — Lay your work top up, and 
 go over it with turpentine ; set fire to it, and the old paint 
 will soften up, and with an old chisel or a piece of flat, 
 sharpened wood you can scrape off the old color with per- 
 fect ease. The best way of doing this is to cover a foot 
 or so at a time with the turpentine, and proceed as above. 
 Then rub off with pumice and water. 
 
THE HOME MECHANIC. 
 
 213 
 
 TO LAY SMALT GROUNDS. 
 
 Mix your color as Dear as possible to the desired shade 
 to suit the smalt ; mix with strong drying oil, not too thin; 
 then cut round your letters, scrolls, etc. ; with a fitch and 
 sash tool fill in all the spaces ; then with smalt dust all the 
 surface, taking care to put more than enough on, so as to 
 allow the " oil ground " to absorb all it possibly can. 
 When dry (usually the next day) turn your signs on end, 
 or on the side, and all the surplus smalt can be brushed off 
 and saved. A small wire sieve is good for straining smalts. 
 
 Some printers shade their letters first, that is, before 
 smalting, which is the neatest way for fine or small work ; 
 but for large signs it will have a better effect to shade the 
 letters after smalting. Mix the shading color with very 
 little oil, mostly japan and turpentine, and draw with short 
 quill tools or French fitches. 
 
 FLOCKS. 
 
 Flocks are laid upon the same principle. These 
 grounds are very beautiful and chaste looking, but they are 
 very unsuitable for signs that are exposed to the weather, 
 as the colors do not stand any length of time, black being 
 the only one that can be depended on. 
 
 Instead of smalts, colored sands are sometimes used. 
 These retain their colors well, and if taste is displayed in 
 arranging the hue and tints, very beautiful work can be 
 produced. 
 
 FACING PUTTY FOR SIGNS. 
 
 Facing putty for signs that are to be gilded may be 
 made in this way : Take a little fine whiting, a very little 
 drying oil, japan dryers, and beat all up to a reasonable 
 stiffness. With this mend all the inequalities with a square- 
 ended knife. This putty will harden very rapidly and dries 
 without any shrinkage, tack, or softness. In mixing, use 
 more japan than oil, say two-thirds japan. 
 
214 
 
 THE HOME MECHANIC. 
 
 GLASS SIGNS, WITH PEARL SETTINGS. 
 
 The best method of doing such signs is, first to draw 
 your parallel lines with a sharp pointed piece of hard soap. 
 Then form your letters correctly, giving them the proper 
 distances, etc. 
 
 Have your outlining very true, as by so doing you will, 
 avoid much trouble when finishing. If you desire to en- 
 close the pearl within gold lines, clean your glass upon the 
 opposite side, then with your camel-hair brush lay on your 
 size as directed for gilding on glass. 
 
 When you have done this, lift your gold leaf and lay it 
 on carefully. When all the gilding is done and dry, take 
 a pencil of the proper size and cut in all the letters as 
 neat as possible, giving them sufficient strength and weight 
 in proportion to the size of the letter, leaving the center or 
 blank space entirely clear. 
 
 By " cutting in 99 I mean that all you wish to show in 
 gold must be laid in with black japan, two coats. When 
 the japan is dry, then wash off carefully all the surplus 
 gold. The work is now ready for the pearls. 
 
 The pearl for this work is all prepared, ready for use, in 
 thin pieces or sheets. There are two kinds, the snail, and 
 the aurora, also the small broken pieces, called scrap, 
 which is very useful in filling up small portions of the 
 work, and forming different kinds of ornaments. 
 
 If careful in selecting the snail pearl, great beauty and 
 order may be obtained, for shells of an equal size and form 
 when cut into sheets will reflect either^oncave or convex, 
 according to the side presented to the eye. 
 
 If a round piece is wanted in the center of each body 
 and round turn of the letter, cut the sheet with a sharp 
 pair of scissors into the desired shape. It is the best way 
 to make a pattern of tin to cut them by, thus insuring a 
 perfect uniformity. 
 
 Then clean off the edges with a fine file, and arrange 
 them upon your table so as to have them reflect all one 
 way, copvex side up. Have your size in a little cup, a 
 short, stiff, sable pencil, etc., ready to work. 
 
 Lay a coat of size over the face of the pearl and then 
 put it in its proper place in the letter. Press it hard upon 
 
THE HOME MECHANIC. 
 
 215 
 
 the giass so as to displace all the size possible, as much of 
 the beauty of the work depends upon having as little as 
 may be of the size show between the pearl and the glass. 
 As with glue and wood, the less glue there is in a joint the 
 better it holds, and the closer the pieces of wood approach 
 each other. 
 
 When you have set all of the pearls turn the glass face 
 upward, and see if all are placed so as to show alike, for 
 if there are any corrections to be made now is the time to 
 make them. 
 
 There are a great variety of forms manufactured and for 
 sale, such as representations of humming-birds, paroquets, fish 
 flowers, scrolls, etc., which are susceptible of being made 
 into very pretty work when judiciously handled. In short 
 a thousand varieties of work can be produced and many 
 different materials used in this same way. 
 
 After the larger pearls are set you can form the other 
 portions of your letters with such sizes as you may choose, 
 and fill up the smaller portions with the u scrap," taking 
 care, however, not to have the pieces set too near together, 
 or the effect will be bad, as much relief is obtained through 
 the medium of the ground. 
 
 When your size is dry and the pearl firm, then have your 
 ground mixed up stiff with drying japan, oil, and turpen- 
 tine, but only a small proportion of oil. After mixing it 
 to the proper shade lay on a heavy coat of ground color. 
 
 When any particular style of ornamentation is desired 
 you can vary the colors of your ground, shading the dif- 
 ferent sides of the letters, scrolls, etc., to suit your own 
 taste and fancy, doing the shading in a similar way as you 
 wouid any glass signs. 
 
 Green, red, yellow, white, etc., are used with good effect, 
 shaded in order, viz. : greens with darker greens ; reds 
 with brown, purple, etc. ; yellow with burnt umber, blend- 
 ing carefully. In short, a great variety of colors may 
 be used in such work, and, as before said, an endless variety 
 of styles produced. 
 
THE HOME MECHANIC. 
 
 SIZE TO FIX THE PEARL. 
 
 1st. Pure mastic varnish. 
 
 2d. Pale, quick drying copal varnish. 
 
 3d. Copal varnish and Canada balsam : one-third copal : 
 two-thirds Canada balsam. 
 
 In shading letters, they look best when the shade is 
 drawn on an angle of about forty degrees, although much 
 depends upon the taste of the artist. 
 
 With the simple rules here given for pearl and fancy 
 signs, every variety known in the market may be produced. 
 
 CONCLUDING REMARKS. 
 
 Having gone over about all that is necessary to consti- 
 tute a ready " Hand Book " to the sign painter, a few con- 
 cluding remarks may not be inappropriate. I do not pre- 
 sume to teach the practical sign painter or gilder, still I 
 flatter myself that even he may find in this Manual many 
 things that are new or but imperfectly understood. 
 
 These recipes and methods — in fact, the contents of 
 the entire book — is but the summary of a long experience 
 on my part, both in this country and in England. I have 
 given nothing and advanced nothing but what I have used 
 and profited by myself. 
 
 StHl experience is not the only help a man may employ. 
 The experience of others oftentimes saves us from much 
 labor in personal research and experiment, and what 1 have 
 read, what 1 have learned myself during forty years of 
 practical sign and decorative painting, is here given freely 
 for the good of the profession. 
 
 SCALE OF PRICES. 
 
 Letters are generally charged for by the foot. 
 Plain letters ----- 30c. per foot. 
 For one shade, add - - 10c. " 
 
 Double shade, add - - - 20c. 
 Gold letters - - - - SI. 00 
 
 Ornamented letters, scrolls, etc., charge for time and ma 
 terial in the same proportion 
 
THE HOME MECHANIC. 
 
 217 
 
 Japanned tin signs 7c. per inch. 
 
 Shading u - - - 2c. " 
 
 Lettering on glass - - 7c. a 
 
 Letters made on glass, tin, or stone 3c. " 
 Plain ornaments, same as letters. 
 
 Gold borders - - - - - 3c. " 
 In gold or plain surfaces, the labor equal to cost of the 
 gold. 
 
 Ornaments in proportion to the labor. 
 
 These rules will serve as an average in proportioning the 
 prices to the amount of labor. 
 
 It would be superfluous to enumerate a further list of 
 prices, for the purpose of meeting every variety of letter- 
 ing and ornamenting, but these prices given may be taken 
 as a standard, subject always to the fluctuations of the 
 prices of labor and material. 
 
 FRESCO PAINTING, 
 
 AND ITS AUXILIARIES COMBINED. 
 
 Of all those attainments which contribute as well to the 
 gratification of the senses as to the refinement of the taste 
 and the enlargement of the intellectual, powers, the art of 
 Painting is perhaps the best adapted to the human mind. 
 
 The satisfaction derivable from the contemplation of a 
 beautiful work of art possesses a peculiar advantage ; it is 
 renewable at pleasure without any continuance of the ex- 
 ertion by which it was produced. But a rare combination 
 of talent with industry, or, at least, great industry, can 
 alone lead to productions which may claim admiration be- 
 yond the circle of our own partial relatives and friends. 
 Experience has proved the impracticability of conveying a 
 knowledge of the elementary principles of this art, in any 
 manner so as to supersede the useful labors of the drawing 
 
218 
 
 THE HOME MECHANIC. 
 
 toaster or teacher, yet there is much to be learned before 
 the pupil can go alone, with confidence, after the period 
 when his attention ceases, and which the limited duration 
 of his lessons cannot include ; to this we must attribute 
 the fact that so many who make a fair progress under the 
 master's eye, either never attempt any performance with 
 the pencil after he has ceased to superintend anc direct 
 their studies, or finding themselves embarrassed at the out- 
 set, abandon the pursuit and fancy " their genius does not 
 lie that way." We will presume, however, that the reader 
 has gone through the usual elementary course of instruc- 
 tion, that he is able to copy with acc uracy the outline at 
 least of any object which may be set before him ; this and 
 much more may be obtained by any person of moderate 
 abilities by industry, without an iota of that much mis- 
 understood quality genius, which has proved an ignis fa- 
 tuus to thousands. One of the greatest artists of the day 
 was right when he said : " Nothing is denied to well directed 
 industry ; nothing is to be obtained without it." Depend, 
 then, wholly upon your own exertions, and listen rather 
 to the criticisms of the judicious than the praises of those 
 who will flatter you with assurances that you possess in- 
 tuitive excellences which may render application unneces- 
 sary. To recommend a proper course of study will be the 
 most useful purpose to which these pages can be devoted, 
 for it cannot be dispensed with. 
 
 Before any attempt be made beyond copying, the student 
 is enjoined to acquire a clear view of the leading principles 
 of perspective on pain of committing absurditu s, for which 
 no beauty of color can atone ; it will be found less difficult 
 than is generally imagined. Although it would be impos- 
 sible to compress into our limits all the explanations and 
 diagrams necessary to an illustration of its theory, we shall 
 subsequently offer a few observations which, we trust, will 
 prove beneficial to the student. 
 
 There are two points to which we would particularly 
 wish to call attention, because they are errors that greatly 
 retard the progress ; one is a want of command of hand, 
 the other, an impatience to produce a finished effect with- 
 out the systematic and gradual process necessary to the 
 production of a piece of good work. 
 
THE HOME MECHANIC. 
 
 219 
 
 To remedy the first will require great attention and prac- 
 tice, if the uncertainty of hand or timidity of touch exist in 
 a great degree. It is never found among the artists of 
 necessity, with whom quality of production is an object of 
 importance, as decorative painters, designers for furniture 
 and manufacturers; with these freedom and precision of hand 
 are seldom wanting. 
 
