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 2030 
 
Class 
 
 Book_4JM*T 
 Oopy#tN° 
 
 COPYRIGHT DEPOSIT. 
 
Carriage Painting 
 
 A Series of Practical Treatises 
 
 ON 
 
 THE PAINTING OF CARRIAGES AND WAGONS, 
 EMBRACING FULL DIRECTIONS FOR THE 
 PRACTICAL EXECUTION OF ALL KINDS OF 
 CARRIAGE AND WAGON PAINTING, INCLUD- 
 ING STRIPING, LETTERING, SCROLLING, ORNA- 
 MENTAL WORK, VARNISHING, TRANSFER 
 ORNAMENTS, APPLYING GOLD LEAF, ETC. : 
 
 Each Treatise is followed with Test Questions 
 : : : for the Student : : : 
 
 By F. MAI RE 
 
 Author of "Modern Painter's Cyclopedia," "Exterior 
 Painting," "Graining and Marbling," Etc. 
 
 ILLUSTRATED 
 
 CHICAGO 
 
 Frederick J. Drake & Company 
 
 PUBLISHERS 
 

 
 r <i 
 
 $v 
 
 Copyright 1911 
 
 BY 
 
 Frederick J. Drake. 
 
 €>C!.A280984 
 
PREFACE. 
 
 1. The subject matter of this volume, | 
 the fifth in the series of the red manuals 
 "Carriage Painting," is really too com- 
 plex to be fully detailed within the space 
 of a small volume of the restricted num- 
 ber of pages as this is to be. There are a 
 number of excellent treatises published on 
 carriage painting, and outside of the 
 gleaning and arrangement of the matter, 
 and its presentation in the shape of les- 
 sons graded and paragraphed with ques- 
 tions at the end of each, each of which have 
 corresponding numbers to the above para- 
 graphs containing the answers to the ques- 
 tions asked, the author does not lay any 
 claim to, and readily acknowledges that he 
 has been greatly helped and inspired by 
 the previous work of others, more espe- 
 cially by that of "Practical Carriage and 
 
 17 
 
18 PKEFACE 
 
 Wagon Painting" by M. C. Hillick, whose 
 presentation of the subject matter is mas- 
 terly done. Much of the subject matter of 
 this volume has been culled and re-ar- 
 ranged from that masterpiece of carriage 
 painting literature and to a few others 
 also, who had written up their experiences 
 in some of the ' ' Trade Journals. ' ' 
 
 F. Maire. 
 
Carriage Painting 
 
 LESSON I. 
 
 PRELIMINARY. 
 
 2. Under the title of this manual is in- 
 cluded a great deal. Heretofore, in the 
 volumes of this series of trade manuals, 
 the manner of using and doing painting 
 has been from an entirely different stand- 
 point—with an entirely different object in 
 view, so much so, that much of it will have 
 to be forgotten in order not to become 
 biased and to have one 's mind free to adapt 
 the principles which govern "Carriage 
 Painting. ' ' 
 
 Under this general name it must be re- 
 membered that it is not only the painting 
 of vehicles drawn by horses, such as bug- 
 gies, landaus, carriages etc. that it cov- 
 ers, but railway carriages, automobiles 
 
 19 
 
20 CARKIAGE PAINTING 
 
 and every form of vehicles known; there- 
 fore it has become one of the branches of 
 painting which covers a field of vast im- 
 portance. 
 
 The principles which lay at the foun- 
 dation of carriage painting must be 
 well understood in order to comprehend 
 all the various operations demanded to 
 produce good work. When these funda- 
 mental principles are learned thoroughly, 
 it will matter little upon what scale they 
 may be practically put into play— whether 
 in an up-stairs shop over the wheelright's 
 repair shop, or in large factory rooms or 
 oar shops. In the latter, every facility 
 will usually be found at hand to do the 
 work rapidly and freed of much of the 
 annoyances usually connected with the 
 small shop; but that is only a matter of 
 convenience after all, for the work itself 
 must be done in much the same fashion. 
 
 It will be the object of the next lesson 
 to -commence the study of the principles 
 
CARRIAGE PAINTING 21 
 
 which govern carriage painting, then of 
 the material and tools needed in doing the 
 work, then in the several methods of do- 
 ing the work itself. As nsual, the subject 
 matter will be treated as much as possible 
 by graduated steps, in order that it may 
 be well understood by the student, and 
 that he may become familiar with the vari- 
 ous operations by easy steps. 
 
 Some of the finishing parts in carriage 
 painting such as striping, scrolling, decor- 
 ative painting and of sign work, are made 
 separate trades, or parts of trades in all 
 the large carriage shops. As each of these 
 would require more space than can be 
 spared in this manual in order to give 
 them the most elementary survey, but little 
 will be said regarding them with the one 
 exception: that of striping, which every 
 carriage painter should be familiar with. 
 The study of ornament painting and that 
 of signs will form a separate manual. 
 There are some excellent books published 
 
22 CARRIAGE PAINTING 
 
 upon the latter in lesson form copiously 
 illustrated— especially that of Atkinson's, 
 and the student will do well to procure it. 
 As this manual is written principally for 
 the use of students who wish to take up 
 the painting of carriages in the smaller 
 towns, either as a separate business, or 
 in connection with general painting, to fill 
 up slack times, the descriptions given for 
 doing the work will be found more ap- 
 plicable to these smaller shops than to the 
 large factories. In these everything being 
 specialized, every advantage can be taken 
 for doing the work quickly and safely, 
 which cannot be done usually in the 
 smaller repair shops— but the underlying 
 principles are the same, and when well 
 understood, the student would find no diffi- 
 culty in understanding their application 
 on a large scale, and while employed on 
 general work he could not expect to ac- 
 quire the speed of the men who are spe- 
 cialists, working on piece work; probably 
 
CARRIAGE PAINTING 23 
 
 he would soon acquire this extraordinary 
 speed by practice if he »took up some spe- 
 cialty. 
 
 Having outlined the manner in which the 
 subject matter will be handled in this man- 
 ual, the next lesson will take up the study 
 of the underlying principles of carriage 
 painting. 
 
 LESSON II. 
 
 REASONS WHY LINSEED OIL IS SPARINGLY USED 
 IN CARRIAGE PAINTING. 
 
 3. The old adage heretofore preached 
 from in former manuals, i.e. "Oil is the 
 life of paint," must be forgotten to a great 
 extent, when it comes to carriage painting. 
 Heretofore the surfaces covered with paint 
 were stationary, motionless, and with the 
 exception of floors, were not subject to 
 abrasion. The worst enemies were from 
 atmospheric conditions, and it was shown 
 that linseed oil was a capital substance to 
 use as a protection against these. 
 
24 CAEEIAGE PAINTING 
 
 4. In carriage painting, the principal, 
 and only use made of linseed oil is in the 
 priming or foundation coats. No work 
 which is not filled and made waterproof 
 can be expected to stand any length of 
 time, and few of the many make-shifts or 
 short-cut methods of painting carriages 
 which ignore a generous use of it— in the 
 priming at least— can be depended upon 
 for lasting results in the finishing coats. 
 
 5. The old time methods were very 
 good, but were too slow for the fevered 
 hurry of the present, so that it has been 
 the aim of every man employed in car- 
 riage painting to devise some way whereby 
 an hour or two could be saved in turning 
 out finished jobs. This hurry has not al- 
 ways been advantageous to the durability 
 of the finished work, even where the resem- 
 blance of the finished, to that of olden 
 times has been preserved, but the work- 
 man 's protests have not been able to check 
 the demand for quicker work. Given good 
 
CARKIAGE PAINTING 25 
 
 material and a reasonable allowance of 
 time, a medium course can be pursued in 
 carriage painting, which will be found to 
 give fair results, both as to a good looking 
 finish or herein, the time required to do the 
 same in. 
 
 6. Were it possible to produce such a 
 surface as the fastidious taste of the day 
 demands, with and by the use of linseed 
 oil coats— there is no question but that 
 the results would be far more durable than 
 they are by the other methods, but this is 
 impossible. So as said before, the use of 
 it made in carriage painting must be re- 
 stricted to the foundation coats. These 
 are not confined to the one coat or first 
 coat as in structural painting, and for this 
 reason it is named foundation coats, in 
 order that it may not be confounded with 
 what is understood as priming in former 
 manuals. 
 
 7. The middle coats used in carriage 
 painting are used principally to produce at 
 
26 CARRIAGE PAINTING 
 
 surface and they might very appropriately 
 be called surfacing coats. They should 
 consist chiefly of material which has been 
 mixed with such liquids as will allow of 
 their being spread easily, and which must 
 possess sufficient adherence as to bind the 
 material it is mixed with into a hard dry- 
 ing mass capable of being leveled up to 
 a smooth surface by rubbing down with 
 pumice stones. These intermediary coats 
 are best known in carriage work as "fill- 
 ing coats." 
 
 8. When the filling coats have been per- 
 fectly leveled and smoother, then only do 
 the coloring coats proper, commence in 
 carriage painting. It is obvious that they 
 should conform stricty to the composition 
 or rather the elasticity of the compounds 
 used in surfacing the work, for it is obvious 
 that if the variation is any way noticeable 
 the finishing color coats will surely crack 
 from their inability to conform themselves 
 to that of the surfacing coats under them. 
 
CAEEIAGE PAINTING 27 
 
 At the present time while giving a general 
 look over the scope of carriage painting it 
 is not the purpose to inquire into the why 
 and wherefore of things, as this will be 
 done when that portion of the description 
 of that part of the work is reached. The 
 present synoptical viewing is merely in- 
 dicative of the progressive stages through 
 which a carriage passes before it is passed 
 on to the repository. 
 
 9. Carriage work is frequently striped 
 and ornamented. When this is done, it 
 follows upon the last color coat, and when 
 completed the jobs are ready for the var- 
 nishing, which completes all that the sub- 
 ject matter of this manual proposes to 
 treat. 
 
 QUESTIONS ON LESSON II. 
 
 3. What is said concerning the use of 
 linseed oil in carriage painting? 
 
 4. What use is made of linseed oil 
 painting chiefly? 
 
28 CARRIAGE PAINTING 
 
 5. Wherein do present methods of car- 
 riage painting chiefly differ from the old ? 
 
 6. What is usually understood by 
 "foundation coats" in carriage painting! 
 
 7. What is the object and purpose of 
 the filling coats ? 
 
 8. What are the last coats of paint used 
 in carriage painting called? 
 
 9. When is the striping and ornamenta- 
 tion done? 
 
 LESSON in. 
 
 MATERIAL USED IN CARRIAGE PAINTING. 
 
 10. It is proper before the study of car- 
 riage painting commences that the stu- 
 dent be made familiar with the material, 
 tools and appliances that are needed in 
 doing the work. Therefore a short review 
 of these will be made before proceeding to 
 give the details of the various operations 
 necessary to finish a job. 
 
 The material used in carriage painting 
 is an important factor in the prosecution 
 
CARRIAGE PAINTING 29 
 
 of the work. As in other branches of 
 painting it means that good material is 
 necessary in order to obtain good results 
 in the finish. It will not be necessary to 
 go all over the details given in Volume III 
 entitled "Colors" as to the derivation of 
 each color used, and the reader is referred 
 to that manual for more extended details 
 regarding them. Some however, such as 
 the fillers and varnishes which received 
 little if any attention in that volume will 
 be given sufficiently extended examination 
 in this as their importance demands in con- 
 nection with the subject matter. 
 
 11. As may be expected the blacks are 
 the one color of most importance to the 
 carriage painter. Lampblack in oil is 
 used usually for the tinting of white lead 
 in the foundation coats. It is sometimes 
 used in compounding some of the proprie- 
 tary named black as it is so very strong 
 but on account of its dull gray black 
 color it must be touched up with a good 
 bone black, or gas black. 
 
30 CARRIAGE PAINTING 
 
 12 Gas black is extensively used in pro- 
 prietary named blacks to doctor up poor 
 blacks, or to compound with some cheap 
 make weight material into a black which 
 imitates the bone blacks in so far as cover- 
 ing properties, and strength of coloring 
 matter goes and pretty nearly in jettiness 
 of coloring, especially the ordinary sorts of 
 bone blacks. By its use a fair black can 
 be had at a lower cost than by the use of 
 any other black pigment. 
 
 13. Ivory black, coach black, drop black 
 are about one and the same thing— b one 
 black. The finer qualities of this black 
 are very good and are very intense in their 
 jet tone, besides being clear and free of 
 muddiness. They are sometimes improved 
 by the addition of a small quantity of 
 Prussian blue, but the finer qualities do 
 not require it as it hurts them; in time it 
 fades out, leaving the black to its own tone 
 good or bad. These blacks are all of them 
 rather deficient in opaqueness bone black 
 
CARRIAGE PAINTING 31 
 
 being considered a sem-transparent color. 
 
 14. The blue group of colors is used to 
 a considerable extent especially in wagon 
 and automobile painting. Prussian blue 
 is seldom used solid, but some of its tints 
 are sometimes. It is also used in com- 
 pounding some of the green tints. 
 
 Ultramarine blues of various shades of 
 both the opaque, and transparent varieties 
 are mostly used for painting solid colors 
 as being less likely to fade than Prussian 
 blue. 
 
 15. The Brown group of colors is well 
 drawn upon by the carriage painters. All 
 the colors found in that group are used. 
 The raw and burnt umbers and raw and 
 burnt Siennas, and in rough stuffing some 
 of the special earth browns called umbers 
 are used, beside an endless variety of fancy 
 named browns compounded from the above 
 named colors mainly, and many others 
 which have proprietary names. Van Dyke 
 brown is sometimes used as a glaze and a 
 
32 CARRIAGE PAINTING 
 
 great variety of brown and reddish brown 
 lakes are also used in glazing. The stu- 
 dent must not think that all the carriage 
 browns that he may see listed are distinct 
 colors, in reality they are only tints com- 
 pounded very much in the same manner 
 as the same would have to be prepared for 
 house painting only that for carriage work 
 the colors must not be ground in linseed 
 oil but in japan or varnish. 
 
 QUESTIONS ON LESSON III. 
 
 10. General remarks on material used 
 in carriage painting. 
 
 11. What is said regarding the black 
 group of pigments, especially about lamp- 
 black? 
 
 12. What uses are made of gas black ? 
 
 13. What is said concerning bone blacks 
 including ivory, coach and drop blacks? 
 
 14. What colors of the brown group are 
 used in carriage painting? 
 
CARRIAGE PAINTING 33 
 
 LESSON IV. 
 
 MATERIALS USED IN CARRIAGE PAINTING CON- 
 TINUED. 
 
 15. The green group of colors is also 
 largely made use of in carriage painting, 
 but more especially in wagon and automo- 
 bile work. Chrome greens in all shades; 
 verdigris and Paris green for glazing, but 
 more especially the very pretty greens 
 (transparent) extracted from coal tar— 
 some of which are excellent. In carriage 
 painting proper nearly all the greens are 
 compounded with blacks, and simply carry 
 a cast of green the black predominating, 
 such as the Brewster's greens, bottle and 
 olive greens, which in addition to the black 
 also carry some yellow in their composi- 
 tion. The green list carries also a large 
 number of proprietary named greens; as 
 each manufacturer chooses a different 
 name for goods of their preparing, the list 
 is too formidable for each group of color to 
 
34 CAKKIAGE PAINTING 
 
 attempt to even do it a partial justice in 
 the naming, therefore none such will re- 
 ceive any attention. It is an easy matter 
 in the smaller shops to prepare and com- 
 pound all such tints from stock colors and 
 it will not cost as much as the carrying of 
 the numberless tints that are offered for 
 sale. In the large factories where jobs 
 are turned out in large numbers and where 
 each color must be "semper idem/' it will 
 be found best to have these special shades 
 made up and prepared from a regular for- 
 mula at the factory. 
 
