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painters' Mixing Manual & 5an)ple Book. 
 
 PRICE $2.00 
 
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btroductioo. 
 
 This is the only practical Mixing Manual and Sam- 
 ple Book published, in that it gives the exact quantities 
 of colors to be used in producing shades and tints. 
 
 This work is not published upon the principle of 
 "every man his own painter," but to enable painters to 
 mix tints in any desired quantit}', and to accomplish re- 
 sult in a few moments, which would require hours under 
 the old experimental system. 
 
 Thousands of painters, who are good mechanics and 
 competent to perform all classes of work, are often un- 
 able to mix tints off-hand and therefore labor under a 
 great disadvantage. 
 
 The lack of a work of this kind is largely responsi- 
 ble for the introduction of so called patent paints, 
 (chemical dopes) most of which are as valueless in point 
 of durability, as they are ruinous to the health of the 
 unfortunate painter, who is forced to inhale their poison- 
 ous fumes. 
 
 All practical painters are aware of the fact that 
 paint — the component parts of which consist of pure 
 leads, zincs, oils and coloring materials — is always su- 
 perior in appearance and durability. In addition to 
 these necessary qualifications, the same amount of ma- 
 terial will cover from y^ to I4 more surface than any of 
 the chemical mixtures with which the market is now 
 flooded. 
 
 The use of inferior leads, colors, etc., lacking as 
 they are in body and strength, will not meet the recpiire- 
 ments needed to produce the proper shades. 
 
 After selecting the color or tint desired, turn to the 
 corresponding number of the recipe, and you have the 
 exact formula for mixing the same. 
 
 Endeavor to match a selected tint without consult- 
 ing the recipe and you have a practical demonstration of 
 the loss of time and material that must necessarily en- 
 sue, even though you may have had years of experience. 
 
 The recommendation to use pure materials appeals 
 directly to the painters pocket, as the prices paid for 
 them at the present time, does not justify an}- unneces- 
 sary expenditure for material; thus it will be seen, that 
 contrary to the general rule, in this instance the cheap- 
 est is the best, thus the interest of the painter and the 
 owner are mutual. These samples were not mixed and 
 prepared with a view of producing an artistic effect; on 
 the contrary the paint from which they were made was 
 applied with an ordinary brush, the ingredients being 
 oil, lead, etc., such as painters use, or should use in 
 practical work. 
 
Shoulfl }-ou desire a darker e,r lijjjhter shade of oil 
 or water colors than the sample indicates, nse more or 
 less coloring" matter as the case may be. The colorint^ 
 matter used in the production of the oil samples con- 
 tained herein were ground in oil. Should you u«e dry 
 coloring materials, in lieu of those ground in oil, it will 
 then be necessary to exercise your discretion, as there is 
 great variation in the strength of dry colors. 
 
 The water color samples were prepared with dry in- 
 gredients. Use distempered colors for strictly lirst-class 
 
 i'he recei]:!ts show tiie proportions of coloriug nial- 
 r to be used in the production of different tints, etc. 
 It is hazardous, however, to guess when using 
 slroug colors, such as Prussian Bkie, Indian Red, Blacks 
 etc. We have therefore recommended that colors be 
 -veighed, inasmuch, as that by no other methofl can 
 strict accuracy be obtained. \s before .stated, this Mix- 
 ing Manual is not pul forth upon the principle of "every 
 man his own painter." vSkill and experience are botli 
 required by the practical painter. 
 
 
 
ICOLOS 
 
 j ^BIHB||j]fi^|^^n^P 
 
 
 ■1 
 
 No. I. 
 Red Brown 
 
 No. 2. No. 3- ' 
 Light Drab Ecru Yellow 
 
 
 t 
 
 wsmM 
 
 No. 4. 
 Dk Olive 
 
 No. 5. No. 6. 1 
 Drab Venetian Yellow } 
 
 B 
 
 
 ■ 
 
 No. 7. 
 Lavender 
 
 No. 8. No. 9. 
 Dk Terra Cotta Med. Blue 
 
 ^^^^^^^Kg 
 
 ^^^^^^^^^K_ ^'^•"-' ^V^^x^.'^, ' I^H 
 
 No. 10. 
 Buff 
 
 No. TI. 
 
