RECIPES, TABLES, HINTS AND NOTES
The author trusts that he has made it clear to the reader that the
subject of paint and colour mixing is far more comprehensive than might
at first sight appear. Yet it is of such great importance that every
house painter worthy of the name should make himself acquainted with it,
and, unless he be colour blind, he can do so without difficulty if he
will only take the trouble to make a number of tests and experiments.
In “putting on,” _i.e._, engaging the services of journeyman, the master
painter will find, as a rule, that only about one in twenty has any
knowledge of colour mixing, yet these men could, if they would only do
so, easily make themselves at least fairly proficient in the subject by
devoting their spare time to making various mixtures and using a box of
ordinary artists’ oil colours for the purpose. A very good box can be
purchased for about ten shillings.
Having given some practical tests for colours, we may now add one or two
for turpentine.
TO TEST THE PURITY OF TURPENTINE.--It is of considerable importance that
turpentine used for painting should be quite pure. To test the purity in
a practical way pour a few drops on a sheet of white writing paper; if
it is pure the mark will evaporate in a few minutes, leaving the paper
quite clean. If, however, paraffin oil has been added to the turpentine
it will leave a greasy mark on the paper, which will not disappear for
several hours or even days. Turpentine is sometimes adulterated with
benzine. The test above will not detect this, as the benzine will not
leave a greasy mark. The evaporation, however, will be more rapid than
when the turpentine is pure. When turpentine is very old, it becomes
“gummy” or thick, and is unsuitable for mixing with paint. This
condition is indicated by a greasy mark left on writing paper when a few
drops are poured upon it.
Another very simple test for the purity of turpentine is to place a
sample in a small white bottle and shake vigorously, carefully observing
the time that it takes the bubbles that arise from the agitation to
disappear. If the turpentine is adulterated with paraffin oil the
bubbles will hold longer than when it is pure. The best plan is to have
a bottle containing pure turpentine and another containing the suspected
sample, and to shake up both together, comparing the rapidity with which
the bubbles disappear.
Paraffin oil is also sometimes detected by smell: pour a couple of drops
on the palm of the hand, rub the two hands briskly together, when the
characteristic smell of paraffin will be easily detected if any
considerable amount be present. Turpentine is sometimes adulterated with
rosin spirit, and this can only be detected by means of analysis.
LINSEED OIL.--To ascertain with absolute certainty whether a sample of
linseed oil is pure or not is by no means easy, and can only be done by
aid of chemistry. There are various methods by which the adulteration
can be ascertained, but we hesitate to print them here, because they may
prove misleading to the uninitiated. The experienced painter has two
tests of his own, viz., smell and the working of the oil, and if these
lead him to suppose it is adulterated his only safe plan is to obtain
the services of a competent chemist.
We next reach a consideration of the different qualities of the
principal pigments, and can best show these by means of tables.
PIGMENTS.
SOME USEFUL TABLES.
PIGMENTS LIABLE TO CHANGE UNDER THE INFLUENCE OF SULPHURETTED
HYDROGEN, AIR, AND MOISTURE:
_Yellow._--Turner’s yellow, chrome yellow, mineral yellow, Naples
yellow.
_White._--Cremintz white, flake white, pearl white.
_Red._--Red lead, purple red, iodine scarlet.
_Green._--Verdigris, Scheele’s green, emerald green, mountain green.
_Blue._--Prussian blue, Antwerp blue.
_Orange._--Orange chrome.
PIGMENTS LITTLE LIABLE TO CHANGE UNDER THE INFLUENCE OF SULPHURETTED
HYDROGEN, AIR AND MIXTURE:
_White._--Zinc white, constant white, tin white.
_Red._--Vermilion, red ochre, Indian red, madder lakes.
_Yellow._--Yellow ochre, barium chromate, zinc chromate, aureolin, raw
sienna.
_Green._--Chrome green, cobalt green.
_Blue._--Ultramarine, smalt, Thenard’s blue.
_Brown._--Vandyke brown, raw umber, burnt umber, manganese brown,
sepia.
_Black._--Ivory black, lamp black, Indian ink, graphite.
_Orange._--Orange vermilion, burnt sienna.
PIGMENT LIABLE TO DETERIORATION WHEN IN CONTACT WITH WHITE LEAD,
CHROME OR OTHER LEAD PIGMENT:
_Yellow._--Yellow orpiment, king’s yellow, Indian yellow, gamboge.
_Red._--Iodine scarlet, cochineal, carmine.
_Orange._--Golden antimony sulphide, orange orpiment.
_Green._--Sap green.
_Blue._--Ultramarine.
PIGMENTS WHICH ARE LITTLE AFFECTED BY HEAT, AND WHICH MAY BE EMPLOYED
WHEN THE MATERIAL HAS TO STAND FIRE:
_White._--Tin white, barium white, zinc white.
_Red._--Red ochre, Venetian red, Indian red.
_Yellow._--Naples yellow, antimony yellow.
_Blue._--Smalt and royal blue, ultramarine.
_Green._--Chrome green, cobalt green.
_Orange._--Burnt sienna, burnt ochre.
_Brown._--Burnt umber, manganese brown.
_Black._--Graphite, mineral black.
COLOURS THAT MAY BE USED WITH LIME:
_White._--Permanent white, _i.e._, baryta white, gypsum, zinc white.
_Red._--The vermilions, light red, Venetian red, Indian red, madder
lakes.
_Orange._--Cadmium, orange chrome, Mars orange, burnt sienna, burnt
Roman ochre, light red.
_Yellow._--Aureolin, cadmium yellow, lemon yellow, Naples yellow, Mars
yellow, raw sienna, yellow ochre, Roman ochre, transparent gold ochre,
brown ochre, Indian yellow, Oxford ochre.
_Green._--Oxide of chromium, transparent oxide of chromium, viridian,
emerald green, malachite green, verdigris, terre verte, cobalt green,
chrome green.
_Blue._--Genuine ultramarine, artificial ultramarine, new blue,
permanent blue, cobalt blue, cerulean blue, smalt.