 16. The red group of colors is also 
 largely used from, in all branches of car- 
 riage painting. From the amaranth reds 
 used in running gear work of buggies, etc., 
 to the bright vermilions used for the same 
 purpose in wagon painting to which may 
 be added even the painting of the beds in 
 that bright garb. Then in its more sub- 
 dued shades as Tuscan reds in railway car 
 work and in short reds, either bright or 
 
CAEEIAGE PAINTING 35 
 
 subdued are indispensable to the carriage 
 painter. The naming of the reds used by 
 the trade is the naming of all the leading 
 reds made ; such as the English vermilions 
 pale and deep. The numberless imitation 
 vermilions known to the trade as Vermilion 
 reds are more usually accompanied by a 
 high sounding proprietary name. The 
 various red oxide reds are better known as 
 Venetian red, Pompeian reds, etc. The 
 great variety of red or red brown lakes are 
 used in glazing. Most of these are sold 
 also under some proprietary name. As all 
 dealers usually have color cards showing 
 what the true color of the contents of a car 
 looks like, it is easy enough to pick out the 
 right color desired no matter by what name 
 it may be called; especially if the dealer 
 sells it under a guarantee of permanency. 
 17. It is hard to say which of the several 
 groups of color is the most useful to the 
 carriage painter; all the other groups ex- 
 amined were found useful, and indispens- 
 
36 CARRIAGE PAINTING 
 
 able, and now that the last group of the 
 colored pigments is reached ( ' ' the yellow ' ' ) 
 it is found to be fully as useful and indis- 
 pensible as the preceding ones. Either in 
 a self color as in running gears of buggies 
 carts and wagons, to the solid painting of 
 railway cars on some systems, they occupy 
 a very prominent place indeed. There 
 seem to be no shades of it so bright but 
 may be used for some purpose, and in the 
 tints with white and other colors, the use 
 made of the yellows is very great. The 
 ochres enter largely in some of the tints 
 made, and the chrome yellows in their va- 
 rious shades probably predominate the 
 list. The transparent yellow lakes are 
 also used for glazing to some extent. 
 
 18. The last group is the whites ; there 
 is much use made of them; no jobs are 
 hardly ever painted in any color no matter 
 which it is, but that white lead enters into 
 at least the preparatory coats. It is used 
 also largely in the painting of business 
 
CARRIAGE PAINTING 37 
 
 wagons, hearses, etc., in its self -color and 
 in combination with other pigment in the 
 preparation of a number of tints. It is 
 nsed ground in oil when it is known as "keg 
 lead, ' ' and hereafter when that name shall 
 be used it means that kind of lead and 
 it is ground in japan or varnish for paint- 
 no other. Then there is the dry white lead 
 used in making putty and surfacing. Then 
 ing the jobs in its self color. 
 
 QUESTIONS ON LESSON IV. 
 
 15. What is said regarding the green 
 group of colors? 
 
 16. What is said concerning the red 
 groups of colors 1 
 
 17. What is said regarding the yellow 
 group of colors? 
 
 18. What is said about whites in car- 
 riage painting? 
 
38 CARRIAGE PAINTING 
 
 LESSON V. 
 
 MATERIAL. USED IN CARRIAGE PAINTING — CON- 
 TINUED. 
 
 19. Under the heading of materials used 
 in carriage painting must be included any- 
 thing and everything useful in connection 
 with the work, not merely as a paint but in 
 preparing the way for it as well. This ac- 
 cessory material is as necessary in its place 
 as is any of the other and should require 
 as much attention and care in the buying. 
 
 20. Pumice stone— powdered in differ- 
 ent degrees of fineness— the Italian is the 
 best. The American being gritty will 
 scratch worse. The lump pumice stone 
 which should be also the Italian kind for 
 the same reason. 
 
 21. Whiting or carbonate of lime is 
 useful at times for many purposes which 
 will be noted in the course of this manual 
 but principally in the preparing of certain 
 kinds of putty. ; 
 
CARRIAGE PAINTING 39 
 
 22. Chamois skins— which by the way 
 are not Chamois skins but sheepskins 
 tanned in a particular Way— are also hard 
 to get along without in carriage painting 
 as they are useful in many ways, nearly all 
 through the preparing and the finishing of 
 a job. 
 
 23. Under this heading must be a long- 
 list of articles and material used in the 
 decoration of vehicles such as gold and 
 other metal leaves. Bronzes also of all 
 colors and qualities, met allies and flitters 
 also in all colors. Transfer ornaments of 
 every kind. In short every thing that is 
 ever used in the shop for the purpose of 
 ornamentation. 
 
 THINNERS OR VEHICLES FOR COLORS. 
 
 24. It was stated at the beginning that 
 but little linseed oil was used in carriage 
 painting— but that little must be good and 
 the best. The raw should invariably be 
 used, as the object for which linseed oil is 
 
40 CARRIAGE PAINTING 
 
 used is partially defeated by the use of 
 boiled oil. 
 
 25. Volatile oils. There can be no 
 question as to which is the best to use 
 where there is any choice at all possible, 
 that is— " Turpentine." It is head and 
 shoulders above the petroleum, volatile 
 oils, benzine, naphtha and gasoline. But 
 of course where they must be used— they 
 are, that's all. 
 
 26. Japans and other varnishes are 
 used in both the filling up coats for rough 
 stuffing, but the latter more especially in 
 the coloring coats and finishing. Japans 
 do not differ much from varnishes and un- 
 der that name all kinds of liquid stuff is 
 sold in the market which have nothing 
 much in common but the name under which 
 they are sold. The formulas for making 
 them differ so much that it is really impos- 
 sible to give a clear definition of them. In 
 so far as carriage painters make use of 
 them they are expected to bind the pig- 
 
CARRIAGE PAINTING 41 
 
 ments mixed with them, and to have but 
 little elasticity at least no greater than that 
 of the supervening coats. Most varnish 
 makers prepare one for the purpose of the 
 carriage trade which is sold under the name 
 of "Carriage japan,' ' this is usually to be 
 depended on when made by a varnish house 
 having a reputation to loose. Varnishes 
 for the carriage painter 's use are prepared 
 with a view to suit his various requirements 
 such as "rubbing," coloring" and "finish- 
 ing/' each of which are again sub-divided 
 into quick drying, medium drying and slow 
 drying and again into elastic and non-elas- 
 tic. There is a varnish prepared for any 
 special use that the painter will ever have 
 and the only trouble with him is to pick out 
 the good ones. 
 
 In the course of the details of the work 
 proper when the various operations are 
 reviewed, the various kinds of varnishes 
 to be used for each purpose will be named 
 under the appellation given them by the 
 
42 CARRIAGE PAINTING 
 
 various manufacturers and which has now 
 become universally adopted by them. 
 
 QUESTIONS ON LESSON V. 
 
 19. Some general remarks concerning 
 accessory material? 
 
 20. What is said regarding pumice 
 stone ? 
 
 21. What is said of whiting or oarbo- 
 ate of lime? 
 
 22. What is said of chamois skins ? 
 
 23. What ornamental material is used 
 in carriage painting? 
 
 24. What oil is used in foundation 
 coats ? 
 
 25. What volatile oils should be used? 
 
 26. What is said of japans and var- 
 nishes ? 
 
 LESSON VI. 
 
 TOOLS USED IN CARRIAGE PAINTING. 
 
 27. The tools used in carriage painting 
 are not very numerous nor costly and must 
 
Fig. 1 
 OVAL CHISELLED VARNISH BRUSH 
 
44 CAERIAGE PAINTING 
 
 be kept separated from useful devices used 
 in facilitating the work as these may vary 
 greatly or be dispensed altogether if neces- 
 sary — but the tools cannot, without some 
 other ones which would have to take their 
 place are used instead of them. The more 
 important tools as may well be surmised 
 are the "brushes" and these are made up 
 of nearly all known variety of hair used 
 in the art of brush making. 
 
 28. The heavy brushes used in carriage 
 painting are usually made up from hog 
 bristles and they are used for a number of 
 purposes. Fig. 1 shows a metal bound 
 chiselled haired (bristle) varnish brush. 
 This brush is useful in many sizes and runs 
 from 1.0 to 8.0. They are used in priming 
 coats to lay color with and may also be 
 used for laying rough stuff and for var- 
 nishing running gears and bodies of large 
 wagon work which is not to be finished ex- 
 tra fine. They will be found useful for a 
 wide range of work and with the great 
 
CAKEIAGE PAINTING 
 
 45 
 
 Fig. 2 
 ROUND PAINTER'S DUSTER 
 
 range of sizes will come as near being 
 worthy to be called a universal tool as it 
 
46 CARRIAGE PAINTING 
 
 is possible to call a brush by that name in 
 carriage painting. 
 
 29. Fig. 2 repesents a round paint- 
 er 's duster. There is no economy in buy- 
 ing a cheap one <and a No. 1 white 
 coach painter's duster will cost but little 
 more than a cheaper one. These do the 
 
 Fig. 3 
 COACH PAINTER'S SPOKE BRUSH 
 
 work so much better that it is foolish to 
 buy any other. 
 
 30. Fig. 3 represents the coach paint- 
 er's spoke brush. As the nama indicates 
 they are useful for spoke painting but not 
 indispensable, as many carriage painters 
 never use a specially constructed brush foi 
 that purpose. 
 
 31. Fig. 4 represents a flat varnish 
 brush— these run in sizes from 1 inch to 4 
 
CAKKIAGE PAINTING 
 
 47 
 
 inches in width by graduations of y 2 an 
 inch. They come also in single and double 
 
 iiuiiiiiiiiiuiiuiiUillUillll 
 
 Fig. 4 
 FLAT VARNISH BRUSH 
 
 thickness and in all these same sizes and 
 thicknesses in chiselled edge which are 
 
Fig. 5 
 ARTISTS' BRISTLE BRUSHES 
 
CARRIAGE PAINTING 
 
 49 
 
 usually preferable for most work. They 
 are used for a number of purposes, and a 
 
 Fig. 6 
 FITCH VARNISH BRUSH 
 
 liberal supply of the various kinds will be 
 found very handy. As chiselled edged 
 
50 
 
 CAERIAGE PAINTING 
 
 brushes are shown in Fig. 4 it will not 
 be necessary to show the bristle varnish 
 chiselled edge brush, as that indicates the 
 shape fully as well. 
 
 32. Fig. 5 shows artists ' flat and round 
 bristle brushes. A few of these brushes 
 come in handy in cleaning up and filling 
 quirks and beaded seams. They are inex- 
 
 Fig. 7 
 BADGER HAIR, FLOWING BRUSH 
 
 pensive. They number in sizes from 1 to 
 12. 
 
 33. The finishing varnish brushes and 
 the color brushes for the laying on of the 
 coloring coats require finer and softer ma- 
 terial than hog's bristles. Most of these 
 therefore are made up from badger, bear, 
 ox hair and camel's hair (so called) such 
 
CAKEIAGE PAINTING 
 
 51 
 
 being better than the other for certain spe- 
 cific purposes. They lay color or varnish 
 
 Fig. 8 
 CAMEL'S HAIR VARNISH OR COLOR BRUSH 
 
 much more smoothly and evenly than it 
 is possible with a bristle brush. Fig. 6 
 
 Fig. 9 
 STRIPING PENCILS 
 
 represents the fitch varnish brush. It is 
 also made in bear's hair and sable. This 
 
Fig. 10 
 LETTERING PENCILS 
 
CARRIAGE PAINTING 
 
 53 
 
 brush is chiefly used in laying varnish 
 coats. 
 34. Fig. 7 represents the badger haired 
 
 Fig. 11 
 ARTISTS' RED SABLE BRUSHES 
 
 varnish, or color brushes as it is used by 
 some for both purposes. 
 
 35. Fig. 8 represents the camel hair 
 varnish brush. This is also used for both 
 
54 CARRIAGE PAINTING 
 
 purposes of a coloring brush, or for laying 
 varnish. (The finishing coats.) 
 
 36. Fig. 9 represents striping pencils. 
 These may be made of either camel 's hair, 
 sable or ox-hair. Each of which being bet- 
 ter than the other for use in light or heavy 
 bodied colors: the sable brushes being 
 more elastic are best in heavy colors. 
 
 Fig. 12 
 SWORD STRIPING BRUSH 
 
 37. Fig. 10 represents the lettering 
 pencils. They too are made from either 
 camel's hair, Siberian ox-hair, or red or 
 black sable to be used in light and heavy 
 bodied colors. 
 
 38. Fig. 11 represents flat and round 
 red sable artists' brushes, which are used 
 in the painting of ornaments for which they 
 are indispensable. 
 
 39. Fig. 12 represents the sword strip- 
 ing pencil. By its use a stripe may be 
 
CAKEIAGE PAINTING 55 
 
 made of various width, wide or narrow 
 according to the amount of pressure given. 
 They are best for the making of the finer 
 stripes. 
 
 QUESTIONS ON LESSON VI. 
 
 27. General remarks on tools used in 
 carriage painting. 
 
 28. What does Fig. 1 represent? 
 
 29. What does Fig. 2 represent? 
 SO. What does Fig. 3 represent? 
 
 31. What does Fig. 4 represent? 
 
 32. What does Fig. 5 represent? 
 
 33. What does Fig. 6 represent? 
 
 34. What does Fig. 7 represent? 
 
 35. What does Fig. 8 represent? 
 
 36. What does Fig. 9 represent? 
 
 37. What does Fig. 10 represent? 
 
 38. What does Fig. 11 represent? 
 
 39. What does Fig. 12 represent? 
 
56 CARRIAGE PAINTING 
 
 LESSON VII. 
 
 TOOLS USED IN CARRIAGE PAINTING CONTINUED. 
 
 40. Fig. 13 represents putty knives of 
 various qualities. They are either rigid 
 or flexible and m}ay be beveled at the va- 
 rious angles. 
 
 41. Fig. 14 represents the wide scrap- 
 ing knives. They are indispensable to use 
 in rough stuffing; in knifing in lead 
 coats, etc. Some should be beveled. They 
 are also the best tools to use in burning off 
 paint from old jobs. 
 
 42. Fig. 15 represents the gasoline 
 torch. This is of great use in all repair 
 shops in order to remove the old paint and 
 varnish from jobs to be repainted. 
 
 43. Fig. 16 represent a patented brush 
 keeper which has projecting wires sol- 
 dered on the inside upon which the brushes 
 are fastened and suspended from. The 
 cover is a protection against dust and dirt 
 
CAEEIAGE PAINTING 
 
 57 
 
 A 
 
 D 
 
 Fig. 13 
 PUTTY KNIVES 
 
 settling upon the brushes and the liquid of 
 the keeper. 
 
 44. While the brush keepers are under 
 
B 
 
 Pig. 14 
 WIDE SCRAPING KNIVES 
 
CARRIAGE PAINTING 
 
 59 
 
 consideration, it will be well to state that 
 the one shown in Fig. 16 is merely sug- 
 gestive, and any other which will keep the 
 brush suspended and which will keep the 
 dirt out will be found equally effective for 
 use. Below is given an inexpensive way 
 of making an individual brush keeper 
 
 Fig. 15 
 GASOLINE TORCH 
 
 which will be found even better than the 
 highest priced patented ones. Take any 
 small tin can such as vegetables are packed 
 in, have a bent wire soldered on to hang 
 the brush upon the inside, fill it with the 
 liquid desired and place it inside of a 
 Mason fruit jar, place the cover upon it 
 and you have an ideal keeper. As it is 
 
60 CAKKIAGE PAINTING 
 
 much better and safer for each varnish 
 brash to hang suspended in its own liquid, 
 and as it requires a long time to clean 
 them when they have been suspended in 
 a different varnish or linseed oil, it will 
 
 Fig. 16 
 BRUSH KEEPER 
 
 be seen at once the great advantage in hav- 
 ing each brush by itself in an individual 
 keeper. 
 
