an excellent marking ink for all purposes; dries quickly, does not
spread, and is nearly indestructible.
FORMULAS FOR MIXING COLORS. (SELECTED.)
It is impossible to give infallible recipes for mixing colors,
on account of the difference in the tone and color strength of
pigments, both dry and in oil, many samples having as high as fifty
per cent. of barytes or other white makewright material, which not
only lessens the color strength of the mixture in proportion to
their volume, but weakens the color, in a small measure, by their
presence as white material. Hence, color formulas are made subject
to modification, not only to please the taste of the mixer, but on
account of the presence of poor, weak and adulterated pigments.
The writer has selected a few formulas from which the learner
may gain some knowledge of colors, which he can improve upon by
experiment.
NOTE.--Part means in bulk, not by weight.
_Plumb._--White lead 2 parts; Indian red, 1 part; ultramarine
blue, 1 part. If too dark, add more white lead. (Outside.)
_Brick._--Yellow ochre, 2 parts; Venetian red, 1 part; white lead,
1 part. If too dark, add more ochre. Don’t depend upon the common
ochre of the stores. It has but little tinting power. Use French
ochre ground in oil. (Outside.)
_Bronze Green._--Chrome green, 5 parts; lampblack, 1 part; burnt
umber, 1 part. If too dark, use more green. (Outside.)
_Jonquil Yellow._--White lead tinted with chrome yellow and
vermilion.
_Lead Color._--White Lead, 16 parts; ultramarine blue, 1 part;
lampblack, 2 parts. (Outside.)
_Light Buff._--White lead tinted with yellow ochre (Outside.)
_Lemon._--Lemon chrome yellow, 5 parts; white lead, 2 parts.
(Outside.)
_Brown._--Indian red, 3 parts; lamp black, 2 parts; yellow ochre, 1
part. If too dark, use more ochre or less black. (Outside.)
_Chestnut._--Venetian red, 2 parts; lamp black, 1 part; medium
chrome yellow, 4 parts. (Outside.)
_Lilac._--Light Indian red, 3 parts; white lead, 3 parts;
ultramarine blue, 1 part.
_Purple._--Light Indian red, 4 parts; white lead, 3 parts;
ultramarine blue, 2 parts.
_London Smoke._--Burnt umber, 2 parts; white lead, 1 part; Venetian
red, 1 part.
_Brown._--Venetian red, 3 parts; drop black, 2 parts; chrome
yellow, 1 part. (Outside.)
_French Gray._--White, tinted with ivory or drop black. (Outside.)
_Olive Yellow._--Burnt umber, 3 parts; lemon chrome yellow, 1 part.
For lighter shade, add more yellow.
_Pearl._--White lead, 6 parts; Venetian red, 2 parts; lamp black, 1
part. If too dark, add more lead. (Outside.)
_Olive._--Lemon chrome yellow, 10 parts; ultramarine blue, 1 part;
light Indian red, 1 part.
_Cream Color._--White lead, 8 parts; French yellow ochre in oil, 2
parts; Venetian red, 1 part. (Outside.)
_Tan._--Burnt sienna, 5 parts; medium chrome yellow, 2 parts; raw
umber, 1 part. If too red, add more raw umber.
_Pea Green._--White lead, 5 parts; chrome green, 1 part. Vary the
proportions to suit.
_Drab._--White lead, 10 parts; burnt umber, 1 part. Vary to suit.
_Canary._--White lead, 6 parts; lemon chrome yellow, 2 parts, or
less, as you like it. (Outside.)
_Fawn._--White lead, 8 parts; chrome yellow, 1 part; Indian red, 1
part; burnt umber, 1 part. (Outside.)
_Grass Green._--Lemon chrome yellow, 3 parts; Prussian blue, 1 part.
_Peach Blossom._--White lead, 1 part; light Indian red, 1 part;
ultramarine blue, 1 part; lemon chrome yellow, 1 part.
_Light Gray._--White lead, 10 parts; ultramarine blue, 1 part;
lampblack, 1 part. Make lighter or darker by using more or less
white lead, as the case may require.
_Purple Brown._--Dark Indian red, 4 parts; ultramarine blue, 1
part; lampblack, 1 part. Light up with white lead to fancy. If too
purple, use less blue; if too red, use more black. (Outside.)
_Leather Brown._--Venetian red, 2 parts; yellow ochre, 4 parts;
lampblack, 1 part; white lead, 2 parts or more, to suit. If too
dark, use less black. (Outside.)
_Dregs of Wine._--Tuscan red with a little lampblack and white lead.
_Leaf Bud._--Equal parts white lead, orange chrome and chrome
green. If too dark, add more lead. (Inside only.)
_Coral Pink._--Vermilion (English), 5 parts; white lead, 2 parts;
chrome yellow, 1 part. (Inside.)
_Maroon._--Tuscan red, 3 parts; ultramarine blue, 1 part. If too
red, add more blue.
