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[Illustration: Gold Medals: Paris, 1878 and 1900.
WILKINSON HEYWOOD & CLARK LIMITED
CALEDONIAN RD
LONDON
Manufacturers of the Celebrated “Non=Poisonous Colours” in rich and
delicate neutral tints, for High=Class Decorations.]
[Illustration:
DON’T SPOIL YOUR WORK BY USING INFERIOR BRUSHES.
“PAGE’S”
PAINTING
BRUSHES
Have stood THE TEST OF A CENTURY, and every brush bearing their name is
acknowledged to be of the BEST QUALITY that can be produced.
S. D. PAGE & SONS, L^{TD.,}
NORWICH.
ILLUSTRATED PRICE LIST POST FREE ON APPLICATION.]
COLOURS. PURE. WITH 25 WITH 100
PARTS ZINC. PARTS ZINC.
TURKEY UMBER [Illustration] [Illustration] [Illustration]
FRENCH OCHRE [Illustration] [Illustration] [Illustration]
RAW SIENNA [Illustration] [Illustration] [Illustration]
ORANGE CHROME [Illustration] [Illustration] [Illustration]
PRUSSIAN BLUE [Illustration] [Illustration] [Illustration]
MEDIUM CHROME [Illustration] [Illustration] [Illustration]
MIDDLE CHROME GREEN [Illustration] [Illustration] [Illustration]
MOSS GREEN [Illustration] [Illustration] [Illustration]
PAINT & COLOUR
MIXING
A PRACTICAL HANDBOOK FOR PAINTERS, DECORATORS AND ALL WHO
HAVE TO MIX COLOURS, CONTAINING 72 SAMPLES OF PAINT OF
VARIOUS COLOURS, INCLUDING THE PRINCIPAL GRAINING GROUNDS,
AND UPWARDS OF 400 DIFFERENT COLOUR MIXTURES, WITH HINTS
ON COLOUR AND PAINT MIXING GENERALLY, TESTING COLOURS,
RECIPES FOR SPECIAL PAINTS, ETC., ETC.,
ARTHUR SEYMOUR JENNINGS.
London:
E. & F. N. SPON, LTD., 125, STRAND.
NEW YORK:
SPON & CHAMBERLAIN, 123, LIBERTY STREET
1902.
_PREFACE._
The author would for some reasons be inclined to offer an apology for
this work in its present form, because it falls so far short of what
might be expected in a comprehensive treatise on the subject of which it
treats. To understand colour mixing the student should first carefully
study colour theory, and then the properties of pigments. But it will be
observed that there is but little relating to theory in this work, and
the reasons are given distinctly, and are, in brief, that the subject is
too complex a one to render it possible for it to be dealt with in the
limited range of these pages, while another reason is that the subject
is very well covered in several books published in late years by
Professor CHURCH, GEORGE H. HURST, Professor ROOD, and others.
The author, however, has ample justification for the publication of this
little work in the fact that he has during the last fifteen years
received, in his capacity as editor of painters’ publications, enquiries
almost daily for a book giving colour mixtures, with actual samples of
colours, in other words, one which would be useful to the man who wants
to mix paints but who has not made a study of the subject.
A critic might object that it is impossible to give accurate colour
mixtures, because the actual appearance of colour varies according to
the light in which it is viewed, and also because the result obtained by
mixing coloured pigments of different manufacture must vary greatly
according to the quality of those colours. All these objections have
been carefully borne in mind in the preparation of the contents of this
work. It has been assumed that the colour mixtures will be viewed in an
average good light, and it is further assumed that the colours which
have been employed will not necessarily be of the very best quality but
certainly not those which are very inferior. The chapters on colour
testing, etc., have been added not only because these properly form a
part of the subject, but because so many painters are deficient in a
knowledge of them.
It need only be added that every one of the mixtures given in this work
has been carefully made with the actual colours. The preparation of the
list has been no inconsiderable work. The author therefore leaves his
little book in the hands of practical readers in the hope that even if
it falls short of being a complete treatise it may, at least, prove of
some service in everyday work.
_CONTENTS._
CHAPTER I.