 45. Sponges. These are needed at 
 nearly every turn in the various opera- 
 tions necessary in carriage painting. 
 Great care should be used in selecting 
 
CARRIAGE PAINTING 
 
 61 
 
 n 1 1 
 
 Fig. 17 
 REVOLVING WHEEL JACK 
 
 them as sometimes pieces of rock or grains 
 of sand are to be found attached to them 
 when they would surely mar and scratch 
 
62 CARRIAGE PAINTING 
 
 the work, therefore after wetting a new 
 one, one should be careful to go all over 
 it with the fingers in order to feel for such 
 objectionable stuff and remove them. The 
 sheep's wool variety is the only kind fit to 
 be used. 
 
 46. Fig. 17 represents a wheel jack. 
 It is simply an upright piece of wood into 
 the top of which an inch hole has been 
 bored and a piece of wood perfectly round 
 has been driven. Upon the floor another 
 inch hole is bored and a square piece of 
 flat iron is screwed on ; in the center of this 
 iron a hole should be made to correspond 
 to the one in the floor and the two should 
 come together. In the bottom of the up- 
 right a piece of iron rod should be driven 
 leaving the end out a few inches. This 
 end can then be put into the hole in the 
 floor and the upright wheel jack will be 
 ready to hang the wheels upon while being 
 painted. They can be revolved to any de- 
 sired position. There are many forms of 
 
CARRIAGE PAINTING 
 
 63 
 
 lliem in use and the principle upon which 
 they work is capable of being adapted in 
 various 5 ways. It is a matter of small 
 
 Fig. 18 
 BODY TRESTLE 
 
 moment and it is more one of convenience 
 to the painter as to which he may adopt. 
 
 47. Fig. 18 represents a handy body 
 trestle upon which to rest bodies while be- 
 
64 CARRIAGE PAINTING 
 
 ing painted. As with the wheel jack there 
 can be no cut and dried standard. Each 
 shop usually has an equipment of its own 
 to facilitate the handling of this class of 
 work. The principal idea being that there 
 be no projecting pieces sticking out to 
 come in the way of the painter doing the 
 work and in some shops ordinary carpen- 
 ter 's horses are made use of for the bodies 
 to rest upon. 
 
 48. In some of the large shops, they 
 have a number of conveniently arranged 
 tilting devices — which also rotate so that 
 bodies can be painted, at many angles 
 These are handy and they will naturally 
 suggest themselves to the operator. 
 
 QUESTIONS ON LESSON VII. 
 
 40. What does Fig. 13 represent? 
 
 41. What does Fig. 14 represent? 
 
 42. What does Fig. 15 represent? 
 
 43. What does Fig. 16 represent? 
 
CAKEIAGE PAINTING 65 
 
 44. Describe how to make an inexpen- 
 sive brush keeper. 
 
 45. What kind of sponges should be 
 used in carriage painting? 
 
 46. What does Fig. 17 represent? 
 
 47. What does Fig. 18 represent? 
 
 48. What other devices will be found 
 useful as body trestles? 
 
 LESSON VIII. 
 
 PREPARING NEW JOBS FOR PAINTING. 
 
 49. New wood will be found usually 
 pretty open, especially oak— full of pores 
 which must be filled up and effectually 
 sealed against any possible action of air 
 and moisture, for if this is not attained 
 fully in the priming coats, it will be too 
 late to try to do so in any subsequent 
 coats. As it was seen in Vol. 1 the func- 
 tion of priming is very important and 
 should not be slighted. If this is con- 
 sidered of prime importance in house 
 
66 CARBIAGE PAINTING 
 
 painting, how much more so then is it to 
 be in carriage painting. 
 
 The constant motion, wear and tear to 
 which all kinds of vehicles are subjected, 
 requires that the foundation for the super- 
 structure of the painting proper for all 
 kinds of vehicles be they wagons, buggies, 
 carriages, automobiles or railway cars, 
 should receive the utmost care, for if this 
 is not properly attended to, no amount of 
 first class work done over it— can possibly 
 stand. 
 
 50. It is usual to take the woodwork to 
 the blacksmith shop to have all the iron 
 parts put on before the same is primed. 
 No matter how carefully this work of the 
 fitting on of the iron is done, it will be 
 found that the wood will be soiled by 
 grease and other undesirable dirt, and it 
 is principally for this reason that the iron- 
 ing should be done before the priming in 
 order to give one a chance to remove it be- 
 fore the priming is done. 
 
CARRIAGE PAINTING 67 
 
 51. To prepare the job for priming, 
 good care must be had to clean it and 
 about as good a way to do so as there is, 
 will be to take some No. 1 sand paper and 
 go over it carefully, being careful not to 
 cut through or to remove any angular parts 
 which are intended to show on the car- 
 riage parts. Should the job be soaked up 
 with lard oil in spots, it will be necessary in 
 order to insure perfect safety, to put some 
 strong solution of sal soda or lye over it, 
 let it stand half an hour, then wash it off 
 carefully and rinse with clean water in 
 order to remove all traces of the alcaline 
 matter from the wood as it might other- 
 wise injure the oil used in the priming. 
 
 52. The bodies should be carefully 
 dusted and cleaned. They will not require 
 as much sand papering as the carriage 
 parts of the running gears, as there are 
 much more numerous ironings on the lat- 
 ter, especially on the wheels and there is 
 
68 CARRIAGE PAINTING 
 
 but little need of the blacksmith soiling 
 bodies with greasy marks at least. 
 
 53. There are a number of ways in use 
 for priming carriage jobs, but the ordi- 
 nary mortal had better beware of them. 
 Many of them are so called "patent" and 
 all of them supposed to hurry up the proc- 
 ess of turning out a job quicker than the 
 old fashioned method of "lead and oil," 
 but the latter can always be depended 
 upon to do the job while the others may or 
 may not, with the chances usually being 
 that they will not. 
 
 Lead assimilates unto itself a consider- 
 able quantity of linseed oil which it turns 
 into a linoleate lead soap, and which makes 
 an ideal primer, sinking into the pores and 
 anchoring the whole of the priming coat 
 securely by its numerous rootlets which 
 are the result of the penetration of the 
 oil into the pores. As linseed oil does not 
 evaporate but on the contrary absorbs 
 oxygen it swells slightly after it is applied 
 
CARRIAGE PAINTING 69 
 
 and thus completely fills up the openings, 
 sealing them up effectually against any 
 atmospheric action. 
 
 54. There is some difference in opin- 
 ion as to what really is the best primer and 
 as to the proper thinning of it. This no 
 doubt, is mainly on account of the quicker 
 drying of it. All are agreed, however, that 
 white lead ground in oil is good. This sort 
 of lead is best known to the carriage 
 trade as "keg lead,'' to distinguish it from 
 other forms of lead used, such as "dry 
 lead "— "lead ground in japan or var- 
 nish" and "knifing lead," which is used 
 in surfacing and which can be bought 
 ready prepared for use or made up in the 
 shop as desired. 
 
 The priming should not be very thick, 
 just enough pigment to color up the oil 
 to which may be added enough lamp black, 
 to tinge it to a slate color. A little good 
 drying japan may be added in damp non- 
 drying weather, and when it is very cold 
 
70 CAEKIAGE PAINTING 
 
 and the oil is any way sluggish, a small 
 quantity of turpentine may be added. This 
 will in no wise hurt it, as it will render the 
 oil more penetrating and really a greater 
 quantity of oil can thus be forced into the 
 pores, than it would be possible under the 
 unthinned condition— but this is true only 
 in cold weather. 
 
 Some like to add a small quantity of 
 good French ochre to the lead. This is all 
 right enough if a silicate ochre is used, as 
 that is of itself a good filler, as silica is 
 the basis of nearly all the hardwood fillers. 
 As much as one third of this kind of ochre 
 can be used to good advantage with the 
 white lead in preparing the primer for 
 carriage painting. 
 
 The above will suffice in order to enable 
 any one to prepare a good primer, and 
 with the further advice of using only the 
 raw linseed oil and under no conditions to 
 be tempted to substitute boiled oil for this, 
 the reader will now be ready to go on with 
 
CARRIAGE PAINTING 71 
 
 the application of the priming and lead 
 coats, which follow in the next lesson. 
 
 QUESTIONS ON LESSON VIII. 
 
 49. What is required in preparing new 
 woodwork for painting? 
 
 50. Should woodwork be ironed before 
 painting? 
 
 51. How should woodwork be treated 
 after the ironing? 
 
 52. How should ironed jobs be cleaned 
 up? 
 
 53. What is the action of the priming 
 coat? 
 
 54. What pigments and thinners are 
 best used in priming? 
 
 LESSON IX. 
 
 THE PRIMING AND LEAD COATS. 
 
 55. The application of the priming coat 
 requires really more care than skill. The 
 job should be well cleaned and dusted, and 
 
72 CARRIAGE PAINTING 
 
 it is hardly necessary to caution against 
 this operation being performed in a place 
 where it is or is likely to be subjected to 
 dust or dirt to fall upon it. The priming 
 should be evenly given to all parts of the 
 wood and should be well rubbed in, not only 
 to the parts that are to be in sight, but to 
 the undersides as well, in short to every 
 part, in order to stop any atmospheric ac- 
 tion upon the wood. 
 
 56. The lead coats as they are called, 
 are the preparatory coats which are given 
 to a job before the coloring coats for the 
 carriage parts, or the rough stuffing pre- 
 paratory to the coloring coats to be given 
 to the bodies. 
 
 57. To the running gears, the lead 
 coats should be properly called the 
 "surfacing -coats," as these are never 
 rough stuffed, and the coloring coats are 
 applied directly over them. The same may 
 be said also of business wagons, panels, 
 etc., which are also sufficiently well surfaced 
 
CARKIAGE PAINTING 73 
 
 by that operation of one of the lead coats 
 called " knifed in" lead coat— of which 
 more will be said further on. 
 
 58. Where the work is to be "rough 
 stuffed" before receiving the coloring 
 coats, the proper way to apply the "first" 
 lead coat is to take keg lead and thin it 
 with turpentine and raw linseed oil, "half 
 of each." The above thinning produces 
 an eggshell gloss, and while it is good— it 
 is too slow to suit the average carriage 
 shop now days, so to hurry it up and to 
 produce a harder coating (less elastic), 
 the quantity of linseed oil is reduced and 
 that of turpentine enlarged, so that the 
 drying will be quicker. This should be 
 applied rather thickly, but should be well 
 and very evenly brushed out. 
 
 59. The second lead coat is best known 
 to the carriage painter as "flat lead," as 
 it should contain but the least possible 
 quantity of linseed oil in the thinner, and 
 it should dry without lustre or gloss. A 
 
74 CARRIAGE PAINTING 
 
 large tablespoonful of linseed oil will be 
 sufficient for a quart of mixture which is 
 to be thinned with the turpentine suffi- 
 ciently to be applied. Use only a camel's 
 hair flat brush for this purpose, as a bristle 
 brush will not lay it smoothly. 
 
 60. The rub lead coat. In the former 
 directions given for first and second lead 
 coats, the supposition is that the job is 
 to be surfaced, levelled up, etc., by the 
 rough stuffing process to be hereafter de- 
 scribed, but for running gears and jobs 
 which are not to be so prepared, there is 
 no better way known, than to give them 
 what is known to the trade as a " rub lead ' ' 
 coat. This may be prepared from a good 
 "keg lead" especially ground and pre- 
 pared for the carriage trade, or prepared 
 from dry white lead thinned with % lin- 
 seed oil, % turpentine, colored to a light 
 slate color and run through a paint mill. 
 The above is more applicable to the large 
 shops than to the small ones, these will 
 
CAKRIAGE PAINTING 75 
 
 find the former way better. The lead 
 should not be too thin, but sufficiently to 
 brush out fairly with a bristle brush. 
 After it has been applied, it should be left 
 to set for 15 minutes, then the operator 
 should proceed to ' ' rub ' ' it in all over the 
 work, with the palm of his hand. It re- 
 quires a longer time to stand before coat- 
 ing over with a second lead coat, than with 
 "first lead" as described before, but it is 
 far better and produces a fine surface for 
 second lead. This second flat lead should 
 not be given before two full days after 
 the application of the first. 
 
 61. Knifing in lead coat. This coat is 
 used on carriage parts to the exclusion of 
 the rough stuff coats used for the surfac- 
 ing of bodies, and is also used for surfac- 
 ing business wagons, etc. Color manufac- 
 turers prepare it so that it can be used by 
 thinning only, but many of the large shops 
 prepare it as wanted from dry white lead, 
 2 parts, and keg lead 1 part, thinned with 
 
76 CARRIAGE PAINTING 
 
 rubbing varnish and japan with a little 
 turps. It will be well to add enough color 
 to the knifing in lead toward the shade of 
 the finishing color, in order that it may 
 cover better over it. It may be applied 
 with a bristle brush and afterwards the 
 whole surface should be gone over with a 
 wide putty knife, in order to force the 
 knifing lead to all parts and to afterwards 
 remove the surplus lead, leaving only 
 that which is required to give a job the 
 proper leveling of the surface. If the job 
 has been properly done, there will be but 
 little need for much sand papering in order 
 to fit it for subsequent operations. 
 
 QUESTIONS ON LESSON IX. 
 
 55. How is the priming to be applied? 
 
 56. What is said of the lead coats in 
 general ? 
 
 57. What is the object of the applica- 
 tion of the lead coats to the running gears 1 
 
CARRIAGE PAINTING .77 
 
 58. How should the "first lead" coat 
 be given? 
 
 59. How should "second lead" coat be 
 prepared and applied? 
 
 60. What is the "rub coat" and its 
 object? 
 
 61. What is the "knifing lead" coat 
 and its object. 
 
 LESSON X. 
 
 PUTTYING AND PREPARING OF PUTTIES. 
 
 62. Putty and puttying plays a very 
 important part in carriage painting, and 
 as to whether it has been properly at- 
 tended to and the right sort of putty used, 
 will make or. mar the looks of a job. The 
 novice in carriage painting is very apt to 
 slight this operation and to think that too 
 much stress is given it, but there is not 
 half enough given it in this manual in- 
 tended for beginners, and if this unat- 
 tractive part of the trade can be grafted 
 
78 CARRIAGE PAINTING 
 
 into the student, so that he will appreciate 
 its importance, then the space given it will 
 not have been wasted. 
 
 63. There is no one single sort of putty 
 that can be said to be an all around putty, 
 that can be used for all purposes for which 
 putty is used. Each and every kind has 
 a different function to fulfill, and must be 
 prepared accordingly. There is one kind 
 of putty which is in universal use and 
 which comes nearer to filling the use of a 
 general putty, the formula of which is 
 given below and which is called formula 
 No. 1, and to which reference will be made 
 as putty No. 1. 
 
 64. Formula No. 1. Dry white lead- 
 knead this with a thinner, composed of half 
 rubbing varnish and half japan— to the 
 proper consistency. This will come as 
 near filling the purpose of a general putty, 
 as it is possible for one to be made for such 
 a purpose. 
 
 There are some who substitute keg lead 
 
CARRIAGE PAINTING 79 
 
 in various proportions in combination 
 with the dry lead. A small percentage of 
 it is no doubt good for several special pur- 
 poses, but the formula given is as good 
 as any. 
 
 65. Formula No. 2. Keg lead, 1 part; 
 whiting, 2 parts; thinner to be composed 
 of equal parts of varnish and raw linseed 
 oil, mixed to a stiff paste for use. This 
 putty is to be used on old jobs which are 
 badly splintered and rough edged. It will 
 dry tough and will not flake off. It can- 
 not be sand papered, however. 
 
 66. Formula No. 3. For deep holes— 
 whiting mixed with raw linseed oil and 
 japan, equal parts. Then into this mix- 
 ture, mix plush woof. Drive a small head 
 tack or two in bottom of hole, and then 
 fill in nearly level of the surface with this 
 putty. Slash a couple of openings into it 
 with putty knife to quicken the drying, 
 and in due time level up with regular No. 
 
80 CARRIAGE PAINTING 
 
 1 putty— (From Hillick's Practical Car- 
 riage and Wagon Painting.) 
 