 Orang^ Mineral 
 
 No. 12. 
 Violet Drab 
 
No. i6. 
 French Yellow 
 
 No. 17. 
 Willow Green 
 
 U Sage 
 
 Indian Red 
 
 Lt Chrome Yellow 
 
 .NO. 21. 
 
 Lt Blue 
 
 _J 
 
 No. 24. 
 Olive 
 
 No. 25. 
 Pea Green 
 
 No. 26. 
 Warril Drab 
 
 No. 27. 
 Colonial Yellow 
 
No. 34. 
 French Gray 
 
 No. 36. 
 Raw Sienna 
 
 No. 37. 
 Flesh 
 
 No. 38. 
 Purple 
 
 No. 
 
 39- 
 Apple Green 
 
 No. 40. 
 Bt Umber 
 
 No. 41. 
 Raw Umber 
 
 No. 42. 
 Bronze Green 
 
No. 49. 
 Lamp Black 
 
 No. 50. 
 Golden Olive 
 
 No. 51, 
 Light Ecru 
 
 No. 52. 
 Crylight Green 
 
 No. 5: 
 Light Olive 
 
 No. 54. 
 Tuscan Red 
 
 No. 55. 
 Terra Cotta 
 
 No. 56. 
 Lighfr Tan 
 
 No. 57. 
 Drab 
 
No. I. 
 Lt Green 
 
 No. 4. 
 Rose Pink 
 
 No. 2. 
 Lt Pearl 
 
 No. 5. 
 Deap Pearl 
 
 No. 3. 
 Azure Blue 
 
 No. 6. 
 Sea! Brown 
 
sm^sm!^^:.^^ 
 
 ^^^gmii 
 
 No. 7. 
 Cream 
 
 No. 8 
 Olive 
 
 No. 9. 
 Canary 
 
 No. 10. 
 Terra Cotta 
 
 No. II. 
 It Olive 
 
 No. 12. 
 Steele 
 
 No. 13. 
 Deep Pink 
 
 I 
 
 No. 14. 
 Chrome Green 
 
 No. 16. 
 Violet 
 
 No. 17. 
 Med Olive 
 
 No. 18. 
 Dk Drab 
 
 No. 19. 
 Dk Terra Cotta 
 
 No. 20. 
 Sahnon 
 
 No. 2'l. 
 
 Med. Olive 
 
— T1 
 
 
 1 
 
 No. 22. 
 
 Blue 
 
 No. 23. 
 Dk Gray 
 
 No. 24. 
 Dk Drab 
 
 
 
 1 
 
 1 No. 25. 
 1 Med Olive 
 
 No. 26. 
 Dk Blue 
 
 No. 27. 
 Olive Gray 
 
 L 
 
 
 U 
 
 No. 28. 
 Straw 
 
 No. 29. 
 Olive 
 
 No. 30. 
 French Gray 
 
 ■ 
 
 
 
 No. 31. 
 Purple 
 
 No. 32. 
 Violet 
 
 No. 33. 
 Brown 
 
 
 ' 
 
 No. 34. 
 Silver Gray 
 
 No. 35. 
 *Buff 
 
Sppxial, — Observe the distinction between parts 
 and ounces. Where parts are mentioned, it signifies 
 that the lead, ochre, etc., as the case may be, is reduced 
 to the proper consistency for use. Oz. signifies the 
 weight of the coloring matter to be added to one gallon. 
 
 RECEIPTS FOR OIL COLORvS. 
 
 1. % parts Tuscan Red, y^ part Yellow Ochre. 
 
 2. I prt. white lead, ^g oz. Prus. Blue, 3 oz. Raw Um- 
 
 ber. 
 
 3. -A, prt. white lead, yiprt. Yellow Ochre, 34;oz. Burnt 
 
 Sienna. ^4 oz. Lampblack. 
 