 We advise the pupil to study well every line before it is 
 begun, to determine its exact course and bearing; in short, 
 to look from the object to be represented to the surface on 
 which it is to be drawn again and again, until the mind's 
 eye transfer it and the imagination sees it in the place it 
 is to occupy — that is the moment to be seized, and then 
 the quicker the line is drawn the better. Large objects 
 should be copied on common sheets of paper ; it is a great 
 check to the freedom of the hand to have your sheets too 
 small, as it has the tendency to produce fear about spoiling 
 your design or drawing. Still avoid the opposite extreme, 
 and remember always that true proportion and correctness is 
 the first principle of the art. 
 
 An occasional hour or two would not be misspent if oc- 
 cupied in drawing straight lines perpendicularly, diago- 
 nals, parallel to each other, and circles without the com- 
 passes. 
 
 This observation is applicable to many who would be 
 ashamed of being seen so employed ; who have, in fact, 
 attempted to execute a piece of work without sufficient 
 practice in the rudiments of the art. 
 
 The second error is even still more common, that is for 
 a painter to proceed to color, or rather to waste his time 
 in shadowing or coloring upon an outline which might 
 ni can anything. There is no time in the progress of a 
 piece of work, when the forms of objects can be so conve- 
 niently improved, as when they are in a faint outline; a 
 thorough conviction of this, and experience of the pleasure 
 of modeling as it were into substance by shadows, and 
 adding the charms of color to well-studied forms will render 
 patient labor less irksome by anticipation of certain ulti- 
 ma (e success. 
 
 In your early practice of drawing from solid objects, it 
 svould be well to make several studies from a white globe, 
 
220 
 
 THE HOME MECHANIC. 
 
 placing it in different lights, and having only one window 
 in the room. 
 
 You will find that there is but a single spot upon it which 
 can be represented by perfect whiteness ; and that all the 
 other rays falling obliquely upon a receding surface, a 
 weakened light is received, diminishing, at last, into abso- 
 lute shadow, until again relieved by reflection from sur- 
 rounding objects on the opposite side. A cylinder may be 
 made by a roll of paper, an egg will serve as an oval, and 
 a cone may be obtained by rolling up a sheet of paper in 
 the shape of an extinguisher. Thus the models are easily 
 obtained, and the pupil has but to study them well, and he 
 will imbibe all the principles of light, shadow and reflection. 
 
 He may then proceed to the plaster bust, which must be 
 clean and free from dust, as discolorations greatly em- 
 barrass an inexperienced practitioner. 
 
 The outline should be sketched faintly at first with soft 
 charcoal (that made of the willow is the best), the super- 
 fluity of which may readily be removed from the paper by 
 a soft feather duster or a light whisk of the handkerchief, 
 or even a feather, leaving a faint but sufficiently distinct re- 
 presentation. This should be repeated until the pupil is 
 satisfied with the form and proportions, when colored chalk 
 may be used. 
 
 A gray paper we prefer, as it forms the most natural 
 medium between the black and white chalk, and must 
 always appear between them. Soft French chalk is the 
 best for general purposes, and the Italian chalk, which is 
 harder, for finishing, or where great neatness is required. 
 
 Center pieces for ceilings, scrolls, spandrels, parterres, 
 etc., moldings, copies of the various orders of architecture,' 
 viz. : Tuscan, Doric, Ionic, Corinthian, and Composite. ; 
 
 Here the pupil will find a large field for study, and we 
 1 would strongly recommend that those various orders should 
 be copied from some genuine prints, in parts and in whole, 
 so as to familiarize the eye and cultivate the mind to all 
 the varieties therein contained. 
 
 Those lessons in colored chalks are the most ready me- 
 thods for gaining knowledge in shading, etc., so as to raise 
 any object upon a plain surface, to represent that relief or 
 effect which is wished to be obtained previous to attempt- 
 
THE HOME MECHANIC. 
 
 221 
 
 ing anything with water colors. For if not very conversant 
 with the true forms of the subject to be painted, the pupil 
 will find himself launched into a sea of trouble from which 
 it will be difficult for him to extricate himself. 
 
 Therefore, I repeat, that owing to the difficulty of work- 
 ing colors in distemper upon a ground of the same kind, 
 where any fault, either in tint or position, is by no means 
 easily rectified, the more does the pupil require extensive 
 and laborious practice in coloring with chalks or crayons. 
 Then he will become decided and sure of touch, and make 
 every line tell with masterly effect. 
 
 Speaking of the various orders, their prominent distinc- 
 tions are as follows : Tuscan, of which the usual hight of 
 the column is seven diameters; Doric, eight; Ionic, nine ; 
 Corinthian, ten ; and Composite, ten. 
 
 The Tuscan is quite plain, without any ornament what- 
 ever. 
 
 The Doric is distinguished by the channels and project- 
 ing intervals in the frieze, called Triglyphs. 
 
 The Ionic by the ornaments of its capital, which are 
 spiral and are called volutes. 
 
 The Corinthian by the superior bight of its capital, and 
 its being ornamented with leaves, which support very small 
 volutes. 
 
 The Composite has also a tall capital with leaves, but is 
 distinguished from the Corinthian by having the large 
 volutes of the Ionic capital. 
 
 A complete order is divisable into three grand divisions, 
 which are occasionally executed separately, viz. : The 
 column, including its base and capital; the pedestal, which 
 supports the column ; the entablature, or part above and 
 supported by this column. 
 
 These are again each subdivided into three parts : The 
 pedestal into base or lower moldings ; dado or die, the plain 
 central space ; and surbase or upper molding. 
 
 The column into base or lower moldings. .Shaft or cen- 
 tral plain space, and capital or upper moldings. 
 
 The entablature into architrave, or part immediately 
 above the column ; frieze or central flat space ; and cornice 
 or upper projecting moldings. 
 
 These parts may again be divided thus : The lower por< 
 
222 
 
 THE HOME MECHANIC. 
 
 tiotis, viz. : the base of pedestal, base of column and archi- 
 trave, divided each into two parts ; the first and second 
 into plinth and moldings, the third into face or faces, and 
 upper molding or tenia. 
 
 Each central portion, as dado of pedestal, shaft of column 
 and frieze, is undivided. 
 
 Each upper portion, as surbase of pedestal, capital of 
 column, cornice of entablature, divides into three parts \ 
 the first into bed molds, or the part under the corona ; co- 
 rona, or plain face ; and cymatium or upper molding. 
 
 The capital into neck or part below the ovolo; ovolo 
 or projecting round molding; and abacus or tile. The 
 flat upper molding mostly nearly square. 
 
 These divisions of the capital, however, are less distinct 
 than those of the other parts. 
 
 The cornice into bed mold, or part below the corona ; 
 corona, or flat projecting face ; cymatium, or molding above 
 the corona. 
 
 Besides these general divisions, it will be proper to no- 
 tice a few terms often made use of. 
 
 The ornamental molding running round an arch or round 
 doors and windows, is called an architrave. 
 
 An ornamental molding for an arcb to spring from, is 
 called an impost. 
 
 The stone at the top of an arch, which often projects, is 
 called a key -stone. 
 
 The small brackets under the corona in the cornices are 
 called mutules or modillions ; if they are square or longer 
 in front than in depth they are called mutules, and are 
 used in the Doric order. If they are less in front than their 
 depth, they are called modillions, and in the Corinthian or- 
 der have carved leaves spread under them. 
 
 A truss is a modillion enlarged and placed flat against a 
 wall, often used to support the cornice of doors and win- 
 dows. 
 
 A console is an ornament like a truss, carved on a key- 
 stone. 
 
 Trusses when used under modillions in the frieze are 
 called cantalivers. 
 
 The space under the corona of the cornice is called a 
 soffit ; as is also the underside of a" ^-«h. 
 
THE HOME MECHANIC. 
 
 223 
 
 Dentils are ornaments used in the bed molds of cornices j 
 they are parts of a small flat face which is cut perpendicu- 
 larly, and small intervals left between each. 
 
 A flat column is called a pilaster, and those which are 
 used with columns and have a different capital are called antoea. 
 
 A small hight of paneling above the cornice is called 
 an attic, and in these panels and sometimes in other parts 
 are introduced small pillars, swelling toward the bottom which, 
 are called balusters, and a series of them a balustrade. 
 
 If the joints are channeled the work is called rustic, 
 which is often used as a basement for an order. 
 
 Columns are sometimes ornamented by channels, which 
 are called flutes. These channels are sometimes partly 
 rilled by a lesser round molding ; this is called cabling the 
 flutes. 
 
 For the better understanding the various orders it will 
 be proper first to notice the different moldings which by 
 different combinations form their parts. 
 
 First. — The ovolo or quarter round. 
 
 Second. — The cavetto or hollow. 
 
 Third. — The torus or round. 
 
 From the composition of these are formed divers others, 
 and from the arrangement of these, with plain flat spaces 
 between, are formed cornices and other ornaments. A 
 large space is called a corona if in the cornice ; a fascia in 
 the architrave ; and the frieze itself is only a flat space. 
 A small flat face is called a fillet or listel, and is interposed 
 between moldings to divide them. 
 
 A fillet is in the bases of columns and some other parts 
 joined to a face or to the column itself by a small hollow, 
 then called apophyges. 
 
 The torus, when very small, becomes an astragal, which 
 projects, or a bead, which does not project. 
 
 Compound moldings are the cyma recta, which has th« 
 hollow uppermost and projecting. 
 
 The cyma re versa, or ogee, which has the round upper- 
 most and projecting. 
 
 The Scotia, which is formed of two hollows, one over 
 the other, and of different centers. 
 
 Several beads placed together, or sunk in a flat fact* arc 
 sailed reedings. 
 
224 
 
 THE HOME MECHANIC. 
 
 All these moldings, except the fillet, may be occasionally 
 carved, and they are then called enriched moldings. 
 
 From these few simple forms, by adding astragals and 
 fillets and combining differently ornamented moldings, faces 
 and soffits, are all the cornices, panels, etc., formed, and 
 the modern compositions in joiners' work, etc., fresco paint- 
 ers, builders, etc., are very numerous, and too well known 
 to need describing. 
 
 For human figures or animals, fruit, flowers, etc., the 
 student must supply himself with good specimens, either 
 lithographs or good prints of any kind, and practice from 
 them until he has acquired sufficient knowledge of propor- 
 tions, form, size, etc., to suit the various positions to which 
 they may be applied ; true proportions are of vital importance 
 to the fresco painter, as his drawing will be about the first 
 point of criticism to which he will find himself liable, even 
 more so than to his shading or coloring. For it matters 
 little how well coloring or shading may be executed if the 
 drawing is deficient. Therefore let the pupil persevere in 
 this branch of the art. 
 
 In drawing flowers the center should be drawn first, as 
 by spreading outward, the graceful and ever varying 
 forms of nature in every stem and leaf may be more easily 
 expressed. 
 
 In the subsequent operation of coloring them they require 
 much more attention than any other part of the work, so 
 as to produce a soft and accurate effect; but not an equal 
 degree of skill and experience to produce a beautiful whole. 
 
 In this kind of drawing, as in every other, the first lesson 
 should be obtained by following the draughts of the most 
 skillful masters, comparing their productions at the same 
 time with nature. As flower pieces are inspected with 
 almost microscopic attention the fibers and figure of every 
 leaf must be distinctly expressed. Flowers which do not 
 blow at the same season of the year should never be grouped 
 together. 
 
 In drawing fruit great care is to be taking in assorting 
 or arranging them so as to produce the most imposing 
 effect. So place them as regards color, size, etc., with an 
 easy carelessness that they may by such freedom of position 
 aid the pupil in producing a good harmonious painting. 
 