The Composition of a Paint -- Pigments, Oil, Turpentine, Driers,
Colours -- Practical Paint Mixing, Mechanical Paint Mixer -- Paint
Strainer -- The Proportions of Materials for use on Pine and Soft
Woods -- On Hard Woods generally -- On Iron -- On Stucco -- On
Plaster, etc.
CHAPTER II.
Colours or Stainers -- The appearance in strong and subdued lights --
The Nomenclature of Colours -- Examples of variation in the names of
Colours -- Efforts made to establish a Uniform Nomenclature -- The
Economy of using Good Colours -- Hues, Shades and Tints.
CHAPTER III.
Whites -- Recipes for various mixtures of White Pigments -- The
Advantages and Disadvantages of White Lead, Zinc White, Lithopone,
etc., etc.
CHAPTER IV.
Grays and Greys -- General Remarks -- How to Mix various Greys and
Grays.
CHAPTER V.
Reds, Crimsons and Purples -- General Remarks -- How to Mix these
Colours.
CHAPTER VI.
Blues -- General Remarks -- How to Mix Blue generally.
CHAPTER VII.
Yellows -- General Remarks -- How to Mix Yellows generally.
CHAPTER VIII.
Greens, how to Mix them -- General Remarks -- Suggestions for
Experiments.
CHAPTER IX.
Browns, and how to Mix them -- General Remarks on Browns.
CHAPTER X.
Graining Grounds and how to Mix them.
CHAPTER XI.
How to Test the Quality of Colours -- The Characteristics of Good
Colours -- Greens, Venetian, Tuscan and Indian Reds -- Red Lead --
Chromes -- Ochres -- Blacks -- Blues -- Umbers and Siennas.
CHAPTER XII.
Recipes, Tables, Hints and Notes -- List of Books useful to the
Painter.
[Illustration]
CHAPTER I.
THE COMPOSITION OF A PAINT.--Clearly the first thing to be done before
studying the subject of paint and colour mixing is to determine what a
paint or what a colour is. Without attempting to give a hard and fast
definition, it may be said that a paint consists of any pigment, such as
white lead, mixed with linseed oil, and thinned by means of turpentine
to render it in such a condition that it may be readily applied to the
surface of wood, iron and other work by means of a brush. Paint serves
the purpose first of preserving the material to which it is applied, and
secondly, but not always, a decorative object where the colour is of
importance.
The principal pigment used in paint mixing is white lead, but there are
many others that are also employed. Many painters look upon paint as
necessarily consisting of white lead to which has been added sufficient
colouring matter to give the desired tint. As a matter of fact, white
lead may be wholly absent from a paint. For example, yellow ochre may be
used by itself; iron oxide in the shape of Indian red, purple brown,
Venetian red, or Tuscan red forms in itself a good paint if the colour
is not objectionable. Again, in the lighter paints we sometimes have
white lead replaced by an admixture of zinc white, barytes and other
materials of the kind.
The oil used in mixing paint is used to combine the particles or pigment
together. That is its chief object, but it is also employed to give a
glossy surface and to bring the material to a proper consistency.
Turpentine could be used for the latter purpose by itself, but the
result would be what is termed a “flat” surface, or an absence of gloss.
The turpentine, too, evaporates to a considerable extent. It is
generally conceded, among those who have given close attention to the
subject, that the durability of a paint depends largely upon the oil
used; indeed, it has been likened to the life-blood of the paint. There
is not much doubt that the best pigments may be replaced with others
somewhat inferior without so much detriment to the quality of the paint
as if linseed oil is replaced by some other oil. It is quite necessary
that pure linseed oil be used in the manufacture of all paints, and
although there are one or two substitutes on the market which may be
employed in very cheap work, no attempt should be made to execute a
really good job unless pure linseed oil is used. The purpose of the oil
in giving a gloss is sometimes assisted by the addition of a small
quantity of oak varnish. This is a growing custom among painters, as the
gloss produced is decidedly improved by the addition of the varnish and
the work shows up well, while the varnish does not in any way detract
from the life of the paint, but rather adds to it. This practice is
employed more on inside than outside work, where the execution of the
painting requires more care than it does inside, owing to the severe
atmospheric conditions, which cause any paint work not properly prepared
to soon decay.
The base, such as white lead, having been selected, colours are mixed in
order to produce the desired hue or tint. Frequently, however, a colour
is made by the mixture of several other colours without any white lead
at all. A careful examination of the list included in this book will
make this clear.