 4. Yz prt. white lead, '^2 prt. Yellow Ochre, 3 oz. Prus. 
 
 Blue, 3 oz. Burnt vSienna. 
 
 5. I prt. white lead, ;^oz. B. Sienna, 3 oz. Raw Umber. 
 
 6. I prt. white lead, ^ oz. Chr. Yellow, Med. 
 
 7. I prt. white lead, 3^ oz. lampblack, ^ oz. B. Sienna. 
 
 8. Yz prt. white lead, >^ prt. Venetian Red. 
 
 9. I prt. white lead, 6 oz. Prus. Blue. 
 
 10. Yz prt, white lead, Yz prt. Yellow Ochre. 
 
 11. Orange Mineral. 
 
 12. -3 prt white lead, J^prt Tuscan Red, 30Z. ^*rus. Blue 
 13- H prt. white lead, X P^t. Chr. Yellow. 
 
 14. Y2 prt. white lead, % prt. Yellow Ochre, 12 oz. 
 
 Venetian Red. 
 
 15. I prt. white lead, 6 oz. Ult. Blue. 
 
 16. Yi prt. white lead, % prt. Yellow Ochre. 
 
 17. X prt. white lead, i^ prt. Yellow Ochre, lYz oz. P. 
 
 Blue, 3 oz. B. Umber. 
 
 18. I prt. white lead, 3 oz. Chr. Yellow, i>4 oz. P. Blue. 
 
 19. Indian Red. 
 
 20. Chr. Med. Yellow. 
 
 21. I prt. white lead, 1Y2 oz. Ult. Blue. 
 
 22. I prt. Yellow Ochre, 6 oz. Tuscan Red. 
 
 23 Y prt. white lead, Y prt. Yellow Ochre, 3 oz. Raw 
 Umber, Y oz. Lampblack. 
 
 24. Kprt. white lead, ^prt. Yellow Ochre, 3 oz. P. Blue 
 
 25. I prt. white lead, lY oz. Chr. Yellow, Yz Crylight 
 
 Green. 
 
 26. I prt. white lead, \Y oz. B. Sienna, 1Y2 oz. Lamp- 
 
 black. 
 
 27. I prt. white lead, 6 oz. R. Sienna. 
 
 28. Prussian Blue. 
 
 29- % prt. white lead, Y prt. Yellow Ochre, 6 oz. B. 
 Umber, 3 oz. Lampblack. 
 
 30. I prt. white lead, 6 oz. B, Umber. 
 
 31. I prt. white lead, 3 oz. Ult. Blue. 
 
 32. Yellow Ochre. 
 
 33. Yi prt. white lead, Y?, prt. Yellow Ochre, 1Y2 oz. P. 
 
 Blue. 
 
34. I prt. white leati, i '/2 oz. Lampblack. 
 
 35. Ult. Blue. 
 
 36. Raw Sienna. 
 
 37- % prt. white lead, X P^t. Yellow Ochre. 
 
 38. I prt. white lead, }/% oz. P. Blue, 3 oz. Venet. Red. 
 
 39. I prt. white lead, 6 oz. Chr. Yellow, % oz. P. Blue. 
 
 40. B. Umber. 
 
 41. R. Umber. 
 
 42. I prt. Yellow Ochre, 12 oz. Chr. Yellow, 6 oz. P. 
 
 Blue, 6 oz. L. Black. 
 
 43. Venetian Red. 
 
 44. y2 prt. white lead, Yz prt. Yellow Ochre, 1 54oz. Ve- 
 
 net. Red, lYz oz. B. Sienna. 
 
 45. I prt. white lead, Yt oz. Chr. Yellow, y% oz. Lamp- 
 
 black. 
 
 46. Vermillion. 
 
 47. I prt. white lead, Y% oz. P. Blue, 3 oz. Tus. Red. 
 
 48. i^prt. white lead, 12 oz. R. Sienna. 
 
 49. Lampblack. 
 
 50. Yi prt. white lead, % prt. Yellow Ochre, 6 oz. B. 
 
 Sienna, 3 oz. Lampblack. 
 