THE HOME MECHANIC. 
 
 225 
 
 FIGURE PAINTING, 
 
 As before stated, requires correct proportions, good 
 coloring, great ease, and a general softness throughout, 
 to be graceful and mellow in tint, avoiding cold or harsh 
 shading, etc., having always in view the fact that this par- 
 ticular branch of the art demands consummate skill and* 
 great truthfulness. 
 
 OF LIGHT AND SHADE. 
 
 When a ceiling or side paneling is drawn out carefully, 
 and the pupil is satisfied that all is in due proportion and 
 correct to the order desired, the next point of consideration 
 will be to judge from what particular side of the room the 
 light falls from and upon the objects drawn, so that all the 
 shadows may fall one way, and of course from the light. 
 
 That part of design, panels, scrolls, etc., whose sides 
 are nearest the quarter from which the light comes, must 
 be the brightest, and the remainder must be gradually 
 darkened. 
 
 Surfaces which are wished to project being nearer the 
 light than others, must be sharp and well illumined where 
 the enlightened side can be seen. The faintest lines should 
 be put in first, proceeding gradually to the darkest. All 
 shades should be rather too light at first, that they may be 
 worked up gradually to the full effect. 
 
 All strong lights must be relieved by deep shades, but it 
 must be remembered that strong reflections diminish and 
 always soften the shades cast by the original light, so as, 
 in some instances to make the side of a body which retires 
 TOra the light brighter than a nearer part. 
 
 It is by the reflection of light received from the sky or 
 terrestrial surfaces that the darkest part of cylindrical and 
 globular bodies, is not that which is the most distant from 
 the original light ; and from the peculiar nature of the re- 
 flection from such surfaces, when the light falls on one 
 side of them, the lightest part is not always that which is 
 nearest the light. 
 
 In shading an upright round pillar for example, a small 
 portion of the side nearest the light, supposing the light 
 
226 
 
 THE HOME MECHANIC. 
 
 to come from one side, should be a little shaded ; the next 
 portion should exhibit the strongest light, which in water 
 color will be almost the ground color unless the ground 
 be dark, then it will have to be run in almost pure white. 
 
 Then will come the deepest shade, and lastly a shade 
 for the further side somewhat deeper than the one on the 
 side nearest the light. These shades duly softened into 
 each other will give the idea of a round body. 
 
 Titian declared that the best lessons he ever received on 
 the distribution of light and shade were derived from 
 studying and drawing bunches of grapes. 
 
 Having as briefly as possible laid down the most useful 
 preliminary studies ia the art of fresco painting, as far as 
 architecture, light and shade, etc., etc., are concerned, we 
 will now proceed with an outline of the method of prepar- 
 ing ceilings, walls, etc., and also the proper mixtures for 
 laying the grounds, stiles, etc., preparatory to running in 
 the lines to form panels, ornaments and decorations. 
 
 If the walls and ceilings are new plaster (that is clean). 
 I would prefer giving them a good coat of paint previous 
 to using the distemper colors, and for the best of reasons, 
 for by so doing you insure against stains or a striking in of 
 your -distemper coats, which is very apt to occur if not 
 painted. 
 
 The first coat of paint should be mixed about two-thirds 
 turpentine and one-third linseed oil, with as much japan 
 drier as will dry it hard ; too much oil would be liable to 
 bear out so as to cause your distemper color to crawl and 
 not lay well, therefore better err upon the other side, viz. : 
 too much turpentine rather than oil. 
 
 When thoroughly dry have good glue in readiness, first* 
 prepared by steeping it over night in water to soften, then' 
 melt in a suitable pot or kettle, and be cautious not to 
 overheat it in melting ; in fact it ought never to boil, for 
 boiled glue never works well and soon spoils in mixed 
 color. 
 
 Then have good Paris whiting, take as much as you 
 think you will require for the amount of work you intend 
 to first coat, beat it up thick with water, be sure that you 
 have it all reduced to a perfect pulp, no lumps. 
 
 Then take a working pail, and put in as much of your 
 
THE HOME MECHANIC. 
 
 227 
 
 beat-up whiting as will go over your intended piece of 
 work. 
 
 Then take the colors required to produce the shade 
 wanted (the colors previously ground in water) and cau- 
 tiously mix with the hand, which is preferable to a spatula 
 or stick, till you get the shade desired, which you can prove 
 very easily by drying a little on your hand or on a piece 
 of white paper; if too dark, add more whiting, or if too 
 light, more color. When you have got the tint to your 
 mind, take your melted glue and put in enough to bind 
 the color very hard so as not to rise or wash up with your 
 second coat. This you can also test upon a piece of paper 
 before you lay the color upon your plaster, ceilings or 
 walls, for by neglecting to have sufficient size or glue in 
 your color your second coat will mix up with your first, 
 and the two will roll and gather thereby spoiling your 
 work ; the result of which will be that you will have to 
 sponge off both coats with water, thus loosing your time and 
 materials, and suffering disappointment and mortification 
 besides, for your neglect. 
 
 If all goes well you will find that two coats will be suffi- 
 cient in the most of cases, and ought to be made a rule as 
 far as possible to manage ceilings with two coats. 
 
 Having now got the plane of your ceiling or wall done 
 you now proceed to mix up the color for the stiles or bord- 
 er, and carry out a similar procedure with them until all 
 looks smooth and solid, and if satisfied with the color and 
 its covering qualities you next proceed to mix up all your 
 shades for drawing your moldings as above directed, viz. : 
 run all your light lines first, then the secondaries, deep, 
 etc., relief, etc., until the molding yields a just resemblance 
 to the order required ; the corner pieces can now be acted 
 upon, all cut in with the same colors ; when the last touches 
 Hie put in let the edges be cut sharp and crisp, and do not 
 forget the relief shadows to them also. Now examine the 
 whole work carefully so that nothing shall be left undone 
 or forgotten. 
 
228 
 
 THE HOME MECHANIC. 
 
 CENTER PIECES WITH FLOWERS. 
 
 If flowers are to be put in panels, first draw them cor- 
 rectly, then proceed to color them according to nature if 
 so wanted, then lay in a suitable ground around the group 
 up to the molding, let it be a somber neutral color so as to 
 sink the ground and relieve the flowers. If 
 
 FLOWERS IN RELIEF, 
 
 Ton work them out in the same colors as was used in 
 the moldings of the ceiling, giving the group a strong re- 
 lief shade ; but do not lay in any other ground but simply 
 the panel color. 
 
 Some fresco painters lay such panels in a different color, I 
 but I question if that taste adds anything to the general 
 beauty and chasteness of the ceiling ; it is too gaudy, too 
 much, to use the vulgar term, " ginger bread style." Yet 
 some parties will have such work, and to please sometimes 
 the artist has to give way ; but always suggest, where it 
 is safe to do so, if for no other reason than to put yourself 
 in a proper position before the public on such matters. It 
 is the duty of an artist to state what is the right harmony, 
 etc., whether adopted or not by the employer. 
 
 COLOR FOR CEILINGS, WALLS, ETC. 
 
 Regarding suitable colors for interior decoration, there is 
 several considerations of importance which must be here 
 noticed. 
 
 First, the kind of building and its use, a church, a public 
 hall or dwelling house ; also the position of the house in 
 reference to the cardinal points of the compass, north, 
 south, east or west, for the following reasons, viz. : 
 
 If a south or west exposure, that portion of the house 
 will have a large share of sunlight, consequently a natural 
 warm glow of heat, while the north and east, although 
 possessed of sufficient light, as a natural result, a certain 
 coolness consequent to the want or absence or nearly so of 
 direct sunlight. 
 
 Therefore for south or west exposure it will be seen at 
 
THE HOME MECHANIC. 
 
 229 
 
 glance that cool colors must be selected, as a want of this 
 knowledge might cause the most disagreeable feelings to 
 those who had to endure the effects, although they might 
 be altogether ignorant of the cause (by the painter) through 
 neglect, or want of knowing why, this disagreeable feeling 
 was induced. 
 
 And vice versa for rooms situated on the north or east 
 side of a house. The colors must be of a warmer shade or 
 tint; thus, during the warm season the effects of color up- 
 on the mind is such as to produce an equilibrium. 
 
 So that any person passing through a house at any sea- 
 son of the year would not, upon leaving a room on the 
 north or east portion of the house to go into one in the 
 south or west sides, feel any considerable change, if any, it 
 would be but momentary, for the colors of the two would 
 immediately blend or harmonize so as to produce a 
 pleasing sensation. The effect of color thus has the power 
 to some extent to equalize to the senses a feeling of nearly 
 an even temperature. 
 
 CHURCH COLORS. 
 
 In referring to church decorations, much difference of 
 opinion exists. Many hold as a fixed rule that churches in 
 particular must have a somber monastic gloom. Such 
 take the idea from visiting ancient buildings, the relics of 
 past ages, which, on account of their walls being generally 
 built of stone, and that stone work being the interior finish 
 without plaster, such churches do, no doubt, while lighted 
 by stained glass and heavy stone work in their windows, 
 etc., cast a dull, melancholic gloom. But this result by no 
 means claims it as a necessity that such cold, forbidding 
 colors should be a standard to the present age. 
 
 And further we take the ground that dark somber colors 
 have nothing to do with producing religious feelings or awe. 
 Decorations, colors, etc., style or order, ought to be care- 
 fully selected and in good keeping, which should be such 
 as to cherish a true sensibility of christian feeling, altoge- 
 ther free from all depressing circumstances or causes such 
 as cold, raw, uncongenial mixtures have the natural ten* 
 dency to produce upon the mind. 
 
230 
 
 THE HOME MECHANIC. 
 
 At the same time avoid all such colors as would be suit- 
 able for theater decoration . Rather choose a modest, plea- 
 sant class of tints, a medium between the two, neither too 
 bright and lively nor too dull and monotonous. 
 
 PUBLIC HALLS OR LECTURE ROOMS. ; 
 
 \ 
 
 The best class of colors for such buildings are, or ought 
 to be, pleasant, light, agreeable tints, neither too warm, 
 nor in the other extreme, too cold. They require to be 
 colors easily lighted, pure mixtures, not muddy but airy. 
 Beautiful gray tints for the ceiling panels ; pleasant cool 
 buffs or drabs for the divisions or stiles, which can be 
 broken up well in neutral tints, all combining to produce a 
 sweet harmony. 
 
 Ceilings so done require to have the walls in keeping, 
 only giving your colors more tone or force, dividing judici- 
 ously the various tints throughout the cornice, etc. Artificial 
 moldings always partake of the color of the stiles, and are 
 always allowed for in drawing out the breadth of your stiles. 
 The order you select will always guide you in finding the 
 various members constituting the molding required, etc. 
 
 DWELLING HOUSES. 
 
 The interior decorations of dwelling houses admits of 
 more latitude. Here the painter has ample scope for the 
 introduction of variety, as all colors consistent with the 
 art of house decoration can be used with impunity. 
 
 Still we would advise that colors of a chaste and pleas- 
 ant character ought to be the general rule. 
 
 Let the panel of the ceiling be of a tone of color agree- 
 able and in unison with all the other arrangements, for in- 
 stance; ascertain the color selected for the upholstery, car- 
 pets, etc. (if already a furnished house), then the colors can 
 be made up in complete harmony. You can judge at once 
 those colors that will be suitable not only for the panel, 
 stile and cornice, but also for the walls ; and can also see 
 what the contrasting shades ought to be to give the true 
 tone and character to the whole. 
 
 For panels grays of various shades are employed, vary- 
 
THE HOME MECHANIC. 
 
 231 
 
 ing from the delicate French white to the decided French 
 gray and lilac, compositions of white, blue, red and black. 
 