The colour having been determined, oil, turpentine, and driers are then
added. The object of the driers is that of causing the paint material to
dry quickly. There are several kinds of driers on the market, but the
two best known are termed “patent driers,” which is sold in solid form,
and the “liquid driers” or “japanners.” Whichever is used the actual
quantity employed will depend very largely upon the pigment. Some
pigments, say for instance, red lead may be considered in itself a
drier, and the addition of any other is unnecessary. Others, like
Vandyke brown, dry slowly, and much more driers will be necessary than
is the case with white lead. Further on we give some idea of the
proportions of materials to be used, but it will be understood that no
exact information on the subject will be possible, for reasons that will
be explained. It is of the utmost importance to remember that an excess
of driers is most objectionable. It often retards instead of increasing
the drying quality, it causes cracks and blisters, and above all, it
proves very destructive to the paint itself.
The quality of patent driers varies very greatly, some of the cheaper
grades consisting largely of material which possesses no drying
properties whatever.
PAINT MIXING.--The method of mixing paint does not appear, strange as it
may seem, to have received the consideration on the part of practical
painters that it deserves. While the manner of mixing small quantities
of paint is thoroughly practical and sensible, yet some painters, even
when they have larger quantities of the same paint to mix, adopt exactly
the same means without thinking it necessary to take advantage of
special machinery which is made for the purpose.
[Illustration: FIG. 1.]
There are on the market two sorts of mixing machine for paints that
would prove of great service to the painter who has to produce large
quantities of paint. But, as a rule, they are only used by paint
manufacturers. One known as the vertical mixer, is represented in Fig.
1, and is suitable for painters’ use. It consists of a cylinder which
contains the paint, and in this are three bent knives or scissors. The
handle attached, on being operated, turns the cylinder in one direction
and the knives in the opposite direction, these knives in the meantime
revolving around on their own axes. The paint is thus mixed very
quickly, and as the cylinder may be had to hold several gallons, in the
case of bridge work, wall work, or other positions where a very large
quantity of the same paint is required, the purchase, for a few pounds,
of such a machine may mean a saving of a considerable amount of labour.
The mixer illustrated is manufactured by Messrs. TORRANCE & SONS, of
Bittern, Glos. In many shops, where large quantities of stone colour and
other paints have to be turned out, such a machine would soon repay its
cost.
For ordinary quantities of paint, of which white lead forms the base,
the following is the method usually employed. It will be understood that
the paint consists of a base such as white lead, linseed oil, either raw
or boiled, driers--either patent or liquid--and turpentine. A can or
kettle is most usually employed for mixing the white lead in, and this
is first thinned out and mixed with the driers and oil, the colour being
afterwards added to it. A little oil is first placed in the can, which
is twisted around so that the oil covers every part of the inside
surface. This prevents the lead sticking against the tin. A sufficient
quantity of oil and the patent or other driers is then added. The most
convenient implement for actually mixing the paint is a broad piece of
wood shaped like a narrow spade, or a spatula may be employed. The lead
is stirred and beaten against the sides of the tin until the whole is of
the same consistency, and more oil is added until the thickness is not
sufficient to support the stick standing upright. Turpentine may now be
added to further thin the mixture, and then the colour is added. It may
be noted here that the result is not so satisfactory if the turpentine
is added before the oil. The best way of mixing actual colours is to
place them on a stone, thoroughly amalgamating one with the other by
means of a spatula. When the colour is what is required it is added to
the white. To take a simple case of a gray, a little black would be
beaten up on the stone, and when quite thin added to the pot of white.
This would then be stirred up thoroughly and the grey colour observed to
see whether it was sufficiently dark. Then a very little red and blue
might be prepared on the stone and this be added to the pot, the mixture
being again stirred. Two very important rules must be observed at this
point. The first is that the colours ground in oil should be used and
not dry colours. If dry colours are employed oil must be added to them
on the stone and not in the pot. We may repeat, by way of emphasis,
under no circumstances must dry colours be added to the pot of colour.