 51. Y^ P^'t- white lead, Y2 P^t. Yellow Ochre, 3 oz. R. 
 
 Umber. 
 
 52. Crylight Green. 
 
 53- Yi prt. white lead. % prt. Yellow Ochre, lYi oz. P. 
 
 Blue. 
 54. Tuscan Red. 
 55- % prt. Yellow Ochre, Yi prt. Venet. Red, 3 oz. B. 
 
 Umber. 
 
 56. X prt. white lead, }i prt. Yellow Ochre, 3 oz. Ve- 
 
 net. Red, 3 oz. B. Umber. 
 
 57. I prt. white lead, 6 oz. B. Sienna, % oz. P. Blue. 
 
 58. Emerald Green. 
 
 59. I prt. white lead, 6 oz. Venet. Red, lYz oz. P. Blue. 
 
 60. Yi prt. white lead, Y-x, prt. Yellow Ochre, 3 oz. R. 
 
 Umber. 
 
 61. I prt. white lead, lYz oz. Chr. Yellow, ^oz. P. 
 
 Blue. 
 
 62. B. Sienna. 
 
 63. Ys prt. white lead, Y P^t. Yellow Ochre, Y oz. B. 
 
 Umber. 
 
RECEIPTS FOR WATER COLORS. 
 
 To every pound of whitening mixed ready for use add: 
 
 1. 2 oz. Paris Green. 
 
 2. 2 oz. Rose Lake. 
 
 3. 2 oz. Ultramarine Blue. 
 
 4. I oz. Turkey Red. 
 
 5. 1 oz. Turkey Red, i oz. Pru.ssian Blue. 
 
 6. I oz. Yellow Ochre, i oz. B. Sienna. 
 
 7. I oz. Chrome Med. Yellow. 
 
 8. I oz. Chrome Med. Yellow, i oz. P. Blue. 
 
 9. 2 oz. Chrome Med. Yellow. 
 
 10. I oz. Indian Red. 
 
 11. 2 oz. Dutch Pink. 
 
 [2. 2 oz. Distempered Black. 
 
 13. I oz. Distempered Black, 2 oz. Turkey Red. 
 
 14. I oz. Chrome Green. 
 
 15. 2 oz. Yellow Ochre, 2 oz. Venet. Red. 
 
 16. 2 oz. Ultramarine Blue, i oz. Turkey Red. 
 
 17. 2 oz. Chrome Med. Yellow, i oz. Chrome Gi'een Med. 
 
 18. 2 oz. Distempered Black, i oz, Indian Red. 
 
 19. 2 oz. Dutch Pink, i oz. Distempered Black, 2 oz, 
 
 Turkey Red. 
 
 20. 2 oz. Chrome Med. Yellow, i oz. Turkey Red. 
 
 21. 2 oz, Paris Green. 
 
 22. 2 oz. Ultramarine Blue. 
 
 23. I oz. Vandyke Brown. 
 
 24. I oz. Venet. Red, ^ oz. Black. 
 
 25. X oz. Distempered Black, >4 oz. Paris Green. 
 
 26. X oz. Distempered Black, ^4 oz. Paris Green, yi oz. 
 
 Ultramarine Blue. 
 
 27. 2 oz. Yellow Ochre, 
 
 28. I oz. Chrome Med, Yellow, Ys oz, Prussian Blue, 
 
 29. I oz. Emerald Green, i oz. Distempered Black, 
 
 30. ^ oz. Distempered Black, 
 
 31. 14 oz. Distempered Black, i oz. Rose Lake. 
 
 32. }{ oz. Distempered Black, >^ oz. Ro.se Lake. 
 
 33. ^ oz. Distempered Black, 4 oz. Venet. Red. 
 
 34. ^ oz. Distempered Black. 
 
 35. I oz. Burnt vSienna, i oz. Dutch Pink. 
 
MISCELLANEOUS RECEIPTS. 
 
 Ascertain amount of surface to be painted by square 
 yard measurement. 
 