_Myrtle._--Dark chrome green, 3 parts; ultramarine blue, 1 part.
Light up with white lead.
_Stone._--White lead, 5 parts; French yellow ochre, 2 parts; burnt
umber, 1 part. Tint to desired shade with raw umber; a very little
will do. (Outside.)
_Snuff._--Medium chrome yellow, 4 parts; Vandyke brown, 2 parts.
_Rose._--White lead, 5 parts; carmine, 2 parts. (Inside only.)
_Portland Stone._--Raw umber, 3 parts; yellow ochre, 3 parts; white
lead, 1 part. (Outside.)
_Ashes of Roses._--White, lightly tinted with black, blue and lake.
(Inside only.)
_Silver Gray._--Tint white lead with lampblack and indigo.
_Fine Chocolate._--Tint the best burnt umber with Munich lake.
(Inside only.)
_Fine Maroon._--Tint any deep red lake with a little orange chrome
yellow.
_Vienna Smoke._--Tint fine burnt umber with lemon chrome yellow and
a little Venetian red.
_Quaker Green._--Chrome green, 3 parts; lampblack, 1 part; Venetian
red, 1 part; medium chrome yellow, 1 part.
_Chamoline._--Lemon yellow, 1 part; raw sienna, 3 parts; white
lead, 5 parts.
_Clay Drab._--White lead, raw sienna, raw umber, equal parts. Tint
with chrome green.
_Pearl._--White lead, tinted with ultramarine blue and lampblack.
_Copper._--Medium chrome yellow, 2 parts; Venetian red, 1 part;
drop black, 1 part.
_Buttercup._--White lead tinted with lemon chrome yellow.
_Flesh._--White lead, 8 parts; light Venetian red, 1 part; orange
chrome, 2 parts.
_Olive Brown._--Lemon chrome yellow, 1 part; burnt umber, 3 parts.
_Deep Buff._--White lead tinted with yellow ochre and a little
Venetian red. (Outside.)
SOME EXPENSIVE COLORS.
_Claret._--Carmine, 2 parts; ultramarine blue, 1 part.
_Carnation Red._--Carmine lake, 3 parts; white lead, 1 part.
_Chocolate._--Fine burnt umber, 5 parts; carmine or lake, 1 part.
_French Red._--Indian red and English vermilion, equal parts,
glazed with carmine.
_Rose._--White lead, 5 parts; carmine, 2 parts.
_Yellow Lake._--Burnt umber and white lead, equal parts; tint with
chrome yellow and lake.
SUGGESTIONS FOR TINTS AND COLORS.
_Delicate Flesh Tints_, white predominating.--1st, white and light
red; 2nd, white, Naples yellow, vermilion; 3rd, white, vermilion
and light red.
_Gray and Half Tints_, white predominating.--1st, white, vermilion
and black; 2nd, white and terre verte; 3rd, white, black, Indian
red and raw umber.
_Deep Shades_, color predominating.--1st, light red and raw umber;
2nd, Indian red, lake and black.
_Carnations._--1st, white and Indian red; 2nd, white and rose
madder; 3rd, white and lake; 4th, white and Naples yellow.
_Carnations_, color predominating.--1st, rose madder and white;
2nd, Indian red, rose madder and white.
_Green Tints._--1st, white and ultramarine blue, with any yellow;
2nd, white and terre verte; add a little raw umber.
_Gray Tints._--1st, ultramarine blue, light red and white; 2nd,
Indian red lake, black and white.
_Pearly White_, white predominating.--1st, white, vermilion and
black; 2nd, white, vermilion and black; 3rd, white and black.
_Gray._--White, Venetian red and black.
_Yellow._--Yellow ochre and white.
_Olive._--Yellow ochre, terre verte and umber.
_Sky._--French blue and white.
PAINTING CARS AT HOME.
Probably no other subject dealing with the problem of the motorist
has been so little, or to be correct, so unsatisfactorily treated
as the home painting of cars. Most of the literature dealing
with the subject is written in a technical vein, purely for the
delectation of the professional painter. This naturally leads the
novice to believe, owing to the great number of coats these writers
say is essential for good work, that it is entirely out of the
question for a car owner, without previous experience in painting,
to repaint his car satisfactorily.
Fortunately this is not true. In the first place, the fewer number
of coats that can be applied and still accomplish the desired
result, will make far the most durable and lasting job of painting.
I maintain, and have proven, times without number, that if a
motorist really is in earnest about wanting to paint his cars,
the battle is more than half won. Give this class of motorists
the proper material mixed ready for use with the proper brushes
for their application, and tell him how they should be used, and
99 times out of 100 he will paint his car so well that he will be
sorry he had not done it before.
The quality of the material used in this kind of painting is of
vital importance and unless they are the very best will give but
limited wear. And the proper brushes to use with the different
coats is of equal importance. About four-fifths the cost of
automobile painting is labor, so that a few dollars saved in buying
the materials is false economy.