_Purple._--Purple madder, Mars violet.
_Brown._--Bone brown, bistre, Prussian brown, burnt umber, Vienna
brown, Vandyke brown, Cologne earth, asphaltum, Cassel earth,
manganese brown.
_Citrine._--Raw umber, Mars brown.
_Blacks._--Ivory black, lamp black, blue black, charcoal black, Cork
black, Indian ink, black lead, drop black, plumbago.
BRUSHES.
We think it well to include here some information concerning brushes,
but may first give a brief description of the way in which they are
made, taking the firm of G. B. Kent & Sons, Ltd., as an example, as the
author had the pleasure of going over their factory some time since. The
following is his account written for “The Decorators’ Magazine”:--
A superficial observer may be inclined to think there is no particular
advantage to the painter and decorator in possessing a knowledge as to
how the tools he uses are made. Yet such a knowledge may help him
considerably in judging as to the quality of those tools, and it will be
at once acknowledged that an ability to discriminate in this respect is
of considerable value. For brushes vary greatly in quality, far more
so, perhaps, than our readers may imagine possible. Everyone knows that
there are good brushes that cost more than a trifle, and rubbishy goods,
chiefly of foreign make, that can be bought for, perhaps, half the
amount. Probably there is not a reader who does not fully understand
that it is far better in the end to buy the best quality brushes, that
is, that it is cheaper to pay a higher price, because the work with such
brushes can be done quicker and better than it can by the inferior ones,
and also because the superior quality lasts much longer. Those things
are well understood among most painters, and even if some of them _will_
use cheap stainers and lose money in consequence, they have, at least,
learned the lesson of the necessity of using only best quality tools.
But it is not a comparison between high grade and low grade brushes that
we now want to make, it is rather to direct attention to the difference
that exists in the actual quality of so-called first-class tools of
different makes. It is this difference than can best be understood after
inspecting the process of brush making, and it must be acknowledged that
adulteration can be carried on in the manufacture of brushes to a
considerable extent. Take a common ground brush as an example. The
actual brush part should consist wholly of hog’s bristles, for there is
nothing yet discovered that gives better results. Yet there are on the
market many brushes marked “pure bristle” which really contain more or
less a large proportion of horsehair or other material which makes a
poor substitute, but which cannot be easily detected, in fact, it is the
difficulty of detection which has probably given rise to the
objectionable adulteration referred to.
The objection to horsehair in a painter’s brush is that it is flabby and
without spring, but its presence in adulterating brushes can be
understood when it is said that approximately the price of horsehair is
1s. 9d. to 2s. 2d., and bristles 8s. to 9s. per pound. It certainly
requires an expert to state positively whether horsehair is included or
not, but there are certain signs that, with care, will determine the
matter, at least to a certain extent. The real bristle has its end
split--called a “flag” end--the root end is considerably larger and
cannot be mistaken. The spring or elasticity is another indication of
the bristle. The horsehair, on the other hand, is the same size both
ends, and has no flag end; if the suspected bristles be viewed under a
strong reading glass the difference can be told without a great deal of
difficulty.
At the works of Messrs. G. B. Kent & Sons, Ltd., the author was shown
how suspected brushes sent out had been dissected and the various parts
divided up, and it was surprising to see how much horsehair could be
included in a brush without giving it any out-of-the-way appearance.
There were little piles of horsehair of different lengths, while the
bristles were all sorted into other piles, each of different lengths.
Photographs of the brushes that have been dissected in this way have
been distributed through the trade, and they have no doubt proved of use
in showing painters that adulteration in brushes is carried on to almost
as great an extent as it is in paint materials. No adulteration whatever
in painting brushes is permitted in the factory of G. B. Kent & Sons.
Certainly the brush department in any brush manufactory, which is of the
most importance is the bristle room, and it was to this that the author
was first taken. There were bristles of many different kinds, most of
them tied up into neat bundles ready to be afterwards dealt with. For
instance, Siberian Okatka, and perhaps most important to my readers
because they make the best paint brushes, having an excellent spring and
being stiff. They are very costly and are rarely used by themselves, nor
is it necessary, because other varieties of bristles may be mixed in,
and it is this mixing or blending that constitutes so important a part
in the brush manufacturer’s art. Indeed, the purchase and blending takes
years of careful study to learn. One class of bristle is introduced into
the mixing to give strength, another straightness, another solidity,
another colour, and it is the judicious blending, the knowledge of which
is acquired only by much experience, which makes a first-class brush for
first-class work, and having the requisite spring and durability and the
band of which will not burst.
The process of dividing the bristles into uniform lengths is termed
“dragging,” a very interesting process which requires considerable
expertness on the part of the operator. A handful of bristles, after
being mixed, is placed against a gauge, and the operator, grasping
firmly those bristles which project beyond a mark which indicates the
required length, withdraws them with his thumb and finger and places
them aside. The whole bundle having been gone over in this way, a second
dragging to the next mark is made, and so on until the bristles are
arranged in little piles of uniform lengths.
The operation of “mixing” is also interesting. This is done in order to
obtain an uniform colour and quality in the bristles. First, all the
bristles of different colours are piled on the top of one another,
varying considerably in colour in the different layers from top to
bottom. Perhaps there will be one layer nearly white and another nearly
black. If these were all mixed up indiscriminately to make a brush, the
result would be a very patchy appearance that would not be liked. The
object, therefore, is to have an equal admixture of black and white
throughout. A workman takes in his hand a portion of the bristles from
top to bottom, cutting through all at once. These he holds in his two
hands and ‘jabs’--for the want of a better word--through a steel comb
which is fixed upright before him. This mixes the different coloured
bristles, and at the same time pulls out inferior or woolly parts that
may have been left in. As each handful of bristles is dressed in this
way it is laid aside, and when the whole is completed the second
dressing is gone through in the same way as the first, the result being
that the admixture is perfect, and the appearance of any one part of the
pile is exactly the same as that of the other. It is essential also that
all the bristles should lie the same way, and, as in the rough an
uncertain small proportion of the bristles arrive with their heads the
wrong way, to extract them another small comb, termed an ‘engine,’ with
teeth very close together, is used; the ‘flag’ end of the handful is
combed over this, and the roots of the ‘turned’ hairs catch in the comb.