 When lead is not used Yellow Ochre makes a satisfac- 
 tory priming. 
 
 WAX PRIMING. 
 
 To five' gal Ions of linseed oil add one pound of bees- 
 wax and one pound of litharge; bring to boiling point; 
 add lead ochre or other material desired. 
 
 This will require far less lead, etc., per gallon tli&n the 
 usual priming, owing to the fact tliat the wax gives . 
 much greater body to the oil and causes it to act as a fil- 
 ler. It will not lap and is easy to apph'. When apply- 
 ing second coating over this priming, one-quarter less 
 stock will be required than over ordinary priming as the 
 paint will retain the gloss and not strike in. Do not use 
 the priming for second coating or for white work. Mix 
 second coating in the usual manner. 
 
 ROUGH STUFF 
 
 For use on carriage or housework. 
 
 Use English or Reno filler; % rubbing varnish, Japan 
 yi\ add small quantity of lead for body. Mix to a paste; 
 thin with turpentine; opply three or four coats; rub with 
 pumice stone to an even surface. 
 
 FRENCH OR SHHLLAC POLISH — NO. I ARTICLE. 
 
 Dissolve X pound of shellac in one pint of alcohol; 
 then add two or three spoonsful of olive oil. This will 
 prevent the shellac from setting immediately, as it 
 would do were the oil not added. Apply shellac to fur- 
 niture, etc., desired to be polished; ruV) briskly with a 
 woolen cloth. Should the shellac set to quickly, add 
 more oil. 
 
 GROUND WORK 1 OR GRAINING. 
 
 For oak use — 
 
 Light oak: Nos. 27, 37, 48. 
 Dark oak: Nos. 10, 16, 93. 
 For walnut, use Nos. 14, 22, 56, 57. 
 
 GRAINING COLORS FOR OAK AND WALNUT. 
 
 For light oak use: i — Raw umber; 2 — Raw sienna, raw 
 umber; 3 — Burnt sienna, raw umber. 
 
 For dark oak use: i — Burnt umber and burnt sienna. 
 
 For walnut use: i — Burnt umber and burnt sienna; 2 — 
 Black and burnt sienna; 3 — Vandyke brown and burnt 
 sienna. 
 
Graining colors are transparent and will not conceal 
 defects in the ground work, which should be smooth and 
 of sufficient body. 
 
 Oak and walnut graining colors are mixed with % tur- 
 pentine ami y'l, oil. One ounce of beeswax and 2 ounces 
 of litharge should be boiled in oil and added to each gal- 
 lon of the color. Wax prevents the color from setting 
 too quickly. Litharge is a superior (iryer. Japan, etc., 
 causes the color to work tough. 
 
 HARD WOOD FINISHES. 
 
 Oil an wood, and, when thoroughly dry, apply filler. 
 Should you desire to make your own filler, take one 
 pound of corn starch and mix with oil to a paste; add 
 Japan as a dryer; thin with turpentine; apply with l)rush 
 when set, which should be from two to tnree hours; rub 
 off with rags or waste; sand-paper after twentv-four 
 hours, when it will be ready for apphdng shellac or var- 
 nish. 
 
 SOFT WOOD FILLERS. 
 
 A substantial finish may be given to redwoods, etc. bo- 
 using oil prepared in the following manner. To each 
 gallon of oil, add from one-half to one pound of l^ees-wax 
 and one pound of litharge, boiled in oil; apply to the 
 wood work, and, when thoroughly dry, varnish. 
 
 WHITE GLUE SIZE FILLP::r. 
 
 Apply to the work hot; avoid having too strong. 
 
 OIL STAINS. 
 
 Use Umber or Vandyke Brown for walnut. 
 
 Use Venetian Red or Burnt Sienna for mahogons-. 
 
 WATER COLOR STAINS. 
 
 Should you desire to do a good and cheap jol) of stain- 
 ing, dissolve Diamond Dyes m a small quantity of water 
 and strain into glue size; size to be applied hot. 
 