 As already mentioned, whiting for the base of almost all 
 the shades required. Ultramarine blue, cobalt, Prussian 
 and verditer being the blues generally used. Indian red, 
 Venetian, vermilion, lake, carmine and sometimes orange 
 mineral ; but for large surfaces it ought to be avoided, as 
 it will be liable to sink owing to its great density. 
 
 The only blacks to be relied on are the blue black and 
 the Frankfort, or pure ivory black. Lamp black ought 
 to be discarded, as it is generally foul and greasy. 
 
 Pink or rose tints are got by a mixture of red with white, 
 employing any of the reds most suitable for the shade re- 
 quired ; if very rich, carmine or lake, vermilion or Venetian 
 r ed ; Indian red, if not wanted bright. 
 
 Gheens. — Any good chrome green will answer ; mineral 
 and Paris greens are of the first importance when bright 
 greens are wanted, and works very clean. 
 
 Buffs OR Drabs. — A great variety of shades of that 
 class or color can be attained by a mixture of yellow ocher, 
 red, blue or black. Some introduce umber to great ad- 
 vantage in drabs or buffs. If wanted cool add more blue 
 or black and keep out the red, or subdue it nearly. 
 
 Chrome yellow of various shades can be used, and if only 
 used with discretion is a valuable color, but bear in mind 
 that chrome is a color of great strength, and has to be used 
 with caution and judgment. 
 
 These shades can also be improved if they are wanted 
 warm and mellow, by the addition of terra de sienna, either 
 in its native raw state, or calcined, known as burned terra 
 de sienna ; it gives a fine warm tone to those colors. 
 
 If cool buffs or drabs are wanted, umbers can be intro- 
 duced with effect, both raw and burned, producing great 
 variety of color in mixture with or without yellow ocher. 
 chrome yellow or raw sienna. The Turkey umber is supe- 
 rior to the English or American, being a more pure earth 
 acd stands better. 
 
232 
 
 THE HOME MECHANIC. 
 
 BROWNS FOR SHADING, ETC. 
 
 Burnt umber, Vandyke brown, oxyde of iron (commonly 
 called " colcother"), purple brown, burnt ocher, burnt 
 sienna, etc. Burnt sienna and ultramarine in mixture ; a 
 beautiful shading color, not too much of the blue to show 
 it. 
 
 Always recollect that for ground colors the mixed whit- 
 ing is the base of composition. 
 
 In finishing panel work, where order is not entirely bind- 
 ing, colors can be introduced which has a very fine effect ; 
 such as parting lines, sometimes red brown, green or blue. 
 
 These are simply to divide contrasting or strong colors, 
 and assist very much in relieving the whole work and gen- 
 eral effect. But the pupil must be very cautious in intro- 
 ducing such auxiliaries, for many times good colors, fair 
 workmanship and contrast has been destroyed by such in- 
 troductions, placing such strong tints where they really 
 were not required, or of an improper tone to produce har- 
 mony. \ 
 
 CEILINGS ORNAMENTED WITH GOLD. 
 
 Sometimes a ceiling is relieved by gilding. The center 
 pieces, corner ornaments, a member of a molding, etc., are 
 required to be so. 
 
 Then the student must select some of the projecting or 
 prominent parts, and having sized in for gilding, after which 
 he must have his cushion, tip, cutting knife, etc., all in 
 readiness, also a ball of soft cotton, large camel hair brush 
 for dusting off all the surplus gold, etc. Then place your 
 gold leaf upon the cushion, take your knife and cut it into 
 strips of a proper size, draw your tip across your hair 
 (having first drawn a piece of pure tallow over the hair so 
 that a slight touch will cause the tip to lift up and carry 
 the leaf to the piece of work to be gi/lded), then use the 
 ball of cotton to lay it down, and clean off with the camel 
 hair brush, etc. 
 
 The size for gilding upon ceilings, etc., when a distem- 
 per ground is laid, no oil size can be used without first 
 running all the member in with a preparation sizing such 
 
THE HOME MECHANIC. 
 
 233- 
 
 as gum water, weak glue, or thin shellac varnish (bleached) 
 so as to keep the oil size from staining or running. To 
 obviate this trouble and save time an excellent size for 
 such work can be made by intimately mixing with thick 
 glue a little fine pure honey. This is what is called by 
 the French artists " batture." They contend that this size 
 hightens the color of the gold, and such experience will 
 teach the student is the case j it also gives the gilding a 
 fine luster, closely resembling burnished gilding. 
 
 PAINTING VESTIBULES AND HALLS TO STAND 
 WASHING, etc. 
 
 The walls must be prepared with oil paint, same as for 
 any other painted wall, only the last coat must be u dead " or 
 "flat;" that is, no oil used in the last coat, only spirts of 
 turpentine. In the last or flat coat there ought to be a little 
 good pale copal varnish, about one tablespoonful to 
 twenty-five pounds of paint; this gives a better and harder 
 surface to the wall, and bears handling much safer, for no 
 man can fresco a wall entirely free of some casual ity oc- 
 curring, such as charcoal lines to dust off, a drop might fall 
 from the brush, etc., and the varnish will enable the student 
 to wash very lightly if anything should happen to require it. 
 
 Before the wall receives the last two coats, let the de- 
 sign or paneling be all correctly drawn out. 
 
 Then mix the colors to the required tints (in oil), lay in the 
 panels first ; then the stiles, and when thoroughly dry, put 
 on the flat or last coat (spirit color). The work will be 
 dry for paneling in a few days. 
 
 MIXTURE OF COLORS FOR THE PANELING 
 OF AYALLS OR VESTIBULES. 
 
 Common spirits of turpentine for the mixing of the finish- 
 ing colors is found to work too spare, does not cover very 
 well, and cannot be bound enough to stand the frequent 
 passing upward and downward which is required with the 
 brush in running moldings or lines. 
 
 Therefore the following mixture is found to answer the 
 purpose very well, viz. : Turpentine, a little white wax, 
 
234 
 
 THE HOME MECHANIC. 
 
 a little mastic varnish, and a little fine pale damar varnish. 
 The quantity cf the varnish must be very small, other- 
 wise a gloss would be produced which would not die down 
 flat in drying ; all that is r. quired by such a vehicle is 
 simply to cause the color to hold or set quickly, so that 
 the work can be more expeditiously carried on. / 
 
 A little practice will soon teach the student the quantP 
 ties required, for it is not possible to give correct proportions ? 
 for those mixtures ; besides every painter has some par- 
 ticular mixture to which he prides himself. The above 
 will answer all purposes. 
 
 In preparing old walls or ceilings sometimes there are 
 stains, cracks, etc., in the plaster; these can be best seen 
 after the old color has been removed by washing, which 
 must always be done the first thing ; then mend all 
 the blemishes in the plaster with size putty if small, 
 or if deep cracks, taking plaster of Paris and a little putty 
 lime, enough merely to keep the other from setting 
 too quick. Damp all the places with a brush and water, 
 then apply the plaster with a small trowel or knife, and 
 finally wash and smooth over the places to make good 
 sound mendings. When dry, give a coat of shellac var- 
 nish to all the mendings. 
 
 After all the necessary repairs are hard and dry, if the 
 ceiling or wall is not to have a coat of paint, a prepara- 
 tion coat in size will be necessary. This is a mixture of 
 whiting with an extra quantity of melted glue, to which must 
 be added a small amount of alum ) give the plaster a full 
 coat of that, allowing a full day to harden before the 
 second coat is applied 5 in most cases the second coat is 
 sufficient if the first coat has been nearly of the required 
 color. But always have enough of size in the second coat 
 to have it well bound, for it may happen that a third coat 
 may be required to make a good fair surface. 
 
 Still it is highly necessary to avoid too much accumula- 
 tion of color, as it is liable to produce a roughness or harsh- 
 ness, which is at once detected even by the inexperienced 
 eye. 
 
 Always give a coat u full flowing." Never attempt to 
 rub out the color, for such scantiness of color will be sure 
 to ruin all your expectations and prove a failure. 
 
THE HOME MECHANIC. 
 
 235 
 
 NECESSARY IMPLEMENTS. 
 
 A marble slab, to grind all the colors not to be bad 
 ground at the color shops. 
 A good pallet knife. 
 A stopping knife, 
 A small trowel. 
 A square. 
 
 A set of straight edges. 
 
 A T square. 
 
 One pair compasses. 
 
 One scale for measurement. (Gunther.) 
 One foot rule. 
 Chalk line. 
 
 Colored chalks or crayons. 
 Charcoal for drawing lines. 
 Flat nailed stock brushes, or tin bound. 
 Round wire bound brushes for cornices, eto. 
 Sash tools, six sizes, from No. 2 to 8. 
 Flat French tools for drawing lines, etc. 
 Round quill or tin bound tools, various sizes, from small 
 Co large. 
 
 Sable pencils, long and short, to use on scrolls, flowers, 
 center pieces, etc., ;md various other purposes. 
 An assortment of wood pails. 
 Stone pots, large and small. 
 Tin cups, large and small. 
 Tin cans, one dozen or two, assorted in size 
 Step ladders. 
 
 Tressels for scaffolds, assorted bights ; planks, etc. 
 One glue pot, double made. 
 
 One tin basin, wire bottom, for straining colors after the 
 size is put in to remove any extraneous matter in the color. 
 
 Any other necessary article omitted, can be supplied 
 when needed. 
 
 And here I would sum up with a few useful remarks by 
 way of conclusion. 
 
 Knowledge is the grand element of decision in all things, 
 and no less so in painting ; and we should neglect no means 
 placed at our disposal of attaining- that element. 
 
 The same avenues of information are open to us all that 
 
236 
 
 THE HOME MECHANIC. 
 
 supplied the minds of Rubens and Titian, if we will but 
 resolve to apply them. 
 
 The peculiar feature of fresco painting is what may be 
 called "roughness;" and what some people would apolo- 
 gize for on account of "want of finish," by saying that 
 more finish is important, for that at a distance it would not 
 be seen. 
 
 But this is a very unfair and insufficient view of the 
 matter. Not only is there no occasion for more finish in 
 fresco painting ; but properly speaking it is highly finished 
 already. It is a mere question of focus. 
 
 To finish a piece of work, is to regulate and complete 
 the various parts in conformity to the whole, and this effect 
 once accomplished, all beyond tends to undo instead of 
 completing the painting. 
 
 By attempting more finish you would obtain less, for the 
 real finish in fresco painting is gained by keeping the tints 
 bold and firm, that they may blend well when reviewed 
 from a distance. ^ 
 
 TO PREPARE TRACING OR TRANSPARENT 
 PAPER. 
 
 Take one quart of spirits of turpentine, one quarter of 
 an ounce of sugar of lead finely powdered, shake it up and 
 let it stand for two days ; then pour off and add to it one 
 pound of pure Canada balsam, set it in a gentle sand heat 
 and keep stirring it until it is quite mixed, when it will be 
 fit for use. Then have your paper ready on a smooth 
 board, brush it over, and hang it up to dry. In about 
 four days it will be fit for use. 
 
 This paper will be extremely transparent. The most 
 suitable paper is bank post, and when for very nice pur- 
 poses, use fine tissue paper. 
 
 COPYING OR TRACING SHEETS. 
 
 Take some hard soap and lamp black, and mix them to- 
 gether to the consistency of jelly. Brush over one side of 
 any smooth paper with this composition and let it dry. 
 Place the colored side of this paper upon a clean sheet on 
 
THE HOME MECHANIC. 
 