 67. Formula No. 4. Dry lead, 3 parts ; 
 plaster of Paris, 1 part ; knead into proper 
 consistency with equal parts of quick rub- 
 bing varnish and japan. This is intended 
 for use upon shallow cavities. The com- 
 bination dries hard and quick. It will 
 be found valuable in repair shops. 
 
 68. Formula No. 5. Finely ground 
 pumice stone, 3 parts; dry lead, 1 part; 
 mix to a working condition in thick glue. 
 Apply the putty so that it will show some 
 above the surface. After 10 hours, rub 
 down with lump pumice stone and raw 
 linseed oil. The above is made especially 
 for filling expansive shallow dents upon a 
 carriage surface— (From Hillick's Prac- 
 tical Carriage and Wagon Painting, also 
 the following:) 
 
 69. Formula No. 6. Dry white lead, 
 2/3; keg lead, 1/3; rubbing varnish and 
 
CARRIAGE PAINTING 81 
 
 japan equal parts; mix, and into this mix 
 
 the woof or fine pickings of velvet or plush. 
 
 The above putty is especially intended 
 
 to be used around glass in heavy carriages. 
 
 QUESTIONS ON LESSON X. 
 
 62. What is said of puttying in general? 
 
 63. What about the several kinds of 
 putty? 
 
 64. What is putty No. 1? 
 
 65. What is putty No. 21 
 
 66. What is putty No. 3? 
 
 67. What is putty No. 4? 
 
 68. What is putty No. 5! 
 
 69. What is putty No. 6! 
 
 LESSON XL 
 
 PUTTYING AND SANDPAPERING. 
 
 70. In the previous lesson, formulas 
 were given for the preparing of various 
 kinds of putty used in carriage painting, 
 but nothing was said concerning their ap- 
 
82 CARRIAGE PAINTING 
 
 plication. In the following paragraphs 
 are given a few directions which will be 
 found useful for the purpose, and which 
 if followed up, will make for good work 
 in that line. 
 
 There are few operations in the car- 
 riage painting trade which require more 
 care, and, where the lack of it is more likely 
 to produce mortification to the feelings 
 of one who has neglected to properly per- 
 form his work. 
 
 71. The following four reasons given 
 by Hillick, are so well calculated to give 
 the reader the "pith" of good advice in 
 puttying that the same is copied verbatim : 
 
 1. Never putty on the priming coat. 
 
 2. Putty all work as smooth as possi- 
 ble. It is economy, and increases the 
 chances of doing and producing first class 
 work. 
 
 3. Always avoid puttying a crevice, de- 
 pression or cavity in the wood, or a joint 
 between two pieces of wood that is subject 
 
CARRIAGE PAINTING 83 
 
 to diverse forms of resistance. The 
 wrenching and twisting of the vehicle will 
 loosen the putty and eventually eject it. 
 
 4. In puttying over nails, plugs, etc., 
 press the pigment firmly into the hole, fill- 
 ing just level with the surface and care- 
 fully slick up all surplus putty. 
 
 The above if followed up, will not lead 
 the novice astray. To the four rules given, 
 may be added a caution to the beginner 
 not to overdo his work by leaving a hill 
 where none is wanted. Do not use more 
 putty than "just enough/ 1 but not too 
 little. There is but one time to do it right. 
 
 72. Sandpapering, means a great deal 
 in carriage painting. It is required at ev- 
 ery step and after every coating, in fact 
 even previous to any coating at all, be- 
 f or the priming coat is applied. It is a pity 
 that it is so but it can't be helped. The dirt 
 and dust resultance from its use could 
 very well be spared, but the level- 
 ing up due to its careful use is one of the 
 
84 CARRIAGE PAINTING 
 
 sine qua non, to which is due the fine fin- 
 ished mirror-like appearance of the job, 
 and the dirt produced by its use, must of 
 course be looked upon as the thorns in the 
 rose bush and removed, or neutralized as 
 best it can. 
 
 73. For the smoothing up of the wood- 
 work and afterwards of the priming coat, 
 No. 1 sandpaper is the proper size. The 
 lead coats require % sandpaper, especially 
 for first lead. The second, or dead lead, 
 requires sandpaper. One should be very 
 careful not to cut through on first lead, and 
 while the rubbing must not cut to the 
 bare— it must be gone all over the work, 
 but carefully. The second lead coat will 
 only need a light going over, especially, if 
 it has been put on with a earners hair 
 brush carefully. 
 
 What has been said regarding first lead 
 and second lead coats, will apply to rub 
 lead, and knifing lead coats as to the proper 
 size of sandpaper, but in some cases a 
 
CARKIAGE PAINTING 85 
 
 size larger may have to be used ; it will all 
 depend upon the condition of the work. 
 
 74. Mouldings, sharp edges, etc., re- 
 quire the same careful going over as stated 
 above, and some more besides, as it is very 
 easy to cut through them to the bare wood, 
 a thing which must not be permitted. 
 While nothing has been said heretofore, 
 as to the proper time to dust, this is very 
 important and should never be omitted 
 after each sandpapering. It is of the first 
 importance and to be carefully attended 
 to and to make doubly sure, had better be 
 gone over again just previous to the next 
 coating. 
 
 QUESTIONS ON LESSONS XL 
 
 70. What is said concerning the appli- 
 cation of putty? 
 
 71. Name over the four rules given for 
 good puttying. 
 
 72. What is said about sandpapering 
 in a general way? 
 
86 CARRIAGE PAINTING 
 
 73. What sizes of sandpaper are best 
 to be used over the various coatings? 
 
 74. How should sandpapering be done 
 over mouldings and sharp edges? 
 
 LESSON XII. 
 
 ROUGH STUFFING. 
 
 75. Rough stuff hardly indicates its 
 real character by the name it carries. 
 While of course some of the material it 
 is composed of may be rough, yet its ma- 
 nipulation and application requires any- 
 thing but slovenliness or carelessness. On 
 the contrary, very much care must be ex- 
 ercised at every stage of the operations 
 necessary to conduct it to a successful 
 termination. When the object of rough 
 stuffing is stated, the student cannot but 
 see that, unless it is well performed, its 
 usefulness for the purpose will be de- 
 feated, i. e., that of perfectly leveling up 
 of the surface. The giving it that hard 
 mirror-like face upon which to color and 
 
CARRIAGE PAINTING 87 
 
 finish the job by varnishing. If this per- 
 fect smoothness is not produced by this 
 rough stuffing application, it will not be 
 produced later by any subsequent applica- 
 tion, of either paint or varnish. 
 
 76. There are a number of substances 
 which are used to good advantage in the 
 preparation of rough stuff— they are 
 mostly earth colors, or substances of 
 rather coarse atomic formation, which 
 contain more or less silica in their com- 
 position, nearly all are the better for be- 
 ing compounded with white lead. 
 
 The thinner used is usually rubbing 
 varnish and japan. Turpentine being used 
 to thin the mixture to the proper working 
 consistency. 
 
 77. The following formulas for prepar- 
 ing rough stuff, are taken from Hillick's. 
 There is a good variety of them, and the 
 directions following each will give the 
 student a good knowledge of their various 
 peculiarities. 
 
88 CARRIAGE PAINTING 
 
 Formula No. 1. " To 3 lbs. of any Ameri- 
 can filler, add 1 lb. of keg lead. Beat well 
 together ; then reduce to a thick paste with 
 rubbing varnish and japan; after which 
 reduce to a working consistency with turps. 
 This is a safe one coat per day stuff." 
 
 78. Formula No. 2. " Equal parts of 
 filler (except English), and keg lead, by 
 weight, reduced to a heavy paste in quick 
 rubbing varnish and japan, and then cut 
 to the proper working consistency by tur- 
 pentine. Two coats per day may be safely 
 applied with this stuff." 
 
 79. Formula No. 3. "5 lbs. of filler 
 (still excepting English filler) ; 2% lbs. 
 keg lead ; 1/3 elastic rubbing varnish ; 2/3 
 japan. This is a stuff for heavy coach 
 work. Apply a coat every 72 hours. Do 
 not rub out under 3 weeks." 
 
 80. Formula No. 4. "(A London for- 
 mula), dry white lead ground stiff in tur- 
 pentine, 1% lbs.; ochre or English filling, 
 ground stiff in turpentine, 4 lbs.; mix the 
 
CARRIAGE PAINTING 89 
 
 two and add keg lead, % lb. ; add 1 pint 
 of japan gold size, and about % pint of 
 the bottoms of wearing varnish. Reduce 
 this with a little turpentine if necessary. 
 This is a very durable and elastic stuff." 
 
 81. Formula No. 5. " (M. Arlot's for- 
 mula). Grind separately, dry white lead 
 with spirits of turpentine and do the same 
 with unwashed yellow ochre ; then mix the 
 two pastes in the proportion of 3 A of 
 white lead and *4 of ochre. Allow the 
 mixture to be exposed to the air, or to a 
 gentle heat, in order to evaporate the 
 excess of liquid, and add gradually small 
 portions of good drying oil, taking care 
 to stir and beat the mixture well with a 
 brush, as in distemper painting. The paste 
 thus acquires more body. Concerning this 
 stuff the author adds: It is possible with 
 this composition to give 3 coats in one 
 day 's work, but after the last coat, we must 
 wait 48 hours for drying." 
 
 82. Formula No. 6. "English filler, 
 
90 CARRIAGE PAINTING 
 
 3 lbs. ; keg lead, 1 lb ; rubbing varnish % ; 
 japan, %; mix to a stiff paste. Thin to a 
 working consistency with turpentine." 
 
 83. Formula No. 7. "English filler 
 mixed with rubbing varnish, %; japan, 
 %; thinned with turpentine. Probably 
 English filler has but few if any equals, 
 and certainly no superior, as a rough stuff 
 pigment. It polishes down very closely 
 and compact as to texture, giving a glass- 
 like non-porous surface. It requires less 
 lead than other fillers, because of which 
 property it was specially mentioned as 
 excluded from formulas 2 and 3. It does 
 not surface down as easily as some of the 
 American fillers do, a fact which has prob- 
 ably limited its use largely.' ' 
 
 The above give all the varieties needed 
 from the quick and hard to the slow and 
 elastic, and will fill all the needs of the 
 trade. 
 
CAKKIAGE PAINTING 91 
 
 QUESTIONS ON LESSON XII. 
 
 75. What is rough stuff? 
 
 76. What material is used in prepar- 
 ing rough stuff? 
 
 77. What is the composition of for- 
 mula No. 1? 
 
 78. What is the composition of for- 
 mula No. 2? 
 
 79. What is the composition of for- 
 mula No. 3? 
 
 80. What is the composition of for- 
 mula No. 4? 
 
 81. What is the composition of for- 
 mula No. 5? 
 
 82. What is the composition of for- 
 mula No. 6? 
 
 83. What is the composition of for- 
 mula No. 7? 
 
 LESSON XIII. 
 
 HOW TO DO THE ROUGH STUFFING. 
 
 84. Many have an idea that it does not 
 matter so much about what kind of a tool 
 
92 CARRIAGE PAINTING 
 
 a person may use in applying the rough 
 stuff, as it has to be rubbed down and 
 leveled up, any way. There could not be 
 a greater mistake made in this regard. 
 The smoother and the more even the 
 rough stuff is applied, the greater is the 
 chance of turning out a first class level 
 surface, with the least number of coats 
 and the less rubbing. Therefore, a good 
 springy, nearly new bristle brush will be 
 much better than a worn out one which 
 will make brush mark ridges in applying it. 
 85. In applying it to the work, care 
 must be given that it be evenly applied 
 with as little waste of time as possible, as 
 all quick setting colors can be worked 
 level only before they commence setting, 
 therefore there will be no time to com- 
 mence a long winded tale, nor stop to listen 
 to one, but from the time the application 
 is commenced until completed, every brush- 
 ful must go on without unnecessary inter- 
 mission to the termination of it. Each 
 
CARRIAGE PAINTING 93 
 
 coat should be laid off in a different di- 
 rection from the one preceding it. If it 
 has been laid off the long way, then the 
 next one should be laid off cross ways to it. 
 
 86. Unusually four coats of rough stuff 
 will be found sufficient to rub, but while 
 the coats should be applied a little heavier 
 than ordinary paint coats usually are, yet 
 they should in no wise be so heavy as to 
 make their even application an impossi- 
 bility, and it will be best to give the job 
 an extra coat of rough stuff if it is needed, 
 than to risk putting it on too heavy 
 
 87. The rub coat is a thin coat of 
 rough stuff coats in order to act as a guide- 
 rest of it. It is applied over the other 
 rough stuff coats in order to act as a guide 
 coat for the rubbing. Being of a different 
 color it serves to indicate to the rubber 
 that he has cut through, to the real rough 
 stuff under it. It is by no means an in- 
 dication that the work is perfectly leveled, 
 
94 CARRIAGE PAINTING 
 
 however, but of this the next paragraph 
 will give more details. 
 
 88. For rubbing down the rough stuff, 
 provide some good pumice stone blocks or 
 some of the made up grit German rubbing 
 blocks, some good chamois ' skins and 
 sheep's wool, sponges, with plenty of clean 
 water in clean vessels. While the German 
 blocks may do, the natural pumice stone 
 makes the most trustworthy blocks for fine 
 work. The lightest in weight for their size 
 are the best. They should be sawed across 
 the face and filed level, and occasionally re- 
 ceive a dressing in order to maintain them 
 level. 
 
 89. Eubbing rough stuff requires care, 
 and to a certain extent skill. The surface 
 to be rubbed should be kept wet, but not 
 unduly so. The motion of the hand should 
 be forward and backward, never in a cir- 
 cular, uneven stroke. If the surface of 
 the panel is bordered by a moulding, the 
 edges joining the moulding should be done 
 
CAEEIAGE PAINTING 95 
 
 first, in order to avoid coming in contact 
 with them if done at full length strokes, 
 which would be likely to knock against 
 them and mar them or break the stone, 
 which will make grit and dirt hard to clean 
 np. 
 
 The novice can tell when the stone is 
 cutting just right, by the way it adheres 
 to the surface, and if the least atom of dirt 
 gets in between the stone and the surface 
 being rubbed, he can tell in a moment 
 that there is something wrong. The stone 
 at times accumulates gumminess, which 
 prevents its even cutting, it should be 
 looked after often, and cleaned in order 
 to have it always in good condition. 
 
 90. After the rubbing has been done 
 satisfactorily, it should be carefully 
 washed off and afterward dried with the 
 chamois skin. 
 
96 CARRIAGE PAINTING 
 
 QUESTIONS ON LESSON XIII. 
 
 84. What tools are required to apply 
 the rough stuff! 
 
 85. How is the rough stuff applied? 
 
 86. How many coats of rough stuff are 
 usually needed! 
 
 87. What is the "rub coat?" 
 
 88. What material is required for rub- 
 bing rough stuff? 
 
 89. How is the rubbing done? 
 
 90. How should the rough stuff be 
 afterward cleaned up? 
 
 LESSON XIV. 
 
 THE COLOR COATS. 
 
 91. The coloring of a job after it is out of 
 rough stuff, as it is called after it has been 
 rubbed and cleaned, is a matter which to 
 a certain extent is governed by fashions 
 and fads, and also by the kind of vehicles 
 and the use they are intended for. The 
 
CARRIAGE PAINTING 97 
 
 subject matter of this manual covers ev- 
 erything in the vehicle line of painting, 
 from an ordinary delivery wagon, on 
 through all kinds of pleasure vehicles, 
 automobiles, to the finest of passenger 
 cars. So not a single one of the pigments 
 in use by decorators and artists, but are 
 drawn upon for some of the work turned 
 out by the carriage painter; more than 
 that there are a number of colors which 
 are used exclusively by him. These of 
 course are mainly proprietary colors— but 
 they are seldom if ever used by other 
 painters. 
 