This is a rule to which there is absolutely no exception. The second
rule, and one which is equally important, is to add only a small
quantity of colour to the pot of white at the time. Taking the case once
more of the grey, a little black being added and the mixture well
stirred it can be seen at a glance whether the desired depth of shade is
obtained. On the other hand, it would be quite impossible to take any of
the black from the mixture, and should it be too dark the only way to
lighten it would be to add more white, and this would probably mean
mixing much more paint than was required for the job.
The paint having been mixed to the exact colour required, all that now
remains is to strain it. A piece of muslin is often used for this
purpose, but a far better method is to use a wire gauze strainer, which
may be purchased for a small sum and will last for a considerable length
of time. The advantage of this in addition to its permanence is that the
hard portions of the paint may be beaten against the gauze, and so the
waste be reduced to a minimum.
[Illustration: FIG. 2.]
[Illustration: FIG. 3.]
An excellent shape of paint strainer is that shown in Fig. 2, which is
shown in parts in Fig. 3. A, represents the body of the strainer, B, the
clips which hold the compression band C, and D, represents the gauze.
The advantage of this construction is that the gauze after use may be
easily taken out, cleaned and replaced. This strainer or its equivalent
should form part of the equipment of every paint shop, large or small.
A very handy little tool for breaking up oil paint when mixing in a can
instead of using a stick is shown in Fig. 4 (see next page). Its shape
enables it to be used also as a scoop or spoon for lifting the colour
out of the kegs, etc. The patentee and manufacturer is H. SMITH, Hale
Road Bridge, Altrincham, Cheshire. The illustration shows both sides of
the tool. The projection on the left hand of the carved blade is
provided in order to reach beneath the rim of lever-top cans.
THE PROPORTIONS OF MATERIALS.--We come to a consideration of the proper
proportions of materials, viz., white lead (or other white), oil,
turpentine and driers--the colour we shall speak about shortly--to be
used on various kinds of work.
[Illustration: FIG. 4.]
A little consideration will make it quite clear that it is impossible to
give exact proportions of materials that will suit every job. These
proportions are determined by the condition of the work. A new door of
good sound pine will be treated differently to one made of an inferior
wood, which is knotty and somewhat sappy. Again, a door that has been
exposed to the weather for some years, and from which the paint has,
perhaps, almost wholly departed, will require a different mixture to a
front door from which the accumulation of old paint, extending, perhaps,
to over one hundred years, has been burnt off. Precisely in the same way
as patent medicines cannot be safely used for any and every complaint,
so it is impossible to have paints that will suit any and every purpose.
In one case the doctor is consulted and he takes into consideration
every symptom and every condition and acts upon his diagnosis or
scrutiny of symptoms. In like manner the decorator takes note of every
condition of his work, and prepares his paint accordingly. Again, iron
would not be painted with the same mixture as wood. Still if we cannot
give _exact_ proportions, we can, at least, give some information on the
subject, which will form a guide and give some data for the reader to
work upon. These we will give under separate heads.
PRIMING FOR IRON.--The usual plan is to use red lead mixed with linseed
oil, the proportion required being about 14lbs. of linseed oil to every
cwt. of lead. The second coat should be equal proportions of red and
white lead mixed to a proper consistency with linseed oil. Sometimes
oxide of iron paint is used instead of red lead.
PAINTING ON STUCCO.--The priming must contain a considerable quantity of
oil, because of the absorbent nature of the stucco, and it should have
a big proportion also of turpentine. Four galls. of boiled oil to a cwt.
of red lead and three quarts of turpentine will usually answer. The
second coat should be an equal mixture of red and white lead with a
smaller proportion of turpentine and oil.
PRIMING FOR DEAL OR PINE (INSIDE).--With white lead use three-quarter
ounces of driers and the same quantity of red lead to every pound of
lead. Thin with about the same proportion of turps and raw linseed oil.
SECOND COAT (INSIDE).--Use about half-an-ounce of driers and one ounce
of red lead to every pound of white lead.
SECOND COAT (OUTSIDE).--Use about one ounce of patent driers to every
pound of white lead, with the addition of about the same quantity of red
lead.
EGG SHELL GLOSS.--To every pound of white lead add quarter of an ounce
of copal varnish and the same quantity of gold size with half the
quantity of boiled oil. These will serve the purpose of binding the
materials together and causing them to dry. The thinners should consist
of turpentine used in the proportion of about three-quarters of a pint
to every 7 lbs. of white lead.
[Illustration]