 237 
 
 a smooth table ; over both these lay any design to be 
 copied, and trace its outlines with a metallic or ivory point 
 just sufficiently blunted to prevent its cutting the paper. 
 The colored paper, wherever it is pressed upon by the 
 point, will make a mark on the white sheet it covers, and 
 the lowermost sheet will by this means receive ihe whole 
 design. 
 
 Black lead, vermilion, or any other coloring matter may 
 be employed. 
 
 In copying any ornament from the sheet, use the precau- 
 tion to fasten your sheets securely, for a shift of any of 
 them would make a false copy. 
 
 POUNCING ORNAMENTS OF ANY KIND. 
 
 Prick the outlines of any design to be copied with small 
 pin holes, very near to each other. Place the design to 
 be copied upon a clean sheet of paper, and. dust it over 
 with finely powdered charcoal from a muslin bag. The 
 charcoal will penetrate through the pin holes, and upon 
 lifting up the pricked paper, the design will be found upon 
 the sheet beneath it. The pricked paper will serve many 
 times, and ought to be carefully laid away for use upon 
 some other occasion. 
 
 Correct copies of any scroll or design can be thus trans- 
 ferred to a ceiling or wall with ease, and saves »11 the 
 trouble and time in repeating drawings. 
 
 STENCILING.* 
 
 Draw any design necessary (o ornament flowered mold- 
 ings, trusses, friezes, etc., and with a sharp knife cut out 
 the principal parts of the drawing, only leave as much as 
 will connect and keep together the sheet in due form, then 
 take a short brush with the color required, and not too 
 thin, pass over the sheet carefully avoiding the liability 
 of under-blotting, wheu the design will be painted entire 
 
 *Ho\v to Pimjwrh Paper fob Stenciling.— Co:>t the sheets 
 of paper with boiled oil first emit, then give them three more coats 
 of oil paint, they will then stand (lie mixture of the water color and 
 action of the brush. 
 
238 
 
 THE HOME MECHANIC. 
 
 (with the exception of the small parts where the connec- 
 tions were), which can be touched up with a small brush 
 with the same color. 
 
 This method saves a great amount of labor, and for such 
 pieces of work answers very well ; all that has to be done 
 is simply to put in the shade lines along with the others. 
 Many ornaments are done in this manner, and to the fresco 
 painter is a great economizer of time. Every appliance 
 that can be adopted ought to be brought into requisition 
 to lessen labor, and thereby add to the remunerative in- 
 terests of physical action. 
 
 In conclusion, I would say, persevere and the result is 
 sure. 
 
 ORDERS OF ARCHITECTURE. 
 
 The painter of interiors has constant use for pillars, 
 columns and pilasters. We give, therefore, a specimen 
 column of each principal order of architecture, with the 
 technical designations of each part. The painter must 
 constantly remember that these are only flat representa- 
 tions of solid bodies, and he should study every fine row 
 of columns that may come under his observation, and 
 enlarge his knowledge by the study of some complete work 
 on architecture ; and following these pillars we give a few 
 designs for ceilings in fresco. Also an ornamental scroll 
 and a border for several colors. But the painter in active 
 practice will constantly find use for larger collections of 
 designs. He should also be ready with pencil and sketch 
 book to copy anything new which he may see, and to in- 
 vent designs for himself. 
 
TUSCAN ORDER. 
 
 - 1 7 
 
 J Ovolo 
 
 2 
 
 / Cavetto 
 
 • 5 
 
 ^ Torus 
 
 Apophyses 
 
 Astragal 
 
 I f) Bead, No. 1 
 
 7 
 
 ^ Bead, No. 2 
 
 Cyma Recta 
 
 ~7 
 
 Ogee, or Cyma 
 Reversa 
 
 10 
 
 Scotia 
 
 11 
 
 ( -^ Quirked Ogee 
 
 12 
 
 n irked Ovolo 
 
 \J Quii 
 
 13 
 
 \ Reeds 
 
 14 
 
 Facia 
 
240 
 
 THE HOME MECHANIC. 
 
 TUSCAN ORDER. 
 
 o 
 O 
 
 J 
 
 T Cavetto 
 
 Cavetto 
 
 Corona 
 Ovolo 
 
 55 
 
 Facia 
 
 Facia 
 
 Abacus 
 Ovolo 
 
 Astragal 
 
 ) Torus 
 -*| Pliuth 
 
THE HOME MECHANIC. 
 
 DORIC ORDER. 
 
 Guttse 
 Frieze 
 
 Shaft 
 
242 
 
244 
 
 THE HOME MECHANIC. 
 
 BORDERS. 
 
THE HOME MECHANIC* 
 
 CORNERS. 
 
THE HOME MECHANIC. 
 WALL PANEL DECORATIONS. 
 
THE HOME MECHANIC. S4& 
 
 WALL DECORATIONS. 
 
THE HOME MECHANIC. 
 
THE HOME MECHANIC. 
 
 251 
 
252 THE HOME MECHANIC. 
 
THE HOME MECHANIC. 
 
 253 
 
854 
 
 THE HOME MECHANIC. 
 
 A COMPLETE SYSTEM 
 
 OF 
 
 COACH PAINTING. 
 
 This is a branch of the art of great importance, yet one 
 but very imperfectly known to the masses. One reason for 
 this statement is that coach painters generally keep a very 
 «lose surveillance over visitors, few, if any, are allowed to 
 enter their workshops, and no class of painters are so un- 
 willing to communicate any of the principals or theories of 
 their business. 
 
 House painting, sign painting, etc., are branches of the 
 art that cannot be well concealed from the public gaze, for 
 the operations are so common, and of every day occurrence, 
 that any person of moderate ability can soon obtain suffi- 
 cient information to enable them to do a passable piece of 
 work, especially in house painting. Graining requires not 
 only good judgment, a true sense of the various woods and 
 marbles he wishes to imitate; but also the organ of imita- 
 tion well developed. Sign painting being in part mechanical, 
 has been acquired with more ease than many other branches 
 of the art, yet there are some points got only by long prac- 
 tice and through the help of others in the same line. 
 
 But, as stated above, coach painting differs so much 
 from any of the above in the method, mixtures, etc., that 
 even a good clear knowledge of any of the others is of no 
 use when applied to coach painting. 
 
 In starting with giving the pupil a correct idea of coach 
 painting, it will be necessary first to mention the kind of 
 materials, tools, etc., required. 
 
 In no branch of painting should more care and knowl- 
 edge be employed than in selecting the most suitable stock 
 before commencing a piece of work; for without paying 
 strict attention to this fact, good work cannot be done. A 
 first-rate coach painter cannot execute a piece of work to 
 
THE HOME MECHANIC. 
 
 255 
 
 advantage with poor materials ; the paints must be of the 
 best quality, varnish, japan, oil and turpentine dryers, etc. ; 
 let those be good and the chances are all in your favor. 
 
 MATERIALS REQUIRED. 
 
 White lead, B. B. brand, ground in oil. 
 Same quality, dry. 
 Japan dryer, No. 1. 
 Black Japan. 
 
 Body copal varnish (flowing). 
 
 Body (hard), for bringing up the work, for rubbing down 
 and using in the previous coats, then finish with the body 
 flowing. 
 
 Carriage varnish. Nos. I and 2. 
 
 Drop, or Frankfort black. 
 
 Chrome yellows, of all shades to orange. 
 
 Indian red. 
 
 Vermilion. 
 
 Venetian red. 
 
 Orange mineral. 
 
 Red lead. 
 
 Scarlet lake. 
 
 Crimson lake. ) ^ r . , , . , 
 
 Purple lake. } Coach P alnters rose P lnk ' 
 
 Yellow lake. 
 
 Carmine 
 
 Purple Brown. 
 
 Burned Umber. 
 
 Raw Umber. 
 
 Burned and Raw Sienna. 
 
 Chrome greens, assorted shades. 
 
 Olive, or quaker's green. 
 
 Ultramarine blue. 
 
 Prussian blue. 
 
 Cobalt blue. 
 
 French yellow (ocher). 
 
 Whiting, best quality. 
 
 Ground pumice. 
 
 Pumice in lump. 
 
 Rotten stone, very fine. 
 
256 
 
 THE HOME MECHANIC, 
 
 Tripoli powder. 
 
 Granulated zinc (putty powder). 
 
 Fine wheat flower. 
 
 Olive oil for polishing. 
 
 Brushes of suitable sizes, short for painting. 
 
 Oval bound varnish brushes. 
 
 Sash tools, assorted sizes. 
 
 Pencils, large and small (sable). 
 
 Long liners for striping (camel hair or sable). 
 
 For fine lines, long black sable. 
 
 Sand paper, assorted numbers. 
 
 Emery paper, for rubbing old work, viz. : iron^, springs, 
 bolts, shackles, etc. 
 Dusters. 
 
 A few tressels to stand bodies upon of a suitable hight. 
 
 A wheel stand, which is an upright mortised into a 
 square block of wood, about two inches above the half 
 diameter of the largest wheel ; have a pin of iron put 
 through the upright, a little less than the size of the axle, 
 and long enough to hold the wheel while painting or when 
 striping. And another, made with a block or stool, with an 
 upright bolt or pin from the center, so as to place a wheel 
 upon a horizontal position. 
 
 A bench for the flag and muller. A small paint mill 
 attached to the bench for grinding colors. 
 
 A square putty knife. 
 
 A diamond pointed putty knife. 
 
 A pallet knife. 
 
 A hal/Jound file. } for c,eanin & old work - 
 Flat broad chisel. 
 
 Flat scraper, or old plane iron, used when firing off o. 
 paint. 
 
 Varnish pots (tin), with a wire across the mouth to 
 wipe the brush over. 
 
 Paint cans, assorted sizes. 
 
 Oil cans, etc., marked for boiled and raw. 
 
 Turpentine can. 
 
 Japan can. 
 
 Cloth, double milled, for rubbing the varnish coats. 
 Sponge and chamois skin, etc. 
 
THE HOME MECHANIC. 
 
 257 
 
 Having mentioned almost all the necessaries required to 
 furnish a coach painter, I will now proceed with the gen- 
 eral instruction for preparing a carriage for painting. 
 
 First, take and dust all the machine carefully before tak- 
 ing it into the paint room. Have two boards like small 
 table tops connected by a bolt in the center, so as to re. 
 volve when wanted. Place these upon the tressels, then 
 take the body off the under carriage and set it upon the smaft 
 tressels before mentioned, then take oif the wheels and let 
 the carriage rest upon the axle on a tressel of a proper 
 hight, same as the wheels ; take the wheel stand and place 
 upon it one of the wheels, then the work will be all easy of 
 access and ready to commence painting. 
 
 In coach painting very little oil paint is required, and 
 here is the difference that occurs between house and coach 
 painting. Only two or three coats of oil paint is sufficient 
 in bringing up the work. This we call priming. Just give 
 as many coats as will carry out a slight gloss, no more. 
 
 The best oil for this purpose is good drying oil, say two- 
 thirds oil and one-third turpentine, and have a little of the 
 fine litharge ground into it, about two ounces to twenty 
 pounds of paint. The litharge causes the paint to become 
 hard, and rub down better than if only drying oil alone 
 was used. 
 
 We mention litharge because it is the best dryer for this 
 purpose. Patent dryer is, no doubt, convenient, being al- 
 ready ground, but it never dries paint so hard as litharge, 
 nor rubs down with the sand paper so well, being more apt 
 to hang to or clog the paper, and roll or draw upon the 
 work. 
 
 After all is first coated and dry, take your sandpaper 
 and rub down very smooth, making sure to cut down all 
 inequalities, ridges, or deficiencies in finish by the coach 
 builder, otherwise by neglecting to do so on the first coat, 
 you would have the mortification to find that those places 
 would cut through in your second coat, thus losing your 
 time to a considerable amount. 
 