[Illustration] [Illustration]
OLD ROSE MOSS GREY
[Illustration] [Illustration]
IVY GREEN WARM GREY
[Illustration] [Illustration]
GREEN SLATE LEAD
[Illustration] [Illustration]
SEA FOAM SILVER GREY
[Illustration] [Illustration]
APPLE GREEN STONE
[Illustration] [Illustration]
SLATE MIDDLE STONE
[Illustration] [Illustration]
GRANITE DARK OAK
[Illustration] [Illustration]
ASH GREY IVORY
It will be unnecessary to describe in detail how every brush is made,
but an ordinary ground brush will serve as an example. The actual
manufacture is not difficult. First the bristles are carefully weighed
out so that every brush of the same grade has exactly the same quantity
of bristle in it as a corresponding brush; great care being taken not to
disturb the way in which the bristles lie. They must all point one way,
and naturally they have a certain bend. The outside of the brush is
usually made of white bristles, while the inside is grey and yellow.
This is almost a universal rule, for although the inside bristles are of
equal spring to those outside, still trade demands white bristles
outside and has them. The reader will understand that the bristles that
are to form the ground brush about to be made are lying on the scale,
these having been weighed they are taken off, the white bristles being
underneath, so as to form the outside of the brush. The workman takes
all the bristles carefully, but firmly, in both hands, and turns the
bristle round his thumb in such a way that the bend of the bristles all
turn inward towards the centre, and the white bristles or ‘cappings’ lie
in an even rim round the rest, and the ‘knot’ is then tied round with
string. The knots are then dipped in hot cement and kept warm standing
upon a hot plate.
The next process is ‘driving,’ which consists in forcing the handle
through the bristles, which has been previously inserted in its binding,
and this tightens the brush by compression.
Varnish brushes, as a rule, are shaped in a manner somewhat similar to
the method of making artists’ pencils, that is to say, the wedge shape
is produced by placing the bristles into a small circular box, the
bottom of which is concave. Hence, it will be seen that the bristles, if
even they are all of the same length, have the necessary chisel-edge for
a varnish brush. Pegged brushes are made under a patent of Messrs. G. B.
Kent & Sons. Speaking roughly, it consists of driving pegs into the back
woodwork of the brush so as to throw the parts into greater compression
and to hold the bristles tighter. After the brush is made, the bristles
are thoroughly scoured on a stone with soap and water. After the brush
is finished, the bleaching chambers are reached where, by means of
sulphurous fumes, the bristles are bleached to the required degree of
whiteness.
THE CARE OF BRUSHES.--However good a brush may be it will soon be ruined
unless it is properly treated when out of use. The following hints will
suffice as a guide in this respect:--
_Writing Pencils, etc._--Wash in turpentine until quite clean, and if
they are not to be used for some time dip in olive oil and smooth from
heel to point.
[Illustration: RED SABLE.]
_Stipplers._--Wash thoroughly in pure soap and hot water rinsing with
cold water. Place point downwards to dry.
[Illustration: STIPPLER, WITH BRIDGE HANDLE.]
_Varnish Brushes._--The best method of keeping varnish brushes, in the
opinion of the author, is to suspend them in the same description of
varnish as that they are used for. As this is not always possible boiled
oil may be used instead.
[Illustration: VARNISH BRUSH--GALVD. WIRE BOUND.]
_Paint Brushes._--Mr. ERNEST N. KENT gives the following instructions in
“Specifications”:--
[Illustration: SASH TOOL.]
[Illustration: FLAT OVAL GROUND BRUSH.]
_Brushes made for Use in Colour_ should first be soaked well in water
to swell the bristle in the binding. This applies also to whitewash
brushes which are bound either by wire or leather.
_A Brush after Use_ should be thoroughly cleansed out in turps or soap
and water. If left in water any length of time they are liable to twist,
and the bristles lose their elasticity.
_A Brush made for Paint_ should not be used in varnish, the spirit of
which dissolves the cement with which it is set, and loosens the
bristles. When a ground brush has been well worn down in colour, it may,
however, be used in varnish.
_A Brush made for Varnish_ must on no account be put into water as the
water destroys the cement.
_Varnish Brushes_ when not in use should be suspended in either varnish
or oil, the brush not resting on the bristles. No brushes should on any
account be kept in turpentine.
_Stippling Brushes_ should be well cleaned and dried after use, the
bristle being carefully kept from crushing; a box in which they can be
slid, allowing the bristle to hang downwards is recommended.
_Should a Brush become quite hard with Paint_ it should be soaked for
twenty-four hours in raw linseed oil, after which time in hot
turpentine.
SOME USEFUL RECIPES.
A RECIPE FOR TEREBINE.--Take 2lbs. of ground litharge, 2lbs. of red
lead, 1lb. of sulphate of manganese, ¹⁄₂lb. of sugar of lead. Mix these
to a paste with light coach japan, put the paste into a gallon jar and
add half a gallon of pure turpentine. Let this stand for three days,
stirring occasionally, then pour off the resultant liquid which forms
first-class terebine. You can afterwards pour in another half gallon of
turps, well stir and pour off as before. This can be done a third time
when the chemicals will have become exhausted.
SPECIAL PAINTS FOR SPECIAL PURPOSES.
IRON CEMENT.--A cement suitable for filling up defects in cast iron is
made by mixing one part of bone black, one part of powdered gum arabic,
one part iron dust or very fine iron filings, and two parts of plaster
of Paris. This powder is made up into a stiff body with water, but only
sufficient for immediate use should be made, as it sets very rapidly. In
time it becomes as hard as iron.