The general purpose enamels for sale in stores have no place on
a motor car. They belong to the home. Probably no other vehicle
excepting a locomotive has harder service for paint to withstand.
Hence, the necessity for the very best materials.
There is one reputable concern selling repainting outfits to
car owners so that greatly simplifies the painting problem, if
one wishes to do it himself. These outfits include everything,
materials, brushes, and instructions, and range in price from $6
for a small runabout to $8 and $10 for a roadster and touring car.
Compared to $35 to upwards of $100 that one has to pay a regular
painter, if one wishes to economize, the painting affords a grand
opportunity.
The fenders and hood of a car are subjected to severe wear and
the time is coming when these parts will always be painted black,
regardless of the body color of the car. In fact, a great many of
the new cars will be painted this way. There are thousands of cars
in use that hardly need repainting, but if the hood and fenders
were done over in black it would make them look almost like new
cars. There is one concern making these hood and fender outfits and
a novice can do a really creditable job of painting with them. They
range in price from $3 to $5 and are in two coats with a suitable
brush.
The gases from the motor are a big factor in dulling the paint on
hoods. It has the same effect that ammonia fumes from a stable has
on horse-drawn vehicles. This is one reason why the black painting
of hoods is mighty sensible. When your hood gets dull, instead of
laying up your car you can paint the hood yourself with little
trouble and no loss of time.
For the novice to repaint the average car, for instance a 30 H. P.
touring car, it would require in labor only a few hours on four or
five different days. The hardest part of the whole operation is
preparing the car for paint. It is absolutely necessary to have
it thoroughly clean before applying any paint. It should be well
washed first, and then given a gasoline bath to the parts on which
dirt and grease have been allowed to accumulate. It is really not
so complex a proposition after all. If a woman can paint furniture
with enamels that are no better than they should be, a man can
surely paint a car if given the proper materials to do it with, and
if he be instructed in their use.
Now as to striping. This is of course out of the question for the
novice. But you can black the mouldings of the body, seats, doors,
hubs and rims of wheels so that the absence of striping is not
noticed. So far as the striping goes, the tendency is away from
it--in fact, the most expensive cars have hardly any striping.
The blacking of the mouldings, etc., mentioned makes a harmonious
contrast and takes the place of striping. It looks in no ways
amateurish--rather like the handiwork of the professional painter.
In addition to the saving that can be effected by repainting your
car yourself, there is the feeling of personal pride when the job
is finished, of having done something well yourself.
As the majority of the new cars have enameled lamps instead of
polished brass as in years past, I believe a few words on the
subject will not be amiss. In my experience of twenty years in the
painting of vehicles, locomotives and automobiles, I have never
had a harder proposition to solve than the enameling of polished
brass lamps, particularly gas headlights.
An enamel for this purpose must of necessity be made highly
elastic, so that it will contract and expand with the metal and
stick on the polished brass surface without any previous roughing.
This means that only the most expensive materials can be used in
the making of such an enamel. There is one enamel of proven merit
for this purpose on the market and it does not have to be baked.
I have seen a great many motorists who have used general purpose
enamels on their lamps and the experience has usually been that
the enamel leaves when the lights are lighted. If I were buying
an enamel for use on the brass parts of my car, I should be very
careful to buy the one that had been long on the market, for there
will undoubtedly be a large number of new ones offered.
I have made some pretty strong statements in the foregoing article,
and it is no more than right that I tell you that they are based
on my experience of twenty years in the painting of carriages,
locomotives and automobiles, two years as the expert for the
largest paint and color house in the world, and several years in
the manufacture of the highest class of motor car paints.
TRANSCRIBER’S NOTE
Obvious typographical errors and punctuation errors have been
corrected after careful comparison with other occurrences within
the text and consultation of external sources.
Some hyphens in words have been silently removed, some added,
when a predominant preference was found in the original book.
Except for those changes noted below, all misspellings in the text,
and inconsistent or archaic usage, have been retained.
Pg iii: removed duplicated line ‘Black Varnish for Iron’.
Pg iv: line ‘Oak Wood Stain’ moved from page v to here, under
‘Oak Stain’.
Pg 39: ‘gold againt the’ replaced by ‘gold against the’.
Pg 45: ‘bottle 1-3 full’ replaced by ‘bottle ⅓ full’.
Pg 60: ‘dissolve 90 gains’ replaced by ‘dissolve 90 grains’.
Pg 105: missing letter ‘W’ inserted into alphabet caption.
Pg 119: removed duplicated line ‘Shaded oak’.
Pg 121: a blank space has been replaced by __________. It probably
was meant to be ‘white lead’.
Pg 124: ‘nictric acid’ replaced by ‘nitric acid’.
Pg 146: ‘on acount of’ replaced by ‘on account of’.