 You now dust your work carefully, and mix up some 
 putty (better make your own) with whiting and oil (raw 
 oil ) and about one-fourth part white lead, and work into it 
 while kneading it, a little pulverized litharge to make it 
 
258 
 
 THE HOME MECHANIC. 
 
 dry good and hard. This is very important, as the putty 
 should be dry, otherwise it would rub up in the pro- 
 cess of the work, and spoil the entire job. Observe that 
 the putty must be stiff, and well worked up, before using 
 it. You now take your putty -knife and fill up every crack, 
 crevice, knot hole, etc., etc; level every inequality smooths 
 and fine ; study rather to have your filling -up rather high- 
 er than otherwise, for you will put that all right when rub- 
 bing down the next coat, but if below the level, you have 
 to commence puttying again. That is bad work, so be 
 sure to putty carefully. All this done, then dust off the 
 work again, previous to second coating. Should your col- 
 or be too stout or thick, thin with turpentine, but be sure 
 not to use thin color, for it not only covers badly, but rubs 
 down very tacky. 
 
 For all dark colors, use a dark lead color for your oil 
 coats — " merely black and white," but, for preparing for 
 any such color as light green, let the color be light lead 
 color. 
 
 If for a yellow, begin with white, or slightly tinted with 
 a little chrome yellow. 
 
 In laying your second coat, be sure to lay it regular, not 
 fat in some places and spare in others, but as far as pos- 
 sible an equal fair coat, and we would wish to guard you 
 against one of the very worst faults a painter can commit, 
 viz. : to leave full or fat edges upon any part of the work, 
 such as the springs, shackles, bolt-heads, or nuts, or any 
 part of the carriage, for if left by neglect, they will tell 
 upon you at some stage of the work, and at a time, pos- 
 sibly, when you cannot well repa?r tie evil done ; therefore 
 be careful. ~ ' 
 
 When this second coat is dry examine minutely, that 
 you have missed none of the places requiring putty. 
 
 The second coat being thoroughly dry, proceed to rub 
 down with your sand-paper, using a finer quality this time, 
 so as not to cut so deep, hoping that all projections have 
 been cut down upon the previous coats. Now dust off 
 your work, and commence to give the third coat, putting 
 on a very tight coat (that is, rubbing it out well, not too 
 much paint). 
 
 After the work is all dry and hard, you next proceed to 
 
THE HOME MECHANIC. 
 
 259 
 
 giving the filling up coats. Filling is a mixture prepared 
 as follows : Take dry French yellow, litharge, a little white 
 lead, whiting — say about one-sixteenth litharge — a small 
 quantity of white lead, a small amount of whiting; a little 
 red lead will also improve it; take your drying Japan and 
 pour in as much as will nearly mix it ; put in a very little 
 drying oil, very careful not to have too much, otherwise the 
 filling will be soft and tough ; turpentine to thin to a 
 suitable thickness, to make it spread like a stiff coat of 
 paint. This filling must be laid full, a coat to flow on 
 freely. A little practice is necessary to find out the 
 exact quantities of thinners to be used in mixing good 
 u filling up stuff." After all is right, commence to coat 
 your body, laying it fullest where, you see any hollow or 
 want that you cannot putty very well, as this is really its 
 use. Then, if a good job, coat your shafts, springs, 
 wheels, etc., etc., etc., and when all is done over, let it 
 stand until all is perfectly hard (try with your thumb nail) ; 
 if it feels hard and don't peel up, it will stand another 
 coat. 
 
 In the most of cases, two coats of filling will be suffi- 
 cient. The last coat must be allowed to dry hard, as it 
 has to be all rubbed down with lump pumice stone. Rub 
 the pumice flat upon a stone before you commence rubbing 
 down carriage work. 
 
 When the student begins to rub he is to be very cau- 
 tious to avoid cutting through, and here he will find a 
 " proof" whether or not he has paid attention to rubbing 
 down carefully with his sand-paper, for if he has not, of 
 course his pumice will cut in all places neglected, as stated 
 above. 
 
 In rubbing down with lump pumice, you must use plenty 
 water ; keep your sponge in your left hand, and supply 
 water whenever required ; it will cut quicker, and not be 
 liable to roll up, as it would undoubtedly do if not kept 
 perfectly wet. Draw your finger or side of the hand over 
 the parts you are rubbing and you will see when you have 
 it done enough, that is, all perfectly firm and smooth. Then 
 you have done all that is required. Take your sponge and 
 wash off all the work ; wring out your wash leather (cham- 
 ois) and dry off the job ; then if all is perfect, all filled, 
 
260 
 
 THE HOME MECHANIC. 
 
 the work will feel like a piece of ivory, quite smooth and 
 level. 
 
 A panel or piece of coach work cannot be got level or 
 fit for finishing without being filled up by this method, for 
 the grain of the wood will always be more or less seen un- 
 less done so. 
 
 We now come to the next stage of operations, viz. $ 
 color. « 
 
 Whatever color the carriage is to be painted, the color 
 must be fresh ground, as it is a mixture that drys very 
 quick. 
 
 If you want a dark green of the olive shades, you take 
 deep chrome yellow and drop black ; have your black 
 powdered ; mix the two together in a pot with the drying- 
 japan, and a little turpentine — not too much spirits at first, 
 as it would not grind well if thin ; put your mixture into 
 the bench mill and grind it into a clean pot (always wash- 
 ing out the mill, to keep it clean), then see if the shade is 
 of the kind desired ; if too dark, you want more yellow, 
 or vice versa; if the color is wanted warm olive or quak- 
 er's green, put in a little India or Venetian red. 
 
 Now take a clean brush, and make up the color to the 
 proper thickness and commence work at once ; as the color 
 drys or sets very quick, be expeditious in laying it on. 
 The same care is not now so necessary as regards fat edges, 
 as the color will all dry hard. Still ; avoid all careless or 
 slovenly work j always work clean, if you want the work 
 to look well. A small drop of drying oil can be used in 
 very warm weather, if it should set too fast to allow time 
 to lay the color, yet an expert never uses any oil, and it is 
 better not to use any, unless you wish to let the work 
 stand for a longer period of time than usual. By working 
 the color free of oil, two coats per day can be given easily. 
 Two coats of this color will be sufficient. I have often 
 done a good piece of work with one flowing coat. 
 
 All plain colors are done in the same manner 5 all opaque 
 colors that cover well require no more. 
 
 Greens, browns, olives, yellows, etc., etc., but for an ul- 
 tramarine blue, the work has to be got up very differently. 
 
 You must ground up after your filling has been rubbed 
 down, washed, dried, etc, with a coat in " oil/' that is not 
 
THE HOME MECHANIC. 
 
 261 
 
 in "japan," using just, so much oil with the color to keep 
 it from setting too quick ; for such colors use sugar of lead 
 for the dryer, in preference to japan dryers, as the color 
 will be purer. Grind some good Prussian blue in oil, then 
 add to a mixture of white lead as much blue as will make 
 a ground dark enough for to bear the ultramarine blue, 
 that is about as dark as you wish the carriage to be when 
 finished. You now proceed to give a nice cai-eful coat over 
 all \h? work that is to be finished blue. When dry, if 
 solid enough, it will require no more Prussian blue, but 
 generally two coats are required. 
 
 When satisfied that your ground is good, take some of 
 the best ultramarine blue, grind it on the stone with a little 
 varnish, pour out some of your body flowing varnish into a 
 clean pot, put in your ultramarine already ground, and with 
 a clean brush mix well the blue with your varnish ; try if 
 there is blue enough in it, and, if all right, commence 
 to give a very regular flowing coat all over, and the 
 colored varnish coat will flow on very evenly and give a 
 tone and transparency, a depth of color which cannot be 
 got by using full ultramarine alone. We always recom- 
 mend two coats for a coach wanted in this peculiar color, 
 second coat the same as the first, only before giving the 
 second coat rub down all the work with ground pumice and 
 water, with a cloth. You thus remove- the gloss, and the 
 next coat will lay and flow better. Let the work stand for 
 a few days, then rub down again with ground pumice and 
 water, wash, and dry with your skin, after which the work 
 is all ready for picking out and striping, of which I will 
 lay down general rules hereafter. 
 
 1 CLARET OR LAKE COLORS. 
 
 Your first coat is composed of vermilion and rose pink, 
 in oil, as for blue. Filling all rubbed down, washed, dried, 
 etc., dust clean, then proceed to give a coat ; this you will 
 find to cover very well. When dry, give another light 
 coat j as soon as hard, rub with ground pumice and water, 
 same process as for blue. Dust clean and nice. 
 
 If you wish a very rich light claret, you must calculate 
 not to have too much rose pink in your ground color, for 
 
262 
 
 THE HOME MECHANIC*. 
 
 if you do, you will not get the color you anticipate. But 
 for dark clarets, use considerable rose pink. The student 
 must pay attention to these important hints. 
 
 For the light shade, have some scarlet lake ; grind in a 
 similar way as directed for ultramarine ; take the body- 
 flowing varnish and put in the lake; mix well, and pro- 
 ceed to coat very carefully. This color sometimes takes 
 three coats, but with due care, and a good brush hand, it 
 can be attained with two coats. 
 
 DARKER SHADES. 
 
 Use more rose pink in the ground. Then, instead of 
 scarlet lake, use the best crimson lake, and in the same 
 manner as for the light claret ; two coats will be enough 
 if carefully laid. In all those colors got, the principal 
 idea is to have a solid, true body, not shady but fair. 
 
 STILL A DARKER SHADE. 
 
 Vermilion, rose pink, a little ultramarine blue, for the 
 ground. This is for a purple shade of claret. Ground 
 good and solid. 
 
 Then grind some purple lake, same as above ) put into 
 your " body-flowing varnish f two coats will be enough, 
 if managed well. Should any imperfections appear, give 
 another coat and all will be sure. 
 
 TO PAINT A CARRIAGE PURE CARMINE. 
 
 This is sometimes required for fancy machines, or fire- 
 engines, hose carriages, etc. Many painters fail in paint- 
 ing with this very valuable color, and also through ignor- 
 ance of how to use it. They very generally attempt to 
 get the color by the use of the carmine alone. This color, 
 if pure, is worth $3 per ounce. 
 
 Ground your work with the best English vermilion ; see 
 that the color is complete and solid. 
 
 Then take pure carmine, grind in a little drying oil, put 
 it into the body-flowing varnish, and coat very carefully. 
 It will take two coats to produce a solid, pure color. 
 
THE HOME MECHANIC. 
 
 263 
 
 By this method, one ounce bottle will do a whole ma- 
 chine, thereby saving a large amount of cash for carmine, 
 and time, which is capital, and at the same time produce a 
 very superior color to anything that can be realized from 
 pure carmine. 
 
 All the above colors are produced by what is called in 
 the trade, glaizing. 
 
 A green can be done in the same way $ laying a light 
 green for a ground, then use the green lake to glaize, as in 
 the clarets, carmines, ultramarines, etc. 
 
 "JAPAN BROWN." 
 
 Grind drop black in japan ; add to it a little vermilion, 
 just enough to see it. This makes a very rich color, and 
 looks very well with vermilion lines, or an orange line ; 
 either looks well. 
 
 OXFORD BROWNS. 
 
 Take a little chrome yellow, white lead, India red, best 
 ocher, burned umber, just white enough to be seen ; yellow 
 is the principal color ; red to warm it, umber to give it the 
 brown tone. 
 
 Many varieties of Oxford brown can be made by the 
 adding more or less of the leading colors of the compos- 
 itions. 
 
 CHROME GREENS OF ALL SHADES, 
 
 Or greens composed of chrome yellow and Prussian 
 blue. Let all the greens be ground in japan. Being 
 opaque, they all work in that way remarkably well, and 
 by far superior to any attempt in oil. 
 