BUFF PAINT.--The following mixture will produce an excellent buff paint
for ordinary purposes. Grind in raw linseed oil 3cwt. of white lead,
4cwt. of grey barytes, 8lbs. of genuine red oxide, 100lbs. of J.F.L.S.
ochre, and 8lbs. burnt Turkey umber.
TORBAY PAINT, IMITATION.--Grind together 5cwt. of grey barytes, 1cwt.
Paris white, 4cwt. of French ochre, and 4lbs. of genuine red oxide of
iron.
DRUM PAINT.--Dissolve rosin in an equal bulk of naphtha and colour with
lamp black for black, celestial blue for blue, Venetian red for red, and
so on. A little oil added will be of assistance.
BRONZE PAINT TINS, DIPPING SOLUTION FOR.--Dissolve asphaltum in spirits
of turpentine and thin down to the required consistency.
FLOOR PAINTS.
This class of paint is much used in America, and they are made in a
variety of colours. The necessary qualities are great durability under
wear. Three coats are usually given, but it is very necessary that
sufficient time be allowed to elapse between the application of each
coat to enable a thorough drying to be effected. The thinners for each
recipe will be the same, namely, gloss oil twenty gallons, linseed oil
eight gallons, turpentine japan six gallons, benzine japan two gallons,
turpentine four gallons, benzine three gallons, making together 52
gallons. The pigments will be as follows:
BUFF.--Yellow ochre, 175lbs.; whiting, 25lbs.; zinc, 25lbs.; Portland
cement, 3lbs.
DUST COLOUR.--Zinc white, 175lbs.; white lead, 25lbs.; whiting, 50lbs.;
lamp black, 1lb.; yellow ochre, 8lbs.
LEAD COLOUR.--The same as dust colour, excepting that 5lbs. of lamp
black should be used and 3lbs. of yellow ochre.
TERRA-COTTA.--Yellow ochre, 100lbs.; Venetian red, 17lbs.; zinc, 25lbs.;
whiting, 70lbs.
MAROON OR INDIAN RED.--Indian red, 100lbs.; Venetian red, 50lbs.; zinc,
25lbs.; whiting, 25lbs.
LIGHT BROWN.--Yellow ochre, 100lbs.; whiting, 70lbs.; mineral brown,
15lbs.; zinc, 25lbs.; Venetian red, 6lbs.
DIPPING PAINTS.
This class of paints is much used in the United States, the article that
is to be painted being dipped into the paint so as to save the labour of
applying it with a brush in the ordinary manner.
BLACK DIPPING PAINT.--In this case two separate dippings are required,
first with the following mixture which acts as a primer. Take 100lbs. of
dry ground slate, 100lbs. of whiting, 50lbs. of zinc white, 2 gallons of
linseed oil, 20 gallons of gloss oil, and 5 gallons of benzine. These
being properly mixed form a priming coat which dries fairly quickly.
When dry dip the article into a paint made of the following mixture:
25lbs. of drop black, 3¹⁄₂ gallons of grinding japan, half gallon of
turpentine, 7¹⁄₂ gallons gloss oil, and one gallon of turpentine.
YELLOW DIPPING PAINT.--A primer is made by grinding together 14lbs. of
golden ochre, 1¹⁄₂ gallons of grinding japan, 2 gallons of gloss oil,
and half gallon of turpentine. The paint is made of 30lbs. of medium
chrome yellow, 2 gallons of grinding japan, 1¹⁄₂ gallons of turpentine,
and 7 gallons of gloss oil. This makes 12 gallons of paint.
RED DIPPING PAINT.--Grind together 80lbs. of bright scarlet or Turkey
red, 80lbs. best Paris white, 38 gallons gloss oil, 4 gallons of
benzine, 2 gallons of linseed oil, and 2 gallons of benzine japan. This
makes 50 gallons of paint.
MACHINERY DIPPING PAINT.--Grind together 100lbs. of dry ground slate,
25lbs. zinc white, 1 gallon of linseed oil, 2 gallons of gloss oil, and
1 gallon of japan drier.
DIPPING WHITE.--Grind 100lbs. of zinc white with 90lbs. of Paris white
in 2 gallons of linseed oil, 32 gallons of gloss oil, and 11 gallons of
benzine. This makes 50 gallons of paint.
The above recipes for dipping paints have been modified from recipes
which originally appeared in “Drugs, Oils and Paints,” of Philadelphia.
PAINT FOR IRON.
There has been a very considerable amount of difference of opinion as to
the best paint for iron. An elaborate course of experiments were made
and the results reported in the columns of the “Engineer” some time
since. The results of these experiments showed that no rust whatever
resulted from either of the following mixtures, which may therefore be
recommended as good paints for iron.
RED LEAD PAINT.--Red lead, 88 parts; raw linseed oil, 12 parts.
CHEAPER RED LEAD PAINT.--Cheaper red lead, 45 parts; barytes, 45 parts;
raw linseed oil, 10 parts.
RED LEAD PAINT, CHEAPER STILL.--Very cheap red lead, 22 parts; barytes,
66 parts; raw linseed oil, 12 parts.
VERMILIONETTE PAINT.--Barytes, 33 parts; deep vermilionette, 44 parts;
pale vermilionette, 14 parts; raw linseed oil, 7 parts.
PERMANENT RED PAINT.--Permanent red, 88 parts; raw linseed oil, 7 parts.
PUTTY RECIPES.
Although an ordinary putty is made of dry whiting with raw linseed oil,
a modification of this mixture is often necessary and desirable.
SOFT PUTTY.--One pound of white lead mixed with 10lbs. of whiting and
ground with the necessary quantity of boiled linseed oil makes an
excellent putty. About half a gill of best olive oil or cotton seed oil
added, prevents the white lead from hardening and preserves the putty in
a state sufficiently soft to adhere at all times.
EXPORT PUTTY.--The above recipe answers for putty that is to be sent
abroad, the cotton oil preventing it from going hard. Sometimes the
white lead is omitted.
PUTTY FOR EXPOSED POSITIONS.--A very strong putty is made of boiled oil
and whiting and is suitable for exposed positions, such as skylights. It
is not adapted for keeping, as it gets too hard. Putty for inside work
that is ground in raw linseed oil may be made by adding a little white
lead.