 92. Each color requires a different 
 treatment, usually from any of the others, 
 or at least has some peculiarities which re- 
 quire that it should receive a special treat- 
 ment, therefore the colors of each group 
 will be reviewed under their various group- 
 ing, and where any of them have peculiar- 
 ities requiring explanations, these will be 
 given under such headings. 
 
98 CARRIAGE PAINTING 
 
 93. As frequently even a difference has 
 to be made in the manner of applying the 
 various colors, the proper way of doing 
 this will also be noted in the reviewing of 
 the various colors in a group. 
 
 THE BLACK. 
 
 94. The Black group is one of the most 
 useful of all to the carriage trades, either 
 by the use of its self color, or in the use 
 made of it in combination with other col- 
 ors to produce dark tints, etc. The black 
 group gives more uniformity in the vari- 
 ous uses made of its several members, 
 than any of the other groups, and the man- 
 ner of applying the color coats is nearly 
 uniform for all of them. 
 
 95. The directions given below for ap- 
 plying colors of the black group will also 
 apply to most of the other groups, which 
 are of an opaque, or at least of a semi- 
 opaque nature. The pigments of the black 
 group which are used in the finishing color 
 
CAEEIAGE PAINTING 99 
 
 are not of the most opaque sorts. The best 
 of them, the Ivory or Coach blacks are 
 really only semi-opaque, so that an extra 
 good covering is anything but an indica- 
 tion of good quality, but rather that the 
 color has been doctored up with carbon 
 black. 
 
 Therefore if one coat of color cannot 
 be made to cover as perfectly as desired, 
 then two coats should be given. Never 
 try to force the covering of a semi-trans- 
 parent color by giving an extra heavy 
 coat, it will be impossible to brush it out 
 free of brush marks. Let the color be 
 thinned sufficiently to brush out smoothly. 
 
 The colors should always be ground in 
 japan, and thinned with turpentine, with 
 the addition of sufficient varnish to bind 
 it so that it will dry out soft and velvety. 
 The only brush to lay color is a camel's 
 hair flat brush. 
 
 The above directions are given for new 
 work. It is the practice now, however, to 
 
100 CARRIAGE PAINTING 
 
 give the color coats in color and varnish, 
 as it is much safer and less troublesome. 
 
 QUESTIONS ON LESSON XIV. 
 
 91. What is said of the color coats? 
 
 92. Why have the painting explanations 
 been grouped according to the color 
 groups ? 
 
 93. Are all colors applied alike in car- 
 riage painting? 
 
 94. What is said of the black group of 
 colors in a general way? 
 
 95. How should the colors of the black 
 group be applied? 
 
 LESSON XV. 
 
 THE BROWN GROUP. 
 
 96. The Browns are used mainly in 
 wagon painting, but occasinally some peo- 
 ple even desire it used on vehicles, and es- 
 pecially so in automobiles. Most of the 
 browns are easy colors to handle. Some 
 
CARRIAGE PAINTING 101 
 
 require a ground color, then color as noted 
 in the blacks, followed with color and var- 
 nish of which nothing is said in that group. 
 This coat is mixed with varnish and tur- 
 pentine and should show up quite glossy 
 after drying. It holds up well and makes 
 a good lasting job. 
 
 97. All the transparent browns includ- 
 ing the Van Dyke browns are better for 
 having a ground coat prepared and ap- 
 plied for them. A preparatory coat pre- 
 pared from coach black, chrome yellow and 
 red, will make a very good imitation of it, 
 or any of the Vienna umber browns, and 
 when glazed over with the colors them- 
 selves, produce nice effects, and can also 
 be given with one coat of color, followed 
 by one coat of color and varnish. 
 
 98. Vienna brown is greatly used in 
 the painting of carriage bodies and auto- 
 mobiles, it requires a ground color of deep 
 Indian red, then paint over it one coat 
 color, and one coat color and varnish. 
 
102 CARKIAGE PAINTING 
 
 99. London smoke is a dull brown 
 chiefly used in solid one-coat work, as it 
 covers very well and will look solid, un- 
 less the thinning is greatly overdone. It 
 is mainly used on running gears. 
 
 THE BLUE GROUP. 
 
 100. The ultramarine blues are the 
 principal ones used in the work of the 
 carriage painter. It gives most beautiful 
 effects and certainly is very pleasing to 
 the eye. The best results from their use 
 are obtained by preparing ground for them, 
 and using the ultramarine blues as a glaze 
 over these grounds in color and varnish, as 
 all glazing colors should be given and ap- 
 plied with an inch and a half badger color 
 brush. All manufacturers prepare grounds 
 for their ultramarine blue, and these come 
 in three shades, pale, medium and deep. 
 
 101. There is often a necessity for the 
 carriage painter to prepare his own 
 grounds. These are made up from Prussian 
 
CARRIAGE PAINTING 103 
 
 blue and a good white lead ground in ja- 
 pan, or from keg lead from which the oil 
 has been extracted by stirring up with tur- 
 pentine, letting it settle and pouring out 
 the liquid. A most thorough and intimate 
 mixing must be made of it, or it will show 
 up streaky, or specky. The above advice 
 will apply to all compounded colors. It is 
 very much harder to combine all parts of 
 color together into a homogeneous mass 
 than it looks to be, and the manufacturer 
 is much better prepared to do this properly 
 then the painter is. It is true that some 
 are careless in this regard too, but they 
 have a reputation made or lost among car- 
 riage painters and manufacturers, who 
 have worked up a good trade in this branch 
 of their business are not very likely to 
 lose it by imperfectly combined mixtures. 
 102. Beautiful effects in glazing with 
 ultramarine blue result from glazing over 
 a coat of very deep green. The results 
 of such a combination are always pleas- 
 
104 CARRIAGE PAINTING 
 
 ing. The glaze colors should be mixed 
 with elastic rubbing varnish, and put on 
 flowing. Of course ultramarine can be 
 procured, that is sufficiently opaque to 
 cover solidly in one coat, but no such del- 
 icate and rich, aristocratic tones can be 
 obtained from it, as by preparing grounds 
 first and glazing over them afterwards. 
 
 QUESTIONS ON LESSON XV. 
 
 96. What is said about the application 
 of the color coats for the several groups? 
 
 97. How should Van Dyke brown and 
 other semi-transparent browns be used? 
 
 98. How should the grounds be pre- 
 pared for Vienna browns? 
 
 99. What use is London smoke made of 
 in carriage painting? 
 
 100. What is said of the blue group in 
 a general way? 
 
 101. How are grounds for ultramarine 
 prepared and painted over? 
 
CARRIAGE PAINTING 105 
 
 102. What effects are produced from 
 glazing ultramarine over green grounds! 
 
 LESSON XVI. 
 
 THE GREEN GROUP. 
 
 103. The greens which are mostly used 
 in carriage and wagon painting, either for 
 solid painting, or as grounds for other 
 green used over them as a glazing color 
 are Chrome greens and these are com- 
 pounded of Prussian Blue and Chrome Yel- 
 low. It is a very hard matter to keep them 
 intimately mixed, and in spite of all that 
 can be done, they do separate with the 
 consequent results that they give either a 
 cloudy or a streaky finish, unless great care 
 is exercised during their application. 
 
 104. There is no way known, which will 
 prevent this separation except constant 
 stirring, and this is the only remedy. Be 
 at it every time you use a brushful of the 
 mixture. If this is properly attended to, 
 
106 CAEKIAGE PAINTING 
 
 there will be little trouble; if not, the 
 trouble is sure to come. This applies not 
 only to the greens that may be compounded 
 in the shop from chrome yellow and Prus- 
 sian blue, but fully as much to those al- 
 ready prepared by the manufacturers, as 
 these two colors composing it are com- 
 pounded, but do not unite together. The 
 blue being much lighter in weight than the 
 yellow, it will usually separate and rise 
 to the top. 
 
 105. All the other compounded colors 
 from greens, such as the Merrimac, Quaker, 
 Brewster, Bottle and especially the Olives, 
 require great care in their handling and 
 manipulation, not only as regards their 
 settlings, but also in their application. 
 They should never be cross-brushed, as it 
 will surely bring out differences of color 
 and streaks. It is much safer to use the 
 greens as flat colors. They cover well and 
 two coats will always cover solidly. 
 
 106. Green ultramarine, Paris green 
 
CARRIAGE PAINTING 107 
 
 and Verdigris, are all transparent greens, 
 which are very useful in glazing. Many 
 proprietary green carriage colors of coal 
 tar extraction, both opaque and transpar- 
 ent, are being* introduced from time to 
 time. It is hoped that a perfect substitute 
 for Paris green which may be non-poison- 
 ous may be found. 
 
 THE REDS. 
 
 107. The reds are widely used by the 
 carriage painter for a multitude of widely 
 different work, according to the shades of 
 it, which vary from the glaring scarlet to 
 the subdued magentas and warm shades 
 of red browns. The reds are derived from 
 widely different sources, and what might 
 be said of one, and of the proper way of 
 treatment for it, might be altogether mis- 
 leading when applied to another and so on. 
 So nearly every red will need to be treated 
 according to their individual requirements. 
 
108 CAREIAGE PAINTING 
 
 108. The vermilions have a wide range 
 from light scarlet to magenta, and accord- 
 ing as the genuine English, so called, or 
 the numerous imitations of it under hun- 
 dreds of proprietary names are used, the 
 work will need to be done differently. The 
 imitation vermilions usually cover very 
 well, and need no special ground, although 
 some are the better for a pink ground, 
 made of Venetian red and lead, and ap- 
 plied as a color ground for them. In fact 
 no error can be made in using it as such 
 for all imitation reds. 
 
 109. English vermilion requires such 
 a ground always—the peach blossom pink 
 is the best and it should dry with an egg- 
 shell gloss, as it will prevent any sinking 
 in of the vermilion. The first coat of ver- 
 milion should have considerable gloss too, 
 and the last should be color and varnish, 
 carrying a decided gloss. Japan should 
 never be used in connection with quick- 
 silver vermilion and it is needless to say, 
 
CARRIAGE PAINTING 109 
 
 that linseed oil never should, as it will 
 darken it and destroy its brilliancy of tone. 
 
 QUESTIONS ON LESSON XVI. 
 
 103. What is said of the green group 
 of color in general ? 
 
 104. How are green colors to be kept 
 from separating? 
 
 105. How should green colors be ap- 
 plied? 
 
 106. What green colors are mainly used 
 for glazing? 
 
 107. What is said of the red pigments 
 in a general way? 
 
 108. What is said about the application 
 of the imitation vermilions? 
 
 109. How should English Vermilion be 
 applied? 
 
 LESSON XVII. 
 
 RED GROUP CONTINUED. 
 
 110. Some beautiful effects are pro- 
 duced by glazing English Vermilions with 
 
110 CARRIAGE PAINTING 
 
 carmine. It is a job that but few who know 
 how can tackle, without fear and trembling. 
 In order to give the student the best there 
 is in the way of a description as to 
 how it should be done, the following which 
 is extracted from Hillick's book will be 
 found as good, and more easily under- 
 stood than any that could be desired. 
 
 111. "For warmth and brilliancy of 
 color effects, carmine among a long list 
 of gorgeous reds is without a rival. Car- 
 mine is a glaze color exclusively, and the 
 splendor of its radiance is governed ex- 
 clusively by the ground color. Carmine, 
 along with its near relatives of the red 
 order, has a decided tendency to face, flake 
 and chip off. The ground color, therefore, 
 must in addition to being faultless in color, 
 density and surface features, be possessed 
 of great enduring qualities. It must be 
 accepted as a rule worthy of practice, that 
 the ground colors for the general order of 
 reds, should be mixed with a binder of 
 
CARRIAGE PAINTIXG 111 
 
 varnish sufficiently strong to impart to 
 them when dry, at least a faint gloss— an 
 eggshell gloss. A ground so prepared is 
 fortified to counteract the fading and flak- 
 ing properties of such of the red,s as are 
 used as glaze colors. " 
 
 112. "To secure a first class job of 
 light carmine, bring the surface level and 
 smooth, and then apply a coat of peach 
 blow color, made of white and some of 
 the ordinary reds. Over this apply a 
 coat of deep English Vermilion, using the 
 Vermilion stoutly, charged with rubbing 
 varnish. Polish this coat when dry with 
 curled hair, and apply a second coat of the 
 Vermilion, adding a sufficiency of varnish 
 to convert the mixture to the color and var- 
 nish class. At the proper time this coat 
 should preferably be rubbed lightly with 
 pumice stone and water. Next apply a 
 coat of clear rubbing varnish, which in 
 in due time also demands rubbing with 
 pumice stone and water. Then to rubbing 
 
112 CARRIAGE PAINTING 
 
 varnish, elastic or quick, hard drying, as 
 the size of the surface may dictate, add 
 enough No. 40 carmine to fully stain the 
 liquid, say % of an ounce to one. full pint 
 of varnish (many first class painters use 
 % an ounce of carmine to one pint of var- 
 nish), and apply to the surface, be it body 
 or gear with a soft badger or bristle brush, 
 For a less expensive job omit the coat of 
 clear rubbing varnish and apply the car- 
 mine directly to the vermilion." 
 
 113. "A method easier to carry into 
 execution in painting a carmine job, con- 
 sists in adding a little carmine to the last 
 coat of vermilion color and varnish. This 
 coat is rubbed with curled hair, then car- 
 mine is added to varnish, as in the first 
 method, after which a small quantity of 
 vermilion is put in to give the mixture 
 opacity or covering power. Clouding and 
 such other incidental imperfections to be 
 considered in connection with the work of 
 one not really an expert in the manipula- 
 
CARKIAGE PAINTING 113 
 
 tion of glaze colors is thereby avoided. 
 For a darker carmine use a ground of 
 flamingo red, carmine red (a solid color), 
 road cart red, kalliston red, or permanent 
 scarlet dark shade, the latter requiring a 
 light vermilion ground. 
 
 114. "In applying carmine to wheels it 
 is advisable to flow the whole wheel at 
 once instead of doing them in sections, as 
 by this practice, a cleaner, clearer and more 
 satisfactory job is secured. For the gear 
 do the whole of one end of it, before wip- 
 ing up, and then the final end, finishing with 
 the reach and sidebars. To obtain the real 
 purple and fine linen of carmine effects, 
 the color and varnish requires to be flowed 
 on freely and quickly, and promptly slicked 
 up. Pottering and sectional patching up 
 invite inferior results." 
 
 The above gives in a nutshell what is 
 considered the most difficult of all color 
 laying by the carriage trade. It gives the 
 best way and also the next best to it, which 
 
114 CARRIAGE PAINTING 
 
 is very good, but cannot turn out such 
 work as only the first will. 
 
 QUESTIONS ON LESSON XVII. 
 
 110. What is said of Carmine glaze 
 over English Vermilion! 
 
 111. How should the grounds be pre- 
 pared for Carmine glaze? 
 
 112. Give further descriptions of it? 
 
 113. Is there not an easier method of 
 doing Carmine glaze! 
 
 114. Which is the best method of ap- 
 plying Carmine glaze to wheels and run- 
 ning gears? 
 
 LESSON XVIII. 
 
 REDS CONTINUED AND YELLOWS. 
 
 115. There are a number of various 
 reds mostly of coal tar origin, some of 
 which made from paralin and madder lake 
 are nearly permanent; others again made 
 from cheaper aniline colors are more or 
 
CARRIAGE PAINTING 115 
 
 less fugitive. As all are improved in tone 
 by the use of ground colors, and as the 
 manufacturers usually prepare the ground 
 color to go with their highly seasoned 
 named goods such as Oriental red, Otto- 
 man, Flamingo, etc., etc.; each manufac- 
 turer with a long list of proprietary names.; 
 it will be well to use such grounds according 
 to directions, and it will be found that 
 nearly the whole list will require over the 
 proper ground, a color coat plus a color 
 and varnish coat over it ; in no case should 
 the finishing coat be a dead one. 
 