 FAWN COLROS. 
 
 Yellow, red, a little black, or a little burned umber may 
 be added, even burned terra de sienna is sometimes put in 
 the mixture. Coach colors vary from the shades in gen- 
 eral use by house and sign painters. They are strictly a 
 class of colors peculiar to t'?at branch of the art, and are 
 
264 
 
 THE HOME MECHANIC. 
 
 tied to no common established rule. I have seen a carriage 
 painted with the cleaning of several pots, forming a color 
 that would puzzle almost the best colorist to imitate, yet 
 it looked first rate, although a nondescript! We advise 
 the adoption of the principle, as it not only produces var- 
 ieties of color but will be a point of economy of great im- 
 portance, as much valuable color is often thrown away 
 through this want of judgment, into the common receptacle 
 for all left colors called the " smudge barrel." 
 
 DRABS. 
 
 Any variety can be made to suit the most fastidious. 
 
 Composition drabs, red black, and yellow, umber ; also 
 some mineral colors, from which many fine tints can be 
 made. Raw umber and white alone constitute a good cool 
 drab, and can be toned either with a little 41 chrome," or 
 " red/' so as to be either rich, or warm. Any fancy shade 
 of color wanted can be mixed with perfect ease, for very 
 soon the student will acquire sufficient knowledge of color 
 to mix any shade he desires. 
 
 A GOOD, DURABLE, CEHAP COLOR. 
 
 Vermilion and Prussian blue. This is an easy way of 
 getting at a cheap, rich purple, with a small quantity of 
 white lead. 
 
 ANOTHER. 
 
 Vermilion and drop black makes a cheap plum brown, 
 or claret ; covers well, and looks and stands well, although 
 far deficient to the claret got up by glaizing with crimson 
 lake, already mentioned ; but for low priced work looks 
 very well indeed, and will not cost one-half the price ; as 
 much time is saved, and the materials moderate. 
 
 Having given a general outline of colors, we propose to 
 next point out to the student the manner of " breaking 
 out," or il picking out," as the trade term has it. 
 
 That is, laying in the lines or stripes, " blue ground." 
 If a large carriage, with heavy wheels, draw lines (with 
 
THE HOME MECHANIC. 
 
 265 
 
 japan mixed color) with ground Frankfort black, from 
 three-quarter inch to one inch broad, on every part of the 
 carriage, spokes and springs, filloes, hub, etc., etc., etc., 
 shafts, etc. Then, with a light primrose, or light orange 
 color, draw fine lines about three-eighths or a quarter of 
 an inch from the broad black line, showing that separating 
 distance clear and distinct of the blue between. 
 
 And great care is required in drawing the fine lines, so as 
 to have them true and equi-distant. Wherever the broad 
 black line is drawn, carry your two fine lines all through the 
 work, bolt heads and nuts black with one fine line round 
 the edge. 
 
 For an extra finish a fine line can be drawn down the 
 center of the black, a deep orange, or pure white, or gold. 
 This style looks very beautiful. 
 
 In drawing fine lines, as a general rule, the color is 
 ground in drying oil, as it combines more closely, and gives 
 out from the pencil much better, and makes the lines more 
 regular, although for work in a hurry, where the lines are 
 not required to be so fine, japan color will do. 
 
 GBEENS. 
 
 Generally pick out with black, and if a light green, 
 black lines will be enough. If a little more expense is to 
 be gone to, run up the center of the black lines with a 
 white, and not too fine. This makes a good neat finish. 
 
 If a dark green, pick out with black, and run very fine 
 line on each edge of the black, three-eighths of an inch off 
 the black. With a very bright green, that looks very nice 
 indeed, or any other color to suit the taste of the artist. 
 
 CLARETS. 
 
 Almost all colors of this class are picked out with black. 
 Fine side lines are either vermilion or a rich orange; or 
 side lines of orange, not too dark, and a vermilion line run 
 up the center of the black ; or one large black line, with a 
 gold line up the center, about one-sixteenth of an inch 
 strong. 
 
266 THE HOME MECHANIC. 
 
 FAWN COLORS. 
 
 Pick out with black, fine line with white on each edge, 
 or brown drab shade — any color that will show well and 
 be in harmony. 
 
 OXFORD BROWN. 
 
 Pick out with black, fine line vermilion or medium tint 
 of chrome yellow with a perceptible touch of red in it. 
 Sometimes part the black line with white down the center. 
 
 JAPAN OR PLUM BROWN. 
 
 Vermilion line looks best of any color, and for cheap 
 work requires nothing more. 
 
 BLACK BOLTS AND NUTS. 
 
 Some dark colors (very dark) look well to pick out with 
 drab, or fawn color, edge lines vermilion, center line black. 
 This looks very clean and showy. 
 
 OLIVE, OR QUAKER'S GREENS. 
 
 Pick out generally with black, fine line with white 
 orange, or light green. 
 
 DRABS OF ALL SHADES. 
 
 Pick out with black, fine line with vermilion, or orange 
 high colored. Extra finish, center line white. 
 
 PURPLE. 
 
 Pick out with black, fine line with a bright line of orange 
 or lilac, or with vermilion. 
 
 These remarks apply to most of the colors in use by 
 coach painters, although there can still be a greater var- 
 iety of work done than we o^n enumerate, which can be 
 put in practice at any time. 
 
 The next operation is to varnish. Now, it appears a 
 
THE HOME MECHANIC. 
 
 267 
 
 simple process, but it requires not only great practice but 
 considerable " knack." One thing must be understood and 
 put in practice, viz. : never use a dirty brush or pot ; keep 
 your brush in a narrow tin case or canister in raw oil ; cut 
 a hole in the top large enough to admit the handle of the 
 brush, and bore a small hole through the handle to admit 
 a piece of wire to hold it up from the bottom, for if the 
 point of the brush touch or rest on the bottom, the ^bristles 
 will be turned, consequently will not lay the varnish close 
 and smooth. Wash the brush out clean with turpentine 
 before using. 
 
 Then pour into your pot (if for the under carriage) some 
 carriage varnish, and work in your brush thoroughly ; then 
 start either upon your wheels or carriage first, it is of no 
 importance which ; lay a full coat, never pinch it, for a 
 half coat of varnish is always poor and hasky, and never 
 yields a good gloss. When all your carriage work is done 
 pour back the varnish into your can, then take some body 
 varnish and give your first coat to it also ; then let all 
 stand until it is quite hard and dry. 
 
 Then take your ground pumice and water and cloth rub- 
 ber (woolen cloth) and wet it well ; then have some pum- 
 ice on a board or plate convenient, dip the clo^h in the pum- 
 ice and commence to rub every part of the varnish, taking 
 great care not to run through any of the ground, or lines, 
 but merely to remove the gloss. This we call flatting the 
 work. Then wash of all the pumice thoroughly, and dry 
 with the wash leather, which must always be used wet ; 
 just wring it out of the water as dry as you can, and it will 
 d y best ; never use it dry. You now examine the work 
 carefully, and see if you have cut through anywhere; if 
 you have,*you must touch it up with japan color, so as to 
 dry soon, then you can begin your second or last coat. 
 
 A very good job can be done with two coats. Give a 
 very full coat, almost to running, and lay it off very clean. 
 When you do the wheels, a full coat, take and spin them 
 upon the standard for some time, indeed until nearly set. 
 This plan is not generally practised, but it gives a very 
 superior gloss, and secures the danger of the varnish run- 
 ning, a very important point, and one not easily got quit 
 of ; and about the worst eyesore that can occur. 
 
268 
 
 THE HOME MECHANIC. 
 
 If this second coat do not please you, flatten the coat 
 again with 3 r our pumice, cloth, and water; wash and dry 
 as before, and then give a reasonable coat carefully. 
 
 In good jobs, where it is required to be polished, you 
 must commence with fine ground pumice; do not depend 
 upon the fineness of the pumice as sold, but. for this pur- 
 pose, take and mix with water, then grind it upon the flag 
 very fine, then there will be no danger of scratching. 
 
 Rub just enough to bring all to a perfect smooth state, 
 all brush marks removed, then wash very clean and dry 
 well; then dust carefully. But always before washing, 
 drying, etc., sweep out your floor, and sprinkle with water 
 to lay the dust. The same precaution is necessary always 
 before varnishing, for dust getting into the varnish will 
 cause the work to look "seedy/' or lousey, as the painters 
 call it. 
 
 Your next operation in polishing is to take rotten stone, 
 finely sifted through muslin, and mix in olive oil; take a 
 piece of fine cloth for a rubber, and rub every piece very 
 carefully, which will again restore the gloss by reducing it 
 to fineness again ; rub off the rotten stone occasionally 
 with the side of your hand or finger, and you will see if all 
 is polished enough. 
 
 Then, if all right, take and wipe off with a piece of soft 
 old cotton cloth, free of dust, then take some fine wheat 
 flour, and a piece of fine flax full of the flour, rub all the 
 work over so as to take up all the oil and rotten stone that 
 is upon the work, then with an old silk handkerchief wipe 
 all the work up pretty smartly, and if all has been done 
 right and with care, the work will have a very fine, bril- 
 liant gloss. # j 
 
 Some finish with putty powder, and others use Tripoli 1 
 instead of pumice. But the above process answers every 
 purpose that is required. But when the work is intended 
 to have a polish and burnish finish, always give an extra 
 coat of varnish, as it is not good policy to attempt polish- 
 ing on two coats of varnish, for such work is generally 
 left from the brush if clearly /arnished. 
 
THE HOME MECHANIC. 
 
 26S 
 
 PACING PUTTY FOR SMALL FLAWS. 
 
 Mix whiting, a little white lead, litharge a small quan* 
 tity, with japan dryers, and add a little drying oil — very 
 little; work this very well, not too hard, and use it 
 quickly as it sets very soon. This putty will rub down 
 very soon, and not tear up with the pumice stone or 
 sand paper. 
 
 FIRING OFF. 
 
 Firing off is a term used by painters. Some use a 
 gas burner attached to a rubber hose pipe, so as to di- 
 rect it to any portion of the work required to be cleaned 
 off. The heat causes the paint to soften, so that it can 
 be easily removed by the blunt chisel, or plain iron ; 
 then can be reduced to evenness by rubbing down with 
 lump pumice and water. Another method is to take a brush 
 with turpentine, lay on a coat upon one part, then, with 
 a match or candle, set fire to it. When the old paint 
 becomes soft enough, blow out the flame, and remove with 
 the chisel, etc. Another way is to hold smoothing irons 
 to the part, and, if very hot, the paint will soon soften 
 so as to be easily removed. 
 
 In conclusion, I would state that by attending to the in- 
 structions here given, and by a little practice, any man of 
 moderate ability, a steady hand, etc., will very soon have 
 the satisfaction of turning out a good piece of coach- 
 painting. Striping, if well done, tends much to the beauty 
 of the work, so the student will have to practice 
 this department with care. Hold the pencil between 
 the finger and thumb and gauge with the fingers, keep- 
 ing the thumb uppermost, and drawing the hand back- 
 ward ; by this means he will draw the lines straight and 
 quick — one pencil full will run a whole spoke, from the 
 hub to the feloe, all but a small piece, which he must 
 join, by drawing from the feloe to the line. 
 
270 
 
 THE HOME MECHANIC. 
 
 CAR PAINTING. 
 
 By R. MoKEON. 
 
 The Priming Coat. — The priming coat of paint on a 
 car is of as much importance as any succeeding one, and 
 perhaps more, 1 have seen good work ruined in the prim- 
 ing by little or no attention being given by the painter to 
 the mixing and applying of the first coat. The foundation 
 is the support, and on that rests your success or failure. 
 The priming should be of the proper materials, and not 
 picked up from old paints which have been standing mixed, 
 and must necessarily be fat and gummy, for sudh is unfit 
 for use on a good job, and will have a decided tendency to 
 spoil the whole work. 
 