HARD PUTTY.--Mix dry red lead with boiled oil and turpentine varnish.
This may be used immediately, as it soon gets hard.
FRENCH PUTTY.--Boil 7 parts of linseed oil with four parts of brown
umber for two hours. Then add 5¹⁄₂ parts of whiting and 11 parts of
white lead and mix the whole. This putty is very durable and adheres
well to wood.
IMPERISHABLE PUTTY.--Various recipes for a so-called imperishable putty
have been given. The one published above, named French putty, is very
durable, but it may be varied by boiling together for two hours 3¹⁄₂lbs.
of linseed oil and 2lbs. of brown umber. Stir in one ounce of beeswax,
take off the fire, and mix 2³⁄₄lbs. of whiting and 5¹⁄₂lbs. of white
lead.
WOOD AND GLUE PUTTY.--Dissolve glue in water and add as much very fine
sawdust as may be required.
* * * * *
BLACKBOARD PAINT.--Mix 5 oz. of lamp black and 3 oz. of superfine flour
of emery in half a gallon of shellac varnish or patent knotting. This
gives a fine slating. Shellac varnish may be made by dissolving 1lb. of
orange shellac in half a gallon of methylated spirits. Another recipe
is: Dissolve 1lb. shellac in one gallon of methylated spirits. When
dissolved add 1lb. best ivory black, 5 oz. of best flour of emery. Mix
and put in a stoppered bottle, shake well before using. In applying this
it must be done rapidly, and only a little of the paint should be poured
out at a time, as the spirit rapidly evaporates. In applying it to old
blackboards one coat is usually sufficient.
WHITEWASH FOR POULTRY HOUSES.--In order to prevent the breeding of
vermin the whitewash used for poultry houses should be mixed with a
little gas tar--not coal tar. It may be obtained at any gas works, and
should be used in the proportion of about a quarter of a pint to the
pailful of ash. To bind the whitewash, flour made into a paste with hot
water may be used, and is better than glue size as it does not decay and
will not injure the fowls.
SOME USEFUL HINTS ON PAINTS AND PAINTING.
An excess of driers in paint often gives rise to blistering.
* * * * *
Boiled oil, if of good quality, will, when applied to glass, dry in 24
hours.
* * * * *
Tar should always be applied hot.
* * * * *
Dark boiled oil may be pure, but it will not produce good work.
* * * * *
A little varnish added to paint, often improves both its appearance and
durability.
* * * * *
In painting over bad stains, tar, etc., a coat of shellac varnish will
usually give a good surface on which the paint will dry.
* * * * *
Ochre makes a good and cheap priming coat, if it is very fine.
* * * * *
To test patent driers, mix it with raw linseed oil, in the proportion of
one to three, and apply to glass. If still tacky at the end of 24 hours,
the driers may be looked upon as being of inferior quality.
* * * * *
Varnish brushes are best kept, when not in use, by being suspended in
the same kind of varnish in which they are ordinary used.
* * * * *
For thinning gold size, use a little boiled oil, not turpentine.
* * * * *
The practical painter should have an “educated” nose--that is, one that
can at once detect adulteration in oil and turpentine.
* * * * *
To mix varnishes is sometimes necessary, when the particular kind
required is not at hand. But it is always a bad plan, and is never
desirable. When it must be done, do not use the varnish for a few days.
* * * * *
An even temperature is of the greatest importance in obtaining good
results from varnish. Coach painters’ shops are usually kept exactly at
the same heat, while dust and draughts of cold air are rigidly excluded.
This is one of the reasons why coach painters are able to turn out such
fine work.
* * * * *
Success in repainting ironwork largely depends in removing all rust,
scale, etc. For this purpose, wire brushes should be used, as they
greatly facilitate the operation.
* * * * *
Luminous paint which, if exposed to the light during the day, will give
off sufficient light at night time to enable one to see the time by a
watch, may be had to last several years, if protected by a piece of
glass from the weather, and it is extremely useful for certain positions
where it is not desired to burn a light.
* * * * *
Fineness of grinding is a most important quality of all tinting colours,
but in none more so than in the umbers and siennas prepared for
grainer’s use. It is of equal importance that the tone and colour be
pure. Sometimes this class of colours are toned up with chrome, but this
is objectionable, and the right tone of sienna can only be expected when
the correct quality of crude earth is selected.
* * * * *
Tube colours are now becoming so popular among the highest class
painters and decorators that the use of dry colours will soon be
considered obsolete. When the colours are put in tubes, waste is almost
wholly prevented, while their use keeps the colours moist for a
considerable time.
* * * * *
Two coats of patent knotting or shellac varnish may be given to cover
stains, damp spots, or other work which will not take the paint. Even
tar spots thus treated may be neutralized.
* * * * *
Grained work should never be varnished until after 6 or 7 days from the
time it is finished. This delay will render the surface much more
durable than it would be if varnished immediately.
* * * * *
Spring and summer are not the best for painting, as many suppose. The
autumn is better, as the work is then, as a rule, thoroughly dry and in
the best condition to take the paint.
* * * * *
To obscure window glass, the best plan is to apply a coat of matting
varnish, which is specially made for the purpose. It looks very neat,
and effectively obscures the glass, although it shuts out very little of
the light.
* * * * *
A rough way of testing a brush is to pluck a few bristles and to burn
them by applying a match. If they are true bristles they will give off
an unmistakable odour, will frizzle up while burning, but will not leave
an ash. Fibre, on the other hand, burns without smell, and leaves an
ash.
* * * * *
Embossing on glass is usually done by means of hydrofluoric acid. The
design is pounced or sketched on with French chalk. Then every part that
is not to be embossed is painted over with a special Brunswick black. A
little wall of tallow is then built all around the pane of glass laid
flat, and the acid is gently poured on. In about half an hour it has
eaten into the glass sufficiently to form a well-defined pattern. The
acid is poured off into a guttapercha bottle, the tallow removed, and
the surface washed with clean water. The black is softened with
turpentine and removed by means of an old chisel.