 Mahogony: Terra Cotta or fast brown. 
 
 Rose Wood: Crimson; Cardinal red; Garnet, 
 
 Cherry: Crimson. 
 
 Color putty to match wood when staining or finishing. 
 
 WHITENING AND TINTING. 
 
 Defects in wall should be remedied with Plaster of 
 Paris, adding some of the mixed color to be used. This 
 will prevent setting too quickly; then a coat of alum size 
 should be applied. ,.,.-,<, 
 
AI^UM SIZE. 
 
 To two gallons of water, add yi pound of glue dis- 
 solved; X pound of alum dissolved. Tint anv desired 
 color. 
 
 OR'DINARV WHITENING. 
 
 Soak ten pounds of whitening, (avoid ha\ing too thin); 
 add coloring matter desired; add one pound of white 
 glue, reduced to a size and previously brought to boiling 
 point. This is the old method of preparing whitening. 
 
 IMPROVED METHOD. 
 
 Thoroughly soak ten pounds of whitening; soak 
 one-quarter to one half pound of white glue 
 and then bring to a boiling point, stirring meanwhile. 
 iJissolve Vs pound of alum in water; add the alum and 
 glue size to the whitening separately. Dissolve one- 
 quarter to one-half pound of common laundry soap to a 
 suds, add to the whitening and strain the whole. For 
 pure white work, use* a proportion of zinc if desired. 
 Desiring to mix tints, reduce colors and strain into the 
 w^hitening. 
 
 When mixed in accordance with the above receipt, it 
 is easily applied, making a much nicer job, and leaving 
 no laps. Nothing equals it for cloth or porous walls and 
 ceilings. . 
 
 ORDINARY WHITE-WASH. 
 
 To every ten pounds of lime add one pound of tallow 
 and two pounds salt (while slacking). 
 
 DRYER FOR FI,AT COLORS. 
 
 Such as China, Gloss, etc, where it is necessary that 
 each successive coat should be perfectl)- dry, dissolve 
 sugar of lead in alcohol and use for same. 
 
 FROSTING ON GLASS. 
 
 Permenant: Mix zinc or lead flat and pounce with 
 cheese-cloth, etc. 
 
 Temporar}^ To '/^ pint of stale beer, add one oz. ep- 
 som salts, btir thorouglily before applying. 'This frost- 
 ing will break into crystals and present a beautiful ap- 
 pearance. It can be easily washed off and renewed as 
 often as desired. 
 
 FLOOR STAINS. 
 
 Desiiing to stain floors, note receipts for oil stain; ap- 
 ply shellac or varnish. 
 
FLOOR PAINTS. 
 
 Use tints desired. For porch floors, steps, etc. use 
 litharge for dryer. 
 
 GOOD CHEAP VARNISH. 
 
 To one gallon of turpentine or benzine varnish (cheap) 
 add one pint of brown Japan, one pint boiled oil; thin 
 with turpentine. This will not scratch or turn white. 
 You will save at least one-half in the cost of varnish. 
 
 THINNERS. 
 
 To five gallons of water, add }i to j^ pound of shellac 
 and one pound of carbanate of soda; heat gradually un- 
 til shellac is dissolved. Break up your lead, etc. in oil 
 and use thinners. Use for priming or second coating. 
 
 Slack lime and when settled pour off the w^ater for 
 thinners. Use gallon for gallon with oil. 
 
 POTASH. 
 
 Take potash (canned) and dissolve in water. Mix in 
 oil your Metallic, Venetian, or other coUoring matter. 
 Add your potash to oil color and add water, stirring 
 thoroughly until water refuses to amalgamate. Vou 
 have a good fire-proof paint. 
 
 The first receipt is first class, the second good and 
 the third all right for the purposes recommended. The 
 ingredients are more expensive than those used in most 
 of the patent paints. The thinners will cost about five 
 cents per gallon. 
 
 A prerequisite to a first class job is that you thorough- 
 ly strain 5'our paint, color or whiting, and use good 
 brushes. 
 
 R D - 1 .2 6 
 

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