 116. The dark solid iron reds such as 
 Indian, Tuscan, etc., come usually in two 
 shades, pale and dark. They are seldom 
 used by themselves but usually as 
 grounds for some of the lakes, or as 
 grounds for the so-called wine colors. The 
 manufacturers also furnish the ground 
 colors ready prepared to suit the shades 
 of wine colors they send out, better results 
 will be obtained in the long run by using 
 
116 CARKIAGE PAINTING 
 
 the grounds which are especially prepared 
 for them. They should be finished up in 
 color and varnish as related in the proceed- 
 ing paragraph. 
 
 117. The Red and Red Brown Lakes 
 form an important item of the carriage 
 painter's stock of red pigments. All colors 
 designated as Lakes are used only as glaz- 
 ing colors to enrich the ground or solid 
 colors over which they are placed. Many 
 of them that were considered indispens- 
 able a generation ago and which are yet 
 used to some extent are anything but per- 
 manent, and why they are used at all is a 
 mystery. There are so many of the lakes 
 now to be had that are, or may be desig- 
 nated as permanent, being made from ali- 
 zarin from which is derived madder lake 
 that there is no excuse for using the un- 
 dependable sorts. All should be used with 
 considerable varnish as noted in para- 
 graph 115. Under the "Pure Food" law 
 if they are made from Alizarin, or contain 
 
CAKKIAGE PAINTING 117 
 
 the equivalent of madder lake that they 
 should, the label will tell of it and no one 
 need err in buying them blindly. Most of 
 them carry some proprietary name, many 
 going under different names that are iden- 
 tical, when made by different firms. The 
 mostly used ones are Munich lake, maroon 
 lake, carmine lake, carriage part lake, 
 Chatenne or Cramoisi lake, etc.; the list 
 might be indefinitely enlarged without add- 
 ing much to it but names however. 
 
 THE YELLOWS. 
 
 118. Are much employed in the paint- 
 ing of running gears of vehicles, and in au- 
 tomobile and wagon painting are used for 
 bodies as well. They are pleasing as well 
 as showy, if well balanced up with some 
 complementary and harmonious colors. 
 They require a somewhat different hand- 
 ling all the way through the job in order 
 to obtain the best results from them. 
 
 119, The yellow pigments no matter of 
 
118 CARRIAGE PAINTING 
 
 what tone they may be should be placed 
 over a white lead base, and the running gear 
 should be painted with keg lead thinned 
 half linseed oil, half turpentine and with 
 a tablespoonful of good drying japan to 
 the pint of color mixture. The first coat 
 of it over priming should be sandpapered 
 with No. 1 paper, puttied over with white 
 putty. The putty should be so carefully 
 well done as to need no sandpapering. A 
 second coat of the same lead, but carrying a 
 trifle more linseed oil should be given but 
 applied with a camel's hair brush, so as to 
 lay the color smooth enough to not need 
 sanding. Over this finish up with a color 
 coat of the yellow, and another of color and 
 varnish. 
 
 120. For wagons usually the same treat- 
 ment is to follow for bodies, but if a fine 
 job is wanted and these were rough stuffed 
 then wash off the oil from keg lead with 
 turpentine or benzine, and bind the lead in 
 rubbing varnish and apply two coats of 
 
CAKKIAGE PAINTING 119 
 
 the white with a camel's hair brush. Pol- 
 ish after each coat with clean curled hair. 
 Then put on two coats of the yellow color, 
 the last being color and varnish. Arlot the 
 Parisian author and a recognized author- 
 ity in coach painting, says that this under- 
 pinning with white prevents the fading of 
 the yellows from showing, and Hillick en- 
 dorses it for doing the same thing here, 
 and hundreds of others not so well known 
 but who >are entitled to consideration do 
 the same, so it must be 0. K. 
 
 QUESTIONS ON LESSON XVIII. 
 
 115. What is said about the use of the 
 proprietary reds in carriage painting? 
 
 116. What is said about the use of the 
 dark reds, Indian, Tuscan and wine colors ? 
 
 117. What are the various red and 
 brown lakes and how should they be 
 treated? 
 
 118. What is said of the yellow group 
 of pigments in a general way? 
 
120 CARRIAGE PAINTING 
 
 119. How should the yellow pigments 
 be applied to the running gears? 
 
 120. How should they be applied to the 
 bodies of carriages and wagons! 
 
 LESSON XIX. 
 
 THE WHITES. 
 
 121. This will end up the color coats 
 on the list, and while it comes last is by 
 no means the least important. It is used 
 in the painting of all kinds of business 
 wagons, and for all kinds of uses including 
 milk wagons which are usually painted 
 white. Busses, hearses for children, all 
 must be painted white, and white will 
 be the foundation upon which some very 
 showy business wagon ornamentation and 
 lettering will be done. 
 
 122. 'This lesson is entitled the whites, 
 a plural designation which may be mis- 
 leading, as some may suppose that any and 
 all whites may, or can be used in carriage 
 
CARRIAGE PAINTING 121 
 
 painting. The plural in this case must 
 apply to white lead or to the many makes 
 of it including the flake, whites, kremitz 
 and Florence white, all of them white lead 
 pure and simple. Zinc white however 
 useful it may be in other lines of painting 
 should never be used in carriage work. As 
 adjuncts in preparing some special mix- 
 tures a little whiting or carbonate of lime 
 is made use of— but not as a coloring 
 agent— on the contrary. Its use is simply 
 a mechanical one. 
 
 123. The process of progression of the 
 painting of a white job is somewhat simi- 
 lar to that described in the previous les- 
 son for yellow— only more so. The job 
 should be more thoroughly well cleaned of 
 all spots and stains before the priming 
 begins, than for the other colors. When 
 it has been properly cleaned, proceed to 
 give it a coat of raw linseed oil, well and 
 uniformly brushed in. "When dry sand- 
 paper it also uniformly alike. Then pro- 
 
122 CAKRIAGE PAINTING 
 
 ceed to put on a coat of what may be 
 termed second priming of keg lead thinned 
 with % linseed oil to % turpentine with a 
 teaspoonful of light japan to a quart of 
 the primer. 
 
 124. The puttying should be put on 
 over this first coat of white. The putty 
 should be made from white lead, dry and 
 pale rubbing varnish 1 part and gold size 
 japan 2 parts. This putty for stopping 
 holes may be used considerably stiff er than 
 for general puttying. For glazing it must 
 be reduced to the proper consistency of 
 thinness with turpentine. 
 
 125. A second coat of what may be 
 called the priming white coat very similar 
 to the first and thinned with t& of raw lin- 
 seed oil to if of turpentine should now be 
 given the job, after the putty has been 
 properly sandpapered and dusted. 
 
 126. For most purposes the job can be 
 surfaced, and the coloring carried along 
 without the special rough stuffing de- 
 
CARRIAGE PAINTING 123 
 
 scribed heretofore, although on the very 
 best work it is still followed, but the follow- 
 ing system will give nearly as good re- 
 sults : mix flake white or any other special 
 white lead of great body and good color, 
 bind it with hard drying finishing varnish, 
 thinning it with turpentine to reduce it to 
 a good brushing consistency, applying two 
 coats of it with care in order to have no 
 brush marks showing. After this give a 
 coat of hard drying finishing varnish to 
 which has been added sufficient white lead 
 to kill the yellow of the varnish. This 
 coat should be flowed on full. When dry 
 it should be rubbed with pumice stone and 
 water, and after cleaning give another coat 
 of color and varnish which should also be 
 rubbed and cleaned as the other, and an- 
 other coat of color and varnish applied. 
 This is usually enough to produce a 
 smooth, solid, clean surface of good lustre. 
 If it is desired to stripe, letter or ornament 
 
124 CARRIAGE PAINTING 
 
 over this it can be done, and pencil var- 
 nished over such. 
 
 127. Where gold or any other leaf gild- 
 ing is to be done, the finishing coat should 
 be flat or very nearly so, as otherwise it 
 will be next to impossible to prevent the 
 leaf adhering to the varnished surface. It 
 will be better to let the gloss coat remain 
 until it has had time to dry hard, not less 
 than a week to 10 days, then rub with 
 pumice and water, then ornament over 
 that and polish when dry with rotten stone 
 and sweet oil. For cleaning up the oil, 
 dust some wheat flour over it and clean up 
 with a soft duster, wiping off with silk 
 cloth. 
 
 QUESTIONS ON LESSON XIX. 
 
 121. What is said of the whites in 
 general ? 
 
 122. What are the white pigments use- 
 ful in carriage painting? 
 
CARRIAGE PAINTING 125 
 
 123. How should the priming be done 
 on a white job? 
 
 124. How is the putty made and ap- 
 plied? 
 
 125. IVhat is said of second coat lead 
 priming! 
 
 126. How is a white job colored and 
 finished without rough stuff? 
 
 127. How is the ornamenting done on 
 a white job? 
 
 LESSON XX. 
 
 THE ORNAMENTING. 
 
 128. Many vehicles are finished plain 
 without any kind of ornaments, but many 
 again are striped and otherwise orna- 
 mented and business wagons sometimes 
 very highly so and are lettered, also serv- 
 ing as an ambulant advertisement to the 
 firm in whose service they are employed 
 and no doubt many times paying for them 
 selves in effective and far reaching adver- 
 
126 CARRIAGE PAINTING 
 
 tising. There is no doubt now in the 
 mind of advertisers that money expended 
 on good wagon advertising pays better 
 than in any other advertising agency, as 
 it forces itself upon all classes of people 
 if it has been well done and frequently 
 upon many who would never look at news- 
 paper advertising. 
 
 129. It is usual to go ahead and varnish 
 and finish a job with varnish before the 
 ornamentation takes place, and it may 
 seem strange that the details are here 
 given ahead of time as it were before 
 the finishing process has taken place. It 
 really matters little about that when it is 
 understood before hand. The reason why 
 it is here given is that it is frequently the 
 case that when jobs that are simply orna- 
 mented with striping which are not se- 
 riously dulled by the varnishing may be 
 striped and ornamented at this stage of 
 the finish, and the final coat of varnish 
 .given over it. It matters but little really 
 
CARRIAGE PAINTING 127 
 
 as to when the details are given and tEe 
 operation can be delayed until after the 
 final varnishing has been given. 
 
 STRIPING. 
 
 130. The striping is the main ornamen- 
 tation given all vehicles that are orna- 
 mented at all and frequently consists ex- 
 clusively of that. It is really the most 
 difficult of all the rest, for if it is not well 
 done it will show at a glance by the unev- 
 enness of its lines, while mere ornaments 
 may look fairly well even when the lines 
 are not all perfectly true. It is therefore 
 of the greatest importance that the ope- 
 rator should have had some practice in or- 
 der that he may have enough confidence to 
 enable him to produce perfect lines. This 
 confidence can only be acquired by prac- 
 tice, and while not very difficult, no one ever 
 drops into it without practice, and some re- 
 quire lots of it before they can trust them- 
 selves to do it right. To the experienced 
 
128 CARRIAGE PAINTING 
 
 it is as easy as falling off a log, as the say- 
 ing is, and some of these frequently do ex- 
 cellent work when they could hardly walk 
 straight from intoxication, but then they 
 are experienced, and it has become second 
 nature to them to make perfect straight 
 lines of any widths. 
 
 131. Fig. No. 9 gives the usual shape of 
 striping brushes. For the lighter weight 
 colors camel's hair will be found the best 
 for use, and for the heavy colors such as 
 flake white and English vermilion the sable 
 and ox hair stripers of the same shape will 
 be found better as they will not sag under 
 the weight as readily as the others. Fig. 
 No. 12 gives the shape of the so called 
 sword or dagger striper for making fine 
 lines with. Many prefer to make them 
 themselves from the larger sized striping 
 brushes which they break open and gradu- 
 ate to suit themselves, placing the hair into 
 a red cedar stick which is split in the cen- 
 ter and which when properly filled is tied 
 
CARRIAGE PAINTING 129 
 
 around above the split, and a handle is 
 whittled from above the tie. 
 
 132. The material used for striping 
 may cover the whole field of color, but in 
 actual practice the colors are not numerous 
 for the reason that but few are sufficiently 
 opaque as to make it possible to make a 
 good stripe with one coat. White lead or 
 rather flake white on extra good bodied 
 white lead and the chrome yellows, are ex- 
 cellent bodied colors and also pale English 
 vermilion. The above colors for striping 
 over black will cover in one coat. For strip- 
 ing over lighter colors however a much 
 larger number of fairly well bodied pig- 
 ments can be used which would be unavail- 
 able over a very dark ground. 
 
 133. The thinners have a great deal to 
 do as to the proper working of the colors 
 in striping. Each color really requires a 
 somewhat differ ent manner of thining. 
 Linseed oil is not the best medium to thin 
 striping colors with as the flow will be 
 
130 CARRIAGE PAINTING 
 
 rather uneven and while it will not be pos- 
 sible to present an absolutely perfect rem- 
 edy a mixture of varnish, japan and tur- 
 pentine in various proportions to suit the 
 colors being used will in a great degree 
 help out. When oil has to be used with 
 some colors always mix it with quick rub- 
 bing varnish. 
 
 QUESTIONS ON LESSON XX. 
 
 128. "What is said concerning the orna- 
 mentation of vehicles! 
 
 129. What reason is given for present- 
 ing the subject of ornamentation before 
 the final varnishing. 
 
 130. What is said of striping in a gen- 
 eral way? 
 
 131. What tools are required for strip- 
 ing? 
 
 132. What material is used and how 
 should it be mixed? 
 
 133. How should the colors be mixed 
 for striping? 
 
CARRIAGE PAINTING 131 
 
 LESSON XXL 
 
 ORNAMENTING CONTINUED. 
 
 134. The striper is now ready with pen- 
 cil, material and with a few previous trials 
 it is hoped with sufficient experience to go 
 ahead and try his luck. He will be called 
 upon to make the following named stripes : 
 
 1. Hair line— the finest made. 
 
 2. Fine line— the next finest. 
 
 3. Stout line— a medium fine line. 
 
 4. Round line— nearly double the size 
 of 3. 
 
 5. Narrow stripe— nearly double the 
 size of 4. 
 
 6. Heavy stripe— nearly double the size 
 of 5. 
 
 After that the striping may be called by 
 the actual width it occupies in %, %, % or 
 1 inch as the case may be. The extra wide 
 stripes cannot usually be made at one 
 stroke, so that the two outer edges are 
 made, and the center may take care of it- 
 
132 CARKIAGE PAINTING 
 
 self and if need be can be filled np after- 
 ward solidly. 
 
 135. In the larger wagons many fanci- 
 ful lines are made— some consisting of 
 double lines of equal widths, others again 
 of a heavy center stripe bordered with 
 two fine lines or that order reversed, a fine 
 line in the center with a flanking of two 
 heavy lines and any number of other com- 
 binations. 
 
 136. Wagons are usually ornamented 
 with fine lines of striping made up into all 
 sorts of fanciful designs with here and 
 there an addition of free-hand lines in- 
 terspaced with said short stripe work. 
 This is much used on springs and corners 
 of small panels, etc. 
 
 137. Scrolls are also largely used in 
 large wagons and omnibus work. The 
 space that this manual can devote to the 
 subject of ornamentation will hardly suf- 
 fice to much more than mention it. The 
 reader and student must take up some 
 
CARRIAGE PAINTING 133 
 
 good book on decoration and on scrolling, 
 and must expect to devote considerable 
 time to study and practice before be can 
 expect to become good or even passable at 
 tbis work. Many very good carriage paint- 
 ers never attain to any great degree of skill 
 in ornamenting outside of being able to 
 do some good striping, and it is not given 
 to every one to become such— but it is any- 
 thing but impossible to the one who will 
 try, and is willing to give the proper time 
 to the study. 
 