* * * * *
A priming coat can never prove satisfactory unless it is composed of
very fine materials. White lead, red lead, or white lead and ochre are
among the best primers.
* * * * *
The best tests of linseed oil for the practical man are the senses of
smell and taste. The analysis of linseed oil is a very difficult
process, and every oil dealer should educate his senses by constant
practice and recognise the pure oil immediately when he smells or tastes
it. Adulteration in boiled oil is more difficult to detect than it is in
raw oil.
* * * * *
Never mix two different kinds of driers in a paint; they may re-act upon
one another and actually retard the drying of the paint.
* * * * *
Too much driers in paint will destroy its durability and may affect the
gloss.
* * * * *
Messrs. WILKINSON, HEYWOOD & CLARK, LTD., 7, Caledonian Road, London,
N., have favoured the author with samples of their colours, which he
finds, after examination, to be of a high order of excellence. Their
white oil varnish is also highly recommended, being almost colourless
and not turning yellow.
* * * * *
In preparing plaster figures for showing samples of gold paint it is
necessary first to give a heavy coat of shellac to prevent absorption.
* * * * *
Perhaps not one painter in a thousand knows that water glass (silicate
of soda) makes an excellent size for wall paper. It will not wash up the
pattern, and it forms a foundation for the paper varnish that makes it
stand out admirably.
* * * * *
The priming coat for new pine may be made by mixing a stone of white
lead in oil with an equal quantity of patent driers. About one pound of
turpentine and a pound and a half of raw linseed oil will be required.
* * * * *
THE HARMONY OF COLOUR.--As already stated we cannot spare room to deal
with this important subject, but may give one or two notes on the
subject. The following is a useful list taken from “Colour,” by GEORGE
H. HURST. A somewhat similar list will be found in “Colour” by PROFESSOR
A. H. CHURCH. The names and addresses of the publishers of these two
books are given on another page.
HARMONY OF TWO COLOUR COMBINATIONS.--
Crimson and orange Bad.
„ „ yellow Inferior.
„ „ green Strong, but harsh.
„ „ blue Good.
„ „ violet Bad.
„ „ gold-yellow Good.
Scarlet and yellow Bad.
„ „ green Inferior.
„ „ greenish-blue Good.
Scarlet and blue Good.
„ „ violet Bad.
Orange and yellow Poor.
„ „ yellow-green Fair.
„ „ green Strong-poor.
„ „ green-blue Fair.
„ „ blue Good.
„ „ violet Strong-good.
Orange-yellow and crimson Poor.
„ „ scarlet Poor.
„ „ green Bad.
„ „ blue-green Bad.
„ „ green-blue Fairly good.
„ „ blue Excellent.
„ „ violet Good.
Yellow and crimson Poor.
„ „ green Bad.
„ „ blue-green Very bad.
„ „ blue Only fair.
„ „ violet Very good.
Green and blue Very poor.
„ „ violet Moderate.
„ „ red Good.
LIST OF USEFUL BOOKS.
The author has thought it might be of service to his readers to include
a list of books which would probably be useful to the purchaser of this
work. The list below includes the most modern and up-to-date works,
together with their prices and publishers. A very brief description is
appended.
PAINTING & DECORATING, by Walter J. Pearce, second edition, 1902. Price,
12s. 6d. Published by Chas. Griffin & Co., Ltd., London. This is a book
of 312 pages and several coloured plates. The first edition was
published in 1898, and it contains information on every branch of house
painting and decorating. It is the work of a practical painter, who is
also an artist, and who has lectured on the subject at the Manchester
Technical School for several years past. The book is highly recommended.
PAINTERS’ COLOURS, OILS & VARNISHES, a Practical Manual by George H.
Hurst, F.C.S. This work contains over 500 pages. The third edition was
published in 1901 by Chas. Griffin & Co., Ltd., Exeter Street, Strand,
E.C. The book contains detailed information of the most practical and
thorough character concerning all pigments, colours, colour and paint
machinery, paint vehicles, such as paint oils, turpentine, etc., driers
and varnishes. As a manual treating of painters’ materials it will be
found most useful to painters who desire to know the properties of the
materials they use.
PRANG’S “STANDARD OF COLOUR.” This work is very useful to colour mixers.
It consists of seven plates, each plate consisting of 168 colours, tints
or hues. (Arthur Ackerman, Regent Street, S.W.)
“HOUSE PAINTING, GRAINING, MARBLING AND SIGN WRITING,” by Ellis A.
Davidson. This book comprises 9 coloured plates of wood and marbles, 150
wood engravings and a full treatise on the process of house painting,
sign writing, etc. (Crosby, Lockwood & Son.)
“CHEMISTRY OF PAINTS AND PAINTING,” by Professor A. H. Church, published
by Seeley & Co., Gt. Russell Street, W.C. This is a reliable and
exhaustive treatise on pigments, oils, varnishes and other materials
used by artists.
“PIGMENTS, PAINT AND PAINTING,” by George Terry, published by Messrs. E.
& F. N. Spon, Ltd., London, 7s. 6d.
“MANUFACTURE OF PAINTS,” by J. Cruickshank Smith, B.S.A., published by
Scott, Greenwood & Co., London, 7s. 6d.
“COLOUR.” A handbook of the theory of colour by George H. Hurst, F.C.S.,
with 10 coloured plates and 22 illustrations. Published by Scott,
Greenwood & Co., London, 7s. 6d.
“COLOUR.” A text book of modern chromatics, with application to art and
industry, by Professor Ogden Rood, 3rd edition, 5s.
“COLOUR.” An elementary manual for students, with 6 coloured plates, by
Professor A. H. Church. Published by Cassell & Co.
“THE MODERN WOOD FINISHER,” by F. Maire. This is a thoroughly practical
little work on Wood Finishing in all its branches. Price 2s. Published
by “The Western Painter,” Journal Building, Chicago, Ill., U.S.A.