 Special care should be exercised as to the priming, and it 
 should be put on very light, so that it may penetrate well 
 into the wood. 
 
 If lead be used, two coats should be given to the car before 
 it is puttied, as it is best to fill well with paint the nail-holes 
 and plugs, as well as defects in the wood, so that moisture 
 may not secure a lodgment, which otherwise will cause put- 
 ty to swell, although sometimes unseasoned lumber wiL 
 swell the putty, and as it shrinks, the nail remains station- 
 ary, and of course the putty must give way. 
 
 Puttying and Leveling the Surface. — In mixing 
 putty, which may be a small matter with some, take care to 
 so prepare it that it will dry perfectly hard in eighteen 
 hours. Use ground lead and japan, stiffening up with dry 
 lead, and whatever coloring you may require in it to match 
 your priming coats. The next coats, after the work is well 
 puttied, should be made to dry flat and hard. Two coats 
 should be applied, and for all ordinary jobs or cheap work, 
 sand-papering is all that is necessary for each coat ; but 
 when a good surface is required, I would recommend one 
 coat to be put on heavy enough to fill the grain, and before 
 being set, scrape with a steel scraper. The plain surface 
 is all that requires coating and scraping with the heavy 
 mixture ; for this coat, which we call "filling," I use one- 
 half ground lead and any good mineral which experience 
 had shown can be relied upon. This scraping of the pane? 
 
THE HOME MECHANIC. 
 
 271 
 
 work will fill the wood equal to two coats of rough stuff, 
 and saves a great amount of labor over the old process, 
 when so much rubbing with lump pumice-stone was done. 
 Sand-paper when the filling is thoroughly hard, and apply 
 anothe: coat of paint of ordinary thickness, when, after 
 another light sandpapering, you have a good surface for 
 your color. 
 
 Rough coating on cars has gone almost out of use, and I 
 believe that but few shops are now using it to any extent. 
 My experience is that paint has less tendency to crack 
 where rough stuff is left off. I do not claim that the "fill- 
 ing " was the principal cause of the cracking, il it was 
 properly mixed, but I believe the water used in rubbing 
 (iown a car with the lump pumice-stone injures the paint, 
 as it will penetrate in some places, more particularly around 
 the moldings and plugs. 
 
 Coloring. — The car being ready for the finishing color, 
 this should be mixed with the same proportions of dryer as 
 the previous coat, or just sufficient to have it dry in about 
 the same time. A very great error with many car-painters 
 is using a large portion of oil in the under coats, and then 
 but little, if any, in the finishing coats ; this has a decided 
 tendency to crack, the under coats being more elastic. I 
 always aim to have color dry in about the same time after 
 I have done my priming; by this plan, I secure what all 
 painters should labor to accomplish — very little liability to 
 crack. Work will, of course, crack sometimes, after being 
 out a few months, or when it has repeated coatings of var- 
 nish; aud using a quick rubbing varnish on work will 
 cause it to give way in fine checks quicker than anything 
 <3lse. Many of the varnishes we use are the cause of the 
 paint cracking, and no painter has been wholly exempt 
 from this trouble. 
 
 Japan Dryers. — The most common cause for paint 
 cracking is poor japan, which is the worst enemy that the 
 car-painter has to contend with; the greater part of the 
 japan that we get is too elastic, and will dry with a tack, 
 and some of the "japan gold-size" we have has the same 
 fault. A little more care in the manufacture of japans 
 would give us a better dryer, and few would object to the 
 additional cost Japan that I have frequently hid 1 found 
 
272 
 
 THE HOME MECHANIC. 
 
 to curdle in the paint; it would not mix with it, but would 
 gather in .small gummy particles on the top. Work painted 
 with such material cannot do otherwise than crack and 
 scale, and the remedy lies only in getting a good pure ar 
 tide of turpentine japan. 
 
 Write Lead. — In regard to using ground lead, car- 
 painters differ, as some prefer to grind their own in the 
 shop. I use the manufactured lead, and my reasons for 
 doing so are that it is generally finer than any shop can 
 grind it with present facilities, and it has age after grind- 
 ing which improves its quality. You can also get a purer 
 lead and with more body than you can by grinding in the 
 shop, which is a fact that most painters must admit ; I have 
 tested it very fully, and am convinced on this point. 
 
 Permit me to make a few suggestions here in regard to 
 the mixing of paint, which may not fully agree with others' 
 views. There is just as much paint that cracks by putting 
 it on too flat as by using too much oil. I have seen some 
 painters mix their finishing color so that it was impossible 
 to get over a panel of ordinary size before it was set under 
 the brush, and consequently the color would rough up. 
 Color should be mixed so that it will not flat down for 
 seme time after leaving it, and then you have got some 
 substance that will not absorb the varnish as fast as it is 
 applied to the surface. This quick drying of color is not 
 always caused by want of oil in it, but because there is 
 too much japan, and a less quantity of the latter will do 
 better work and make a smoother finish. Give your color 
 forty* eight hours to dry between coats ; I always give that 
 time unless it is a hurried job and we have very few such 
 jobs in the shop, as experience has fully demonstrated that 
 it is poor economy to hurry work out of the shop before 
 it is properly finished. 
 
 Oils. — In car-painting, both raw and boiled oils are used, 
 and good work may be done with either, but I would rec- 
 ommend oil that is but slightly boiled in preference to 
 either the raw or the boiled. After it is boiled, if it is done 
 in the shop, let it stand twenty-four hours to settle, then 
 Btrain off carefully; this takes out all the impurities and 
 fatty matter from the oil, and it will dry much better, nor 
 will it have that tack after drying that yon find with own* 
 
THE HOME MECHANIC, 
 
 273 
 
 mon boiled oil. Use the proper quantity of dryer in mix 
 ing your paint, and a good reliable job will be the result 
 In car painting, I would never recommend the use of pre- 
 pared colors which are ground in oil, as nine-tenths of 
 such colors are ground in a very inferior oil, and they may 
 have been put up for a great length of time, in which case 
 they become fatty and invariably crack. These canned 
 goods do not improve with age as lead and varnish do. 
 Finishing colors should all be ground in the shop, unless 
 special arrangements can be made with manufacturers to 
 prepare them, and the color should be fresh, not over six 
 or eight days old after being mixed and open to the air. 
 Enough may be prepared at a time to complete the coating 
 on a job, but when color stands over a week, it is not fit to 
 use on first-class work, as it becomes lifeless, and has lost 
 that free working that we find in fresh mixed colors ; such 
 color may, however, be used upon a cheap class of work, or 
 on trucks, steps, etc., so that nothing need be wasted in the 
 shop. 
 
 Varnishing. — Three coats of varnish over the color are 
 necessary on a first-class coach. The first coat should be a 
 hard -drying varnish put on the flat color; the quick rub- 
 bing that some use I would not recommend, but one that 
 will dry in five days (in good drying weather) sufficently 
 hard to rub, is the best for durability. After striping and 
 ornamenting the car, and when thoroughly washed, give a 
 coat of medium drying varnish, let this stand eight days; 
 then rub lightly with curled hair or fine pumice-stone, and 
 apply the finishing coat, which is "wearing body; " this will 
 dry hard in about ten days, after which the car may be run 
 out of the shop. It should then be washed with cold water 
 and a soft brush, and it is then ready for the road. In var- 
 nishing, many will apply the varnish as heavy as they can 
 possibly make it lie, when, as a consequence, it flows over 
 and runs, or sags down in ridges, and of course does not 
 harden properly; this also leaves substance for the weather 
 to act on. It is better to get just enough on at a coat 
 to make a good even coating which will flow out smooth, 
 and this will dry hard, and will certainly wear better than 
 the coat that is piled on heavy. 
 
 Varnishing, we claim, can b* overdone, some painters' 
 
274 
 
 THE HOME MECHANIC. 
 
 opinions to the contrary. We have heard of those who 
 put two and a half gallons on the body of a fifty-foot car 
 at one application, and we have also listened to the decla- 
 ration made by a member of the craft, that he put two 
 gallons on the body of a locomotive tank. Such things 
 are perhaps possible, and may have been done, but if so, 
 we know that the work never stood as well as it would if 
 done with one-half the quantity to a coat. In varnishing 
 a car, care should be taken to have the surface clean ; water 
 never injures paint where it is used for washing, and a 
 proper attention to cleanliness in this respect, and in the 
 care of brushes used for varnishing, will insure you a 
 good-looking job. 
 
 Suggestions on Regulation of the Shop.— Perhaps 
 your shop facilities for doing work are none of the best, 
 but do the best you can with what you have; select, if pos- 
 sible, a still, dry day for varnishing, especially for the fin- 
 ishing coat. Keep your shop at an even temperature, 
 avoid cold draughts on the car from doors and w indows, 
 wet the floor only just sufficient to lay the dust, for if too 
 wet, the dampness arising will have a tendency to destroy 
 the luster of your varnish. Of course, we cannot always 
 do varnishing to our perfect satisfaction, especially where 
 there are twenty-five or thirty men at work in an open 
 shop, and six or eight cars are under the process of paint- 
 ing, when more or less dirt is sure to get on the work. 
 
 A suggestion might here be made to railroad managers, 
 which is, that no paint-shop is complete where the entire 
 process of painting and finishing a car has to be done in 
 one open shop. A paint-shop should be made to shut off 
 in sections by sliding doors, one part of the shop being 
 used exclusively for striping and varnishing. I know 
 from experience that nine-tenths of the railroad paint- 
 shops are deficient in this particular, and still we are ex- 
 pected to turn out a clean job, no matter what difficul- 
 ties we are compelled to labor under. Many further hints 
 might be given in regard to this matter of shop facilities 
 and conveniences, but as it is not here my object to 
 argue the point, I leave it with this brief mention. 
 
 Proper Care of Oars. — In regard to the care of a car 
 after it has left the shop, I think more attention should be 
 
THE HOME MECHANIC. 
 
 275 
 
 given to this than is done on many roads* The car should 
 not be allowed to run until it is past remedy, and the dirt 
 and smoke become imbedded in the varnish, actually form- 
 ing a part of the coating, so that when you undertake tc 
 clean the car you must use soda or soap strong enough to 
 cut the varnish before you succeed in removing the dirt. 
 Oars should be washed well with a brush and water at the 
 end of every trip; this only will obviate the difficulty, and 
 these repeated washings will harden the varnsih as well as 
 increase its luster. 
 
 We know that in washing a car, where soap is required 
 to remove the dirt and smoke, it is almost impossible to 
 get the soap washed off clean, and if it is not, the hot sun 
 and rain will act on the varnish and very soon destroy it 
 
 Cars should be taken in and revarnished at least once in 
 twelve months ; and if done once in eight months, it is 
 better for them, and they will require only one coat; but 
 where they run one year they will most generally need 
 two coats. Those varnished during the hot months will 
 not stand as well as if done at any other time. Painting 
 done in extreme cold weather, or in a cold shop, is more 
 liable to crack than if done in warm weather. 
 
 Paint dried in the shop where there is a draught of dry 
 air passing through it, will stand better than that dried by 
 artificial heat; and you will find, by giving it your atten- 
 tion, that work which has failed to stand, and that cracked 
 or scaled, was invariably painted in the winter season or in 
 damp wet weather. I have paid some attention to this 
 matter, and know the result. 
 
 Publishers 1 Note. — Haney's " Book of Scrolls and Orna- 
 ments" has many designs especially for Car painting, and 
 is already adopted in several prominet shops. 
 
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