 138. For this reason and also because 
 it is possible to do ornamenting much 
 quicker by the use of what is known as 
 " Transfer paper" a great deal of this 
 work is seldom done by hand at the pres- 
 ent time, as it can be bought ready made 
 much better than the average workman 
 can do it, at much less figures— and any 
 one can put them on. They come in gold 
 and color and in an endless variety of sub- 
 jects, including some of the largest sized 
 
134 CAEKIAGE PAINTING 
 
 gold shaded scrolls, down to the finest of 
 heraldic ornaments, gold corners, breaks 
 and even lines and lettering. These orna- 
 ments are printed npon a paper which has 
 been sized with a preparation that swells 
 and slips off when it has been wetted on 
 the back. The places on the job which they 
 are to occupy must be carefully marked 
 out, and the transfer which has been traced 
 over with varnish should be applied and 
 held tightly against it and well smoothed 
 out, then dampened on the back with clean 
 water and a sponge, when in a few minutes 
 the paper will slip out and leave the printed 
 design upon the vehicle. It will remind 
 the average workman of his boyhood days 
 when he used to dally with decalcomanie 
 designs as they were then called. 
 
 By the help of these transfers the aver- 
 age workmen, especially those working in 
 country repair shops need not be afraid 
 to tackle any kind of ornamental work, 
 and by aid of catalogues of firms handling 
 
CARRIAGE PAINTING 135 
 
 carriage-transfers he will be able to tell in 
 a few minutes just exactly how much the 
 ornamentation will cost— which would 
 hardly be possible except in shops where 
 the original building of such vehicles ie 
 made a specialty of. 
 
 QUESTIONS ON LESSON XXL 
 
 134. What are the various stripes 
 named ? 
 
 135. What is said about the combina- 
 tion of stripes? 
 
 136. Where are the combinations of 
 stripes and free hand ornaments princi- 
 pally used? 
 
 137. What is said of scrolls and other 
 ornaments ? 
 
 138. What use is made of transfer or- 
 naments on carriage and wagon work ? 
 
136 CARRIAGE PAINTING 
 
 LESSON XXII. 
 
 LETTERING ON WAGONS. 
 
 139. Lettering may well be reckoned as 
 a part of the embellishment or ornamen- 
 tation of a vehicle. Either in plain colors 
 surrounded by a becoming color setting, 
 or done in colors plain or shaded there is 
 much room for artistic display, not only in 
 the execution of the lettering itself but in 
 the proper selections of the colors used in 
 doing the work. 
 
 140. All that has been said as to colors 
 and the mixing of them is applicable to 
 "lettering" as well as to striping and 
 other ornamentation with the exception 
 that the brushes of course will be letter- 
 ing brushes of the kind and shape suitable 
 for the same kind of work anywhere else, 
 as there is no difference in the execution 
 of the same— only that a little more pains 
 must be exercised in order that it may be 
 done with absolute cleanness. 
 
CARRIAGE PAINTING 137 
 
 141. Some styles of lettering look good 
 on wagon painting, others again do not. 
 It is possible to use styles of lettering upon 
 a sign which is stationary, that can be read 
 readily by a person who is walking towards 
 it, or past it, which if placed upon a wagon 
 passing him on the run perhaps would ap- 
 pear illegible to him. Therefore many of 
 the ornamental alphabets which are 
 crowded into the inside of the various 
 books on lettering are totally unsuited for 
 wagon lettering. Plain block, either capi- 
 tals, or lower case or the same shaded, look 
 best. Even the Romans which are so ele- 
 gant in form do not do well unless given a 
 much heavier thin stem than usual. 
 
 142. Gold work is always in good taste 
 and looks well with any of the dark colors, 
 and even with whites and other light tints 
 when edged up with some darker color to 
 enhance the contrast between them and the 
 ground color. It will be unnecessary to 
 go into details as to how to gild properly, 
 
138 CARRIAGE PAINTING 
 
 as there is not enough space to do so, 
 neither to give an extended lesson as to 
 how to do the lettering. Excellent books 
 upon the subject are being published and 
 one of them "Atkinson's" with " ques- 
 tions" which makes it a valuable aid to 
 students, or for use as a book of reference, 
 and the student who desires to learn this 
 branch of trade and which really is a sepa- 
 rate one from carriage painting proper— 
 can do no better than to procure a copy 
 of it. 
 
 143. Monograms are frequently painted 
 in colors and gold on panels of coaches 
 and vehicles, and in large and fancy colored 
 schemes on business wagons. This re- 
 quires considerable skill in order to prop- 
 erly balance the various letters. The rule 
 is that the family name letter shall always 
 be the most prominent, then the first sur- 
 name and the others if any, to follow in 
 importance— the above of course applies 
 to a one name monogram. In business 
 
CARKIAGE PAINTING 139 
 
 monograms the letters of two or three 
 partners should be very nearly of equal 
 prominence, and the Co. across or entwined 
 between. It of course depends somewhat 
 upon the prominence of the partners, and 
 a junior with little capital in the business 
 is not entitled to the same prominence as 
 the senior who may own nearly all the 
 business. 
 
 QUESTIONS ON LESSON XXII. 
 
 139. What is said of lettering on wag- 
 ons in general? 
 
 140. What tools and material are used 
 in lettering! 
 
 141. What are the best letters to use 
 on wagon lettering? 
 
 142. What is said about gold work on 
 vehicles ? 
 
 143. How should monograms be gotten 
 up? 
 
140 CARRIAGE PAINTING 
 
 LESSON XXIII. 
 
 VARNISHES AND VARNISHING. 
 
 144. The varnishes used in carriage 
 painting of whatever sort can be placed in 
 two classes— hard drying and elastic. The 
 first or hard drying class could also be des- 
 ignated as quick drying— for the two 
 usually go together although not always so 
 but as a rule the elastic sorts are slower 
 in drying than the hard drying sorts. Be- 
 sides the above divisions varnishes may 
 be divided into color mixing varnishes, rub- 
 bing varnishes, gear varnishes and finish- 
 ing, each of which being graded as hard or 
 elastic and also of many qualities as to the 
 composition and value of the gums enter- 
 ing it. 
 
 145. Varnishes are never prepared by 
 the carriage painter as in the old times, 
 the processes being too intricate and the 
 technical knowledge required >to make them 
 too deep for the average workman. There- 
 
CARRIAGE PAINTING 141 
 
 fore he now depends upon the varnish 
 manufacturer for all the goods in that line 
 that he needs. The manufacturers have 
 kept in close touch with him and as fast 
 as a new need has developed for a special 
 varnish to fit it— such have been evolved 
 by him after proper experimenting. Every 
 manufacturer tries to cover the field of 
 carriage painters' requirements fully and 
 there are few such who make any attempt 
 at catering to that branch of the varnish 
 trade who do not list at least a dozen or 
 two of separate carriage varnishes from 
 quick rubbing to wearing body. 
 
 146. The rubbing varnishes as the name 
 indicates are intermediate in their use in 
 carriage work. They are used exclusively 
 in surfacing up the colored job and pre- 
 paring it for the application of the finish- 
 ing coat. Its application requires skill and 
 a good knowledge of how to judge of the 
 surface. The rubbing coats should never 
 be skimpted on nor skinned, for as sure as 
 
142 CAERIAGE PAINTING 
 
 it is not given full the dust pits will surely 
 show while if properly put on these will be 
 absorbed and will not show. 
 
 147. It is usual to give the job two coats 
 of rubbing varnish and a third one called 
 the finishing rubbing coat, but from the 
 first to the last as great care must be ex- 
 ercised in their application as possible. 
 Let them be full to the limit as only full 
 coats will give that proper rounding out 
 which is brought out to full perfection by 
 the flowing finishing coat. It is the only 
 way to apply varnish which will prevent 
 the showing of brush marks. 
 
 148. The best devices upon which to do 
 body varnishing is upon stands which can 
 be titled to any angle desired. Of course 
 all the large shops are equipped with a 
 variety of tilting stands to suit their spe- 
 cial requirements. Any handy mechanic 
 can readily make them. 
 
CARRIAGE PAINTING 143 
 
 SURFACING THE RUBBING VARNISH COATS. 
 
 149. The job it is supposed has been 
 given the full length of time required for 
 the proper drying of the coats according 
 to the manufacturer's directions which are 
 usually placed upon the cans containing 
 the rubbing varnish; then it is ready for 
 the surfacing. In order to do this work 
 advantageously and with the least waste 
 of time and labor, everything required for 
 its performance should be placed so it can 
 readily be reached. Galvanized iron pails 
 to hold the water, some good sheep's wool 
 sponges and chamois skins. Felt rubbing 
 pads and a box containing or 00 pul- 
 verized pumice stone. The water used 
 should be cistern water and soft. If at all 
 hard, some washing soda, or carbonate of 
 soda should be put into it in order to break 
 its hardness. One teaspoonful will be 
 enough for the purpose to the pailful of 
 water. 
 
144 CARRIAGE PAINTING 
 
 QUESTIONS ON LESSON XXIII. 
 
 144. What is said of varnishes in a 
 general way? 
 
 145. What various grades of varnishes 
 are used in carriage painting? 
 
 146. How should the rubbing varnish 
 coats be put on? 
 
 147. How many coats of rubbing var- 
 nish are usually required? 
 
 148. What is said of the tilting stands? 
 
 149. What tools are required for sur- 
 facing rubbing varnish? 
 
 LESSON XXIV. 
 
 VARNISHING CONTINUED. 
 
 150. The surface of the job to be rubbed 
 should be first washed with clean water. 
 Then take up the rubbing pad and dip it 
 lightly in clear water then afterward into 
 the powdered pumice stone then over to 
 the surface to be rubbed. The rubbing 
 should be done lightly at first and the pres- 
 
CARRIAGE PAINTING 145 
 
 sure gradually increased until the full 
 force allowable is applied. The mould- 
 ings and outer edges should be rubbed 
 first and the work proceed on toward the 
 center, where it is finished. It is a hard 
 matter to state exactly "how to rub" just 
 right, nothing but experience can teach 
 that. A good rule is to rub lightly over 
 the first coat of rubbing varnsh, increas- 
 ing the pressure on the second and so on 
 to the third or fourth or as many coats as 
 are given sometimes. Too much pumice 
 stone or too much water should be avoided 
 as much as possible nor should the pumice 
 stone be allowed to dry upon the surface. 
 
 151. The rubbed surface should be 
 washed with clean water and a sponge as 
 soon as the rubbing is done in that part 
 and a change is made to rub another por- 
 tion ; in that way there will be no chance of 
 the pumice drying on the job. Bear in 
 mind to do the work evenly and uniformly 
 all over alike including the corners, etc. 
 
146 CAEMAGE PAINTING 
 
 "When one is able to do that he is then fully 
 entitled to the distinction of being called 
 a good rubber which by the way is a title 
 which does not fit the green one as a rule, 
 for the good rubber usually is made but 
 not created, nor does he drop into it as a 
 drop of rain to the earth. 
 
 152. After the job has been rubbed all 
 over, a general cleaning up should take 
 place. To do this properly, every chamois 
 skin and sponge as well as the water must 
 be absolutely clean, and used for that pur- 
 pose only, and as soon as the washing and 
 cleaning has been done, they should be 
 rinsed beyond a doubt as to their cleanness 
 and stored away in a dust-proof closet. 
 This cleaning must be done first on the in- 
 side of the job and every part of it must 
 be washed free of grit, or the finishing flow- 
 ing coat will not be as good as it should, 
 therefore there cannot be too much said in 
 recommending absolute thoroughness in its 
 performance. The flowing varnish is 
 
CARRIAGE PAINTING 147 
 
 pretty sure to find every speck of grit and 
 to bring the same in full sight or to roll it 
 around and scratch. 
 
 153. The flowing coat of finishing var- 
 nish should always be given a job as soon 
 as it is dry from the final washing and 
 cleaning up after the rubbing. If for any 
 reason it should have to be left overnight 
 before the varnishing takes place it should 
 receive a light rubbing the next day before 
 it is applied. The reason for this is that 
 the surface will be scummed over with a 
 light coat of something caused by oxida- 
 tion, and which will greatly hinder the good 
 work intended by giving the job its final 
 coating. 
 
 154. To resume into a few rules the 
 pith of good rubbing as they have been 
 given by Hillick they are given below: 
 
 No. 1. Use roll or blocked broadcloth 
 or felt rubbing pads. 
 
 No. 2. Direct the rubbing strokes all in 
 one direction and lengthwise of the panels. 
 
148 CARRIAGE PAINTING 
 
 No. 3. Avoid the excessive use of 
 pumice stone or water and indulge in not 
 too heavily applied pressure of the rub- 
 bing cloth. Moderate pressure uniformly 
 sustained, is the correct practice- 
 No. 4. Maintain constantly and at all 
 times, a conspicuously clean washing up 
 kit; and in washing the surface do not 
 stop short of having it unmistakably and 
 shiningly clean. 
 
 QUESTIONS ON LESSON XXIV. 
 
 150. How should the rubbing be done? 
 
 151. How should the powdered pumice 
 stone be cleaned up? 
 
 152. What is said of the final cleaning 
 up? 
 
 153. Should a job be cleaned up very 
 long before the flowing finishing coat is 
 given ? 
 
 154. Kepeat the four rules giren for 
 doing good rubbing. 
 
CARRIAGE PAINTING 149 
 
 LESSON XXV. 
 
 VARNISHING CONTINUED. 
 
 155. The proper location of a varnish 
 room for finishing coat and indeed for all 
 coats, is an all important item for it is 
 next to impossible to do a good job of var- 
 nishes if the proper conditions for doing 
 good varnishing are not maintained. The 
 requisites for a good varnish room are 
 many. The most important one perhaps 
 is the possibility of perfect cleanliness, and 
 consequent freedom of dust and dirt. Then 
 of nearly of as much importance a room 
 where the proper amount of temperature 
 and ventilation can be kept up at will. It 
 has already been noticed that shops which 
 can be steam heated are better than those 
 heated by hot air or stoves. 
 
 156. The floor of the varnish room 
 should be tight, and then it can be swept 
 up clean and given a coat of the patent 
 oily coarse sweeping mixture which at- 
 
150 CARKIAGE PAINTING 
 
 tract every particle of dust into itself in- 
 stead of scatterng it into the atmosphere 
 of the room to be later on deposited upon 
 the varnished job. The next best thing is 
 to take dampened sawdust, scatter it over 
 the floor and carefully sweep it all up af- 
 terwards. Never flood a floor but moisten 
 it only. 
 
 157. Every varnish room should have 
 a thermometer to register the heat which 
 should be looked after if it drops below 70° 
 Fah. for varnish must not chill. A hy- 
 grometer should also be in the room so that 
 the amount of humidity can be ascertained. 
 There should be a closet in the room in or- 
 der to hold the varnishes to be used. These 
 should have been maintained at the tem- 
 perature at which they are to be used, 70° 
 upward. Have some good strainer in the 
 closet in order that the varnish may be 
 strained before applying it. This may 
 seem superfluous but it is the practice fol- 
 lowed by most carriage varnishers— who 
 
CAKBIAGE PAINTING 151 
 
 just will not take any chances and for good 
 cause too. The trouble is a very slight 
 one, and it insures against mishap. 
 
 158. Before applying the varnish, the 
 surface of the job should be carefully 
 dusted over with a soft silk cloth. Next 
 moss off the inside of the body and var- 
 nish it, then proceed to varnish the outer 
 part of the job. It is best to use a one 
 inch flowing brush and run along the base 
 of the panel and sides to do the rise of the 
 seat as one proceeds to do the upper edge 
 of the panel or box. Then take a 2 or 2% 
 inch flowing brush and -flow on the varnish 
 over the main surface. The brush should 
 be held rather flat, and always pretty well 
 filled with varnish. This will greatly help 
 the equable distribution of the varnish 
 over the whole surface. Every precau- 
 tion and advantage must be taken advan- 
 tage of in order not to have to touch the 
 varnish any more than can be helped in 
 order to have it free of brush marks and 
 
152 CAEEIAGE PAINTING 
 
 if it is fully and properly flowed on it will 
 need but little cross brushing to bring it 
 to a perfect level. It is an axiom well 
 known of every carriage varnisher that 
 the least brushing of varnish will produce 
 the maximum of lustre and mirror-like 
 finish. 
 