* * * * *
_The Author regrets that in the text the address of_ MESSRS. TORRANCE &
SONS, LTD., _is given incorrectly. It should be Bitton, near Bristol,
Glos._
[Illustration]
INDEX.
Acorn Brown, 17
Amber Brown, 17
American Walnut, Graining Colour, 59
American Walnut, Ground for, 58
Antique Oak, Ground for, 58
Apple Green, 15
Ash Graining Colour, 59
Ash, Ground for, 58
Autumn Leaf, 17
Birch, Ground for, 58
Bird’s Eye Maple, Graining Colour, 59
Blacks, 70
Blackboard Paint, 87
Blues, 33-70
Body, 64
Books, Useful, 92
Bronze for Paint Tins, 84
Bronze Green, 15-66
Brunswick Green, 44
Brushes, 77
Buff, 16
Care of Brushes, 81
Characteristics of Good Colours, 61
Charlton White, 22
Cherry Graining Colour, 59
Chestnut Graining Colour, 59
Chrome Green, 66
Chromes, 69
Colonial Yellow, 16
Colours, Dry, 11
Colours, Economy of Using Good, 18
Colours, Nomenclature of, 15
Colours or Stainers, 14
Colours, Permanence of, 66
Colours that may be used with Lime, 77
Commercial White, 21
Composition of a Paint, 7
Covering Power, 63
Cream, 17
Dark Drab, 17
Dark Green, 16
Dark Oak, 16-17
Deal, Priming for, 13
Deep Cream, 17
Deep Drab, 17
Dipping Paints, 84
Doe Colour, 16
Dutch Process, White Lead, 21
Driers, 8
Drum Paint, 83
Dry Colours, 11
Economy of Using Good Colours, 18
Embossing on Glass, 90
Emerald Green, 66
Export Putty, 86
Fawn Brown, 17
Fineness of Grinding, 62
Floor Paints, 84
French Putty, 86
Good Colours, Economy of Using, 18-60
Graining Colours, 59
Grays and Greys, 22
Greens, 44-66
Ground Colours for Graining, 57
Harmony of Colours, 91
Hard Putty, 86
Hue, 19
Imperishable Putty, 87
Indian Red, 7-68
Indigo, 33
Inside second coat, 13
Iron, Priming for, 12
Iron Cement, 83
Iron, Paint for, 86
Italian Walnut, Ground for, 7
Ivy Green, 16
Japan White, 20
Japanners, 8
Knotted Oak, Ground for, 58
Lead and Zinc, Mixing, 20
Light Chocolate, 16
Light Drab, 16
Light Oak, Ground for, 57
Light Oak Stain, 71
Light Stone, 16
Lilac, 16
Linseed Oil, 8
Liquid Driers, 8
Lithopone, 21
Luminous Paint, 89
Mahogany Graining Colour, 59
Mahogany, Ground for, 58
Maple Graining Colour, 59
Maple, Ground for, 57
Materials, Proportions of, 12
Medium Oak, Ground for, 57
Middle Stone, 16
Mixing Greens, 44
Mixing Machine, 9
Mixing of Paint, 9-10
Mixing Zinc and Lead, 20
Moss Gray, 17
Moss Green, 15
Nomenclature of Colours, 15
Oak, Ground for, 57
Ochres, 69
Olive Green, 16
Paint, Composition of, 7
Paint for Iron, 85
Paint Mixing, 10
Paint Mixing Machine, 7
Paint Remover, 71
Paint Strainer, 11
Painting on Stucco, 12
Paints, and how to mix them, 51
Patent Driers, 8
Pea Green, 16
Pearl Gray, 16
Permanence of Colours, 66
Permanent Pigments, 67
Permanent White, 20-21
Pigments liable to change, 74
Pine, Priming for, 13
Pitch Pine, Ground for, 57
Pollard Oak Graining Colour, 59
Pollard Oak, Ground for, 57
Prang’s “Standard of Colour”, 18
Priming Coat, 70
Priming for Deal, 13
Priming for Iron, 12
Proportions of Materials, 12
Prussian Blue, 33, 36, 45, 70
Purity of Colours, 61
Purity of Tone, 62
Purple Brown, 7
Putty Recipes, 86
Red Lead, 68
Reds, 26
Rosewood Graining Colour, 59
Rosewood, Ground for, 58
Sage Green, 15
Sandstone, 16
Satinwood, Ground for, 57
Sea Green, 15
Second Coat, 13
Shade, 19
Sienna, 70
Sienna Brown, 17
Signal Red, 17
Size for Plastered Walls, 71
Slate, 16
Smoke Colour, 17
Snuff Brown, 17
Soft Putty, 86
Special Paints, 83
Specific Gravity, 72
Spreading Capacity, 63
Stainers or Colours, 14
Standard in Graining Colours, 60
Steel Gray, 16
Stainers for Paint, 11
Stipplers, 82
Straining Paint, 11
Straw Yellow, 17
Strength of Colours, 45
Stucco, Painting on, 12
Terebine, 83
Testing Colours, 60-65
Testing Turpentine, 74
Tint, 19
Tinting Strength, 64
Tool for Paint Mixing, 11
Turpentine, 7
Turpentine, testing, 74
Tuscan Red, 68
Ultramarine, 37-70
Umber, 70
Useful Recipes, 83
Varnish Brushes, 82
Varnishing Paint, 8
Venetian Red, 7-68
Vermilion, 68
Vermilionette, 68
Walnut Stain, 71
Warm Gray, 16
White Lead, 7-21
White Lead and Ultramarine, 45
White Lead, Testing, 62
Whites, 20
Whites Compared, 21
Whitewash for Poultry Houses, 87
Window Glass Measurement, 72
Wire Paint Strainer, 11
Wood and Glue Putty, 87
Yellow Ochre, 7
Yellows, 38
Zinc and Lead, Mixing, 20
[Illustration]
M. WALLER & SON, PRINTERS, 15, CHAPAL LANE, HULL.
_ADVERTISEMENTS_
“ECLIPSE”
PAINT REMOVER.
Saving of 50 per Cent. in Time and Labour. No Lime or Potash.
_To Railway and Gas Companies, Shipowners, Builders, Decorators,
Coachbuilders, Painters, Ship and Yacht Builders, etc._
No 1. The “Eclipse” Paint Remover.
This Powerful Paste is invaluable for Removing Old Hard Paint (any
thickness), Enamel, Varnish, and Wall Paper from Wood, Stone, or Iron.
It is a Disinfectant, and will not injure the Surface nor the Paint or
Varnish afterwards applied, and is pronounced by first-class Firms to
be the Cheapest and most Effectual in the Market. It is much liked for
taking paint from Baths for repainting, and is invaluable as applied
to old wood carvings and all fine-art work. Will thoroughly clean and
renew Marble, etc.
☛ Send for Circular and Testimonials to
JOHN M. GIBSON,
21, HOPE STREET, GLASGOW.
[IN PRESS.]
WALL PAPER AND PAPERHANGING.
By ARTHUR S. JENNINGS.
A Handbook on Decoration in paper and other materials, with practical
instructions on Hanging them.
Illustrated by many half-tone and other engravings, showing the latest
designs in Wall Hangings.
Price 5s. Post free, 5s. 3d.
May be had of the Author, A. S. JENNINGS, 62, Barry Road, East
Dulwich, London, S.E.
THE RIPON & CLARO VARNISH CO.
Works: RIPON.
Manufacturers of High-class Varnishes, Japans, Paints, Colours, etc.,
FOR EVERY PURPOSE.
Specialities: QUICK DRYING READY BOUND COLOURS IN TURPS.,
REQUIRE NO GOLD SIZE OR MIXING.
Drop Ivory Black, Chromes, Greens, Blues, Reds, etc. Command an
Enormous Sale.
SMITH’S PATENT.
A New Tool for Painters, Paint Manufacturers, and others for Cleaning
Out Paint Cans, Drums, Kegs, and the like. Will last for years, and is
a useful addition to a Painter’s Outfit. A Good Mixer. Handy for
Cleaning Gutters, Scraping Ironwork, Burning Off, and lots of other
purposes.
POST FREE, 1s. 9d.
H. SMITH,
HALE ROAD BRIDGE, ALTRINCHAM, CHESHIRE.
THE “LITTLE GIANT”
PAINT MIXER.
The wood-cut on page 9 of this work shows a useful Paint Mixer for
hand power, called the “Little Giant.” The advantage of this Machine
is that it can be taken to the spot where the Paint is required, and
any quantity up to five gallons mixed in a few minutes. The drum can
be removed for distributing the Paint by pulling down the lever. The
size of the container is 15-in. × 10-in., and is interchangeable. The
weight of the “Little Giant” is 3¹⁄₂-cwts. when complete. The machine
should be of great use to those having to mix Paint where work is
being done, and should appeal specially to Builders, Shipbuilders, and
Engineers.
TORRANCE & SONS, LIMITED,
BITTON, NEAR BRISTOL.
The Illustrated Carpenter & Builder
THE BEST JOURNAL FOR
ARCHITECTS, DECORATORS, PAINTERS, PLUMBERS, JOINERS, GASFITTERS, AND
MECHANICS IN ALL TRADES.
☛ Indispensable to Every Workman, and Interesting to Every Amateur.
One Penny Weekly. Monthly Parts, 6d.
THE CARPENTER AND BUILDER
TECHNICAL..
.... SERIES.
Now Ready:
BRICKLAYING,
SCAFFOLDING,
SLATING,
HOME HANDICRAFTS,
PAINTING AND VARNISHING,
MASONRY,
PLASTERING,
CARPENTRY.
In Preparation:
ARTIFICIAL STONE,
TERRA COTTA, &c.,
CONCRETE,
JOINERY,
DECORATING,
PLUMBING.
Edited by JOHN BLACK, Editor of the I. C. and B.
PRICE SIXPENCE.
Each Volume Well Printed and Profusely Illustrated. Off all
Newsagents, Stationers, Booksellers, and Bookstalls, and (7¹⁄₂d. Post
Free)
JOHN DICKS, 313, STRAND, LONDON, E.C.
Telegraphic Address:
“JAPANNING, MITCHAM.”
Chas. H. Blume,
Western Road,
Mitcham, HIGH-CLASS
Surrey. VARNISHES, JAPANS
ENAMELS and COLOURS.
[Illustration]
SPECIALITIES:
Blume’s Secoline Driers.
Less acute than Terebine; the use of Secoline in Paints warrants their
absolute hardening in as short a time as possible without injury to
the elasticity and wear of the paint.
‘Ambra’ Oil Varnish Stain.
Durability incomparably greater than that of Spirit Varnish Stain.
The ‘Aristo’ White African Copal Varnish.
Paler than French Oil. The whitest, choicest Copal Oil Varnish made.
Warranted free from Damar, yet water white in colour. For inside and
outside use. Price 30/- per gall. Special quotations for quantities.
Blume’s Special Liquid Woodfiller,
_Write for Catalogue, Price List and Samples._
☛ YOU SHOULD TRY
BALL’S
Instantaneous Varnish and Paint Remover
(By Royal Letters Patent).
IT SAVES TIME! IT SAVES MONEY!
For first-class work it gives =best results=, and for cheap work it is
really a =money-saver=. It does its work in a manner that no other
material known to painters can do. Work done with =Ball’s I.V.R.= is
ready for re-coating at once, with a beautiful smooth surface.
No Washing Down with Water Required.
This material is SOLD under the ABSOLUTE GUARANTEE that it will LEAVE
NO BAD AFTER-EFFECTS, nor--MOST IMPORTANT POINT OF ALL--will it ever
work through any of the succeeding coats.
To Decorators, Coach Painters and Hardwood workers this material is
simply indispensable.
Send for Circular to PATENTEE and MANUFACTURER,
WM. MITCHELL