 159. In finishing the running gears 
 there will not be nearly so much trouble as 
 over the finishing of the bodies, as they are 
 more or less rounded and angular, and 
 they take on a fine lustre but it requires 
 skill nevertheless. The greatest care must 
 be exercised in washing and cleaning up, 
 as bolts and nuts and closely angled irons 
 make it difficult to get at the parts. After 
 the rubbing, a small syringe can be utilized 
 to good advantage in squirting out the 
 pumince stone from its hiding places and 
 it will give the proper force to hoist and 
 wash them away, after drying and care- 
 ful dusting. Below Hillick's way of put- 
 ting on the finishing coat on gears and 
 
CARRIAGE PAINTING 153 
 
 wheels is given in his own words: "In 
 finishing the gear begin at the front axle 
 and proceed to flow the whole front end be- 
 fore wiping up. This gives the varnish 
 a chance to take its position on the sur- 
 face, and the wiping up serves to level out 
 the inequalities and remove the surplus. 
 After the front, the rear, then the reach 
 and last the side bars if any. A brush 
 should be kept solely for wiping up the 
 underside of axles, head blocks, spring 
 bars, side bars, etc. In many factory 
 shops the finishers wipe such parts with 
 the palm of their hands. The varnish 
 stripings are thus caught by the hand 
 and distributed in the form of a glaze to 
 the parts in question." 
 
 160. "In varnishing wheels, which are 
 always included in the term running gears, 
 slip the wheel upon the revolving jack, and 
 standing with the left side nearest the 
 wheel and partly facing it, begin by flow- 
 ing the sides and face of the spokes, reacK- 
 
154 CARRIAGE PAINTING 
 
 ing the brush well over to the back surface 
 of the spokes. Then flow front of hub. 
 Next the inside and face of the felloe. Now 
 whirl the wheel so that its rear surface 
 takes the place of the front. Catch up and 
 close in with varnish all strips on the rear 
 surface of spokes not flowed when the 
 sides were done. Then flow rear of hub 
 and lastly the back surface of the felloe. 
 Reverse the position of wheel and slick up 
 all places needing it and set away on a sec- 
 ond wheel jack, giving the wheel a sharp 
 spin necessary to flow the wheel properly. 
 Four wheel jacks are necessary. . . . 
 When applying rubbing varnish it is ad- 
 visable to flow not more than six or eight 
 spokes before wiping up." 
 
 QUESTIONS ON LESSON XXV. 
 
 155. What is said about the proper req- 
 uisites which should be in the finishing 
 varnish room? 
 
CARRIAGE PAINTING 155 
 
 156. What is said concerning the treat- 
 ment of the floor of the varnish room? 
 
 157. What tools and appliances are 
 necessary for best work in applying finish- 
 ing varnish? 
 
 158. How should the flowing finishing 
 coat be applied to bodies? 
 
 159. How should the running gear be 
 finished ? 
 
 160. What is the best manner of finish- 
 ing the wheels? 
 
 LESSON XXVI. 
 
 REPAINTING OLD JOBS. 
 
 161. The country shop has really more 
 repainting of vehicles to do than the ac- 
 tual painting of new vehicles. It is not 
 to be supposed that very much of this re- 
 painting is actually done from the ground 
 up as described in the previous lessons. 
 Indeed, there is but little of that done, and 
 when it is it no wise would differ much 
 from the description given except that 
 
156 CARRIAGE PAINTING 
 
 there is the burning off and cleaning up of 
 the old paint to be attended to extra. 
 There are several cheap and hurry ways 
 of doing this " Crushing up" of vehicles 
 in order to restore them to a presentable 
 condition and gave them back a portion of 
 the old lustre. 
 
 161. Much of the repair work done in 
 country shops is really only ' * touch up and 
 varnish. " This of course will only apply 
 to vehicles which are not in very bad 
 shape. Where there is much room so that 
 the jobs can be done "as they are" with- 
 out the having to take them to pieces and 
 a sufficient number of them can be done 
 at the same time, this sort of work will 
 pay very well, as the cleaning up will 
 usually take up as much time as all the 
 rest of the work, and some cheap man or 
 cub can be used to good advantage at that. 
 Of course the shafts, wheels and some- 
 times the tops will have to be removed for 
 easier cleaning and ease of getting at the 
 
CARRIAGE PAINTING 157 
 
 jobs, but that does not take long in either 
 the taking off or putting back on. 
 
 162. Benzine is the best dissolvent of 
 the grease and dirt that accumulates about 
 wheel and axles and the smivings found 
 elsewhere are usually of the same category 
 having been carried there in some way. 
 The loose inside traps, as carpets, seat 
 cushings, etc., should be removed and 
 placed where they will be easily found and 
 the whole carefully dusted off and cleaned 
 up. Then give the bodies a slight rubbing 
 with pumice stone and water which must 
 be well rinsed off and the running gears 
 must also be well washed and dried with 
 chamois skin. 
 
 163. One of the greatest troubles 
 usually encountered is in matching up 
 colors for a touch up job. This will exer- 
 cise the ingenuity of the average painter. 
 He will gain some experience in this line 
 with time but he is likely to make some 
 mistakes at first for it is not only match- 
 
158 CARRIAGE PAINTING 
 
 ing the original colors which were put on 
 the job when new which he has to cater 
 to, but he must make an allowance for fad- 
 ing which in some of the reds and yellows 
 may amount to a good deal. Then again 
 the fading is not universally alike owing 
 to some part of the job being better pro- 
 tected from sunlight than others, so that 
 there is a Joseph's coat sort of uniformity 
 to cover up. There is one rule in matching 
 that will help one to some extent in his di- 
 lemma: A color mixed to dry with a 
 good gloss will reflect more light than 
 it absorbs, and a flat will absorb more 
 than it gives out, so that the colors 
 should be tested upon some part of the 
 job in order to ascertain its nearness to 
 the original as it is then. Even with a 
 full quota of varnish most colors are likely 
 to dry out lighter than they look when first 
 put on. 
 
 164. When the color is satisfactory in 
 tone, proceed to touch up the felloes and 
 
CARRIAGE PAINTING 159 
 
 all other places on the job from which the 
 color has been worn away to the bare 
 wood, with lead paint thinned with linseed 
 oil to which has been added a little japan. 
 This tonching np of the bare places should 
 have been attended to as soon as cleaned 
 in order that it may be nearly dry by the 
 time the colors are prepared for use in the 
 touch up. As soon as set proceed to go 
 over them with the color, and varnish touch 
 up. Then go over the dressing of the top 
 curtains and dash Hoards. Then finish by 
 varnishing the inside, and by a good flow- 
 ing coat on body and gears. 
 
 165. Many jobs however require to be 
 painted all over with one coat of color and 
 varnish and afterwards to be flowed var- 
 nished. If there is any striping this will 
 of course have to be done over if required, 
 otherwise it will take but little more time 
 to go over the job than to match up a touch 
 up of color varnish. The operator must 
 be very careful not to cut in too deep in 
 
160 CARRIAGE PAINTING 
 
 the rubbing with pumice stone and water, 
 as otherwise a lot of fine cracks will be 
 likely to show up, so he must only give a 
 very light rubbing. 
 
 166. But many old jobs are brought to 
 the shop to be repainted which are in very 
 bad shape and which really should be 
 burned off, and receive a complete renewal 
 of the painting. 
 
 But the owners will not stand for the 
 cost and will ask the painter to do the best 
 he can— but cut expense out of it. There 
 is no good way to do this and at best the 
 whole method given is but a makeshift. If 
 the job is badly cracked and fissured, the 
 best thing short of burning it off is to 
 scrape it off with a two inch scraper down 
 to the undercoats, then coat this over with 
 rubbing varnish, rub it with pumice and 
 water, or brick and water avoiding a close 
 touch to the wood. Next proceed to give 
 the job a coat or two of lead color, and 
 varnish. But there is nothing after all 
 
CARRIAGE PAINTING 161 
 
 that will take the place of burning off all 
 the old paint and varnish, and rebuilding 
 all the paint structure from the ground up. 
 It will cost a few dollars more it is true, 
 and if the rig is in fair condition it will be 
 better, much better in the end, and really 
 the more economical, for the makeshift 
 will be as bad as ever after a year or so. 
 
 167. Taking care of "tops and dash- 
 boards" while not particularly a painter's 
 job, in the carriage factory, really becomes 
 a part of it in repair shops. The car- 
 riage trimmer may have to make some re- 
 pairs in the way of replacing worn out 
 parts, but after that, he turns it over to 
 the painter, who must see to it that it is 
 made to look as good as new, (if he can). 
 Leather tops really require little more to 
 keep them in good condition that be- 
 ing washed with castile soap and soft 
 water. There are numerous carriage dress- 
 ings upon the market which preserve the 
 enamel of the leather and rubber cloth 
 
162 CARKIAGE PAINTING 
 
 used on carriage tops, and each giving full 
 direction as to their application. All con- 
 tain or should contain neatsfoot oil and 
 tallow in their composition, in order to 
 soften the leather and to prevent its crack- 
 ing, but of course they do not carry an 
 enamel with them. The addition of a little 
 beeswax adds some lustre, but not as much 
 as the average man likes to see. 
 
 QUESTIONS ON LESSON XXVI. 
 
 161. What is said in a general way 
 about the painting of carriages? 
 
 162. Which is the best way to clean up 
 an old job for color and varnish? 
 
 163. How are colors for touch up work 
 to be matched? 
 
 164. How is the touching up done? 
 
 ' 165. How is one coat of color and var- 
 nish, and one coat of varnish done? 
 
 166. What is said about old jobs that 
 are badly cracked? 
 
 167. How should carriage tops and 
 dashes be taken care of? 
 
INDEX 
 
 A 
 
 Page 
 
 Amaranth red 34 
 
 Artist's flat and round brushes 50, 51 
 
 Artist's red sable brushes 53, 54 
 
 B 
 
 Basic principles of carriage painting 20, 21 
 
 Blue group of colors 98-100, 105 
 
 Glazing coats 103, 104 
 
 Methods of compounding 98, 102 
 
 Uniformity of 98 
 
 Body Trestle 63, 64 
 
 Bottle green 33 
 
 Brewster's greens 33, 107 
 
 Bronzes 39 
 
 Brown group of colors 31, 100 
 
 Principal uses of 100 
 
 C 
 
 Carbonate of lime (Whiting) 38. 39 
 
 Carriage browns 32 
 
 Carriage japan 41 
 
 Chamois skins 39 
 
 Chiselled varnish brush 44 
 
 Chrome green 33, 105 
 
 iii 
 
lv INDEX 
 
 Coach painter's brush 46 
 
 Color cards 35 
 
 Color coats 96-98 
 
 D 
 
 Difficulties in striping 127, 128 
 
 Drop black 30 
 
 E 
 
 English vermilions 108-110 
 
 F 
 
 Filling coats 26 
 
 Finishing varnish brush 50, 51 
 
 Flat varnish brush 46, 47 
 
 G 
 
 Gasoline torch ....'...* 56-60 
 
 Green colors 33, 34-105 
 
 Compounding of 34 
 
 Tendency to separate 105 
 
 Transparent Greens 106, 107 
 
 Gold Leaf 39 
 
 H 
 
 How to apply colors 110-113 
 
 Humidity of varnish room 150 
 
 I 
 
 Indian red 115 
 
 Ivory black 30-99 
 
IXDEX v 
 
 J 
 
 Japans and varnishes 40, 41 
 
 Japans for carriage work 41 
 
 K 
 
 Keg lead 37 
 
 Knives, scraping 56-58 
 
 Knives, putty 56, 57 
 
 Knifing in Lead Coat 75 
 
 L 
 
 Lettering 52, 136 
 
 Gold work 137, 138 
 
 Pencils 52-54 
 
 Various styles of 137 
 
 Linseed oil 23 
 
 Uses of in painting 23-27 
 
 London smoke 102 
 
 M 
 
 Materials used in carriage painting 28-42 
 
 Bone black 30 
 
 Coach black 30, 99 
 
 Drop black 30 
 
 Gas black 30 
 
 Ivory black 30-99 
 
 Lamp black in oil 29 
 
 Prussian blue 30, 31 
 
 Monograms 138, 139 
 
 N 
 New jobs — Preparing for 65, 66 
 
INDEX 
 
 
 
 Olive green 33 
 
 Ornamental work 21, 125-127 
 
 Advantages of 126 
 
 P 
 
 Painters' round duster 46 
 
 Paris Green 33, 107 
 
 Patent brush keeper 56, 60 
 
 Pompeian red . 35 
 
 Primer — What is the best 69 
 
 Priming — Function of 65 
 
 Lead and oil - 68 
 
 Methods of 68-71 
 
 Preparations for 67, 68 
 
 When to prime 66 
 
 Lead coats 71-75 
 
 Rough stuffed 73 
 
 Rub lead coat 74 
 
 Knifing in lead coat 75 
 
 Preparing for new jobs 65, 66 
 
 Pumice stone 38 
 
 Putty — Formulas for making 78-81 
 
 Putty knives 56, 57 
 
 Putties and puttying 77-81 
 
 R 
 
 Red and brown lakes 116 
 
 Red group of colors 34, 107 
 
 How to apply 110-113 
 
 Sources of 107-115 
 
 Uses of 107 
 
INDEX vii 
 
 Red Oxides 35 
 
 Repainting old jobs 155-162 
 
 Benzine as a dissolvent 157 
 
 Matching colors 157, 1 58 
 
 Rough stuffing 86-95 
 
 Formulas for making 88-90 
 
 Materials for 87 
 
 Method of applying 91-93 
 
 Object of 86, 87 
 
 Rubbing down 94, 95 
 
 Running Gears — How to finish 152-154 
 
 S 
 
 Sandpapering — Rules for 81-83 
 
 Scrolls 132 
 
 Scraping knives 56-58 
 
 Short reds 34 
 
 Siennas — Raw and burnt 31 
 
 Sponges 60-62 
 
 Stripes 131, 132 
 
 Striping 21-127 
 
 Brushes for 128 
 
 Difficulties in 127, 128 
 
 Material for 129, 130 
 
 Width of 131, 132 
 
 Striping pencils 51-54 
 
 Sword striping brush 54, 55 
 
 T 
 
 Thinners for colors 39 
 
 Tools used in carriage painting 43-64 
 
 Transfer ornaments 39 
 
vni INDEX 
 
 Transfer paper — How to use 132-135 
 
 Tuscan reds 34, 115 
 
 U 
 
 Ultramarine blue 31-102 
 
 Umbers — Raw and burnt 31 
 
 V 
 
 Van Dyke Brown 31, 101 
 
 Varnishes and varnishing 140-152 
 
 Flowing coat 147 
 
 Rubbing 141-147 
 
 Rubbing coats 141, 142 
 
 Rules for 147, 148, 152 
 
 Surfacing 143-147 
 
 Varnish room , . . . 149, 1 50 
 
 Floor of 150 
 
 Humidity of 150 
 
 Location of 149 
 
 Vermilion reds 34, 35 
 
 Venetian red 35 
 
 Vienna brown 101 
 
 Volatile oils '. 40 
 
 W 
 
 Wagon work 132 
 
 Wheel jack 61-63 
 
 White group of colors 36, 120 
 
 Progression of a white job 121-124 
 
 Uses of in carriage painting 120, 121 
 
 White lead 36 
 
INDEX 1X 
 
 Y 
 
 Yellow group of colors 36, 117 
 
 For wagons 118} 119 
 
 Methods of applying 117 > 118 
 
 Uses of in carriage painting 117 
 
 Yellow lakes for glazing 36 
 
 Yellow ochres 
 
 Z 
 
 Zinc white • 181 
 
m U 193 L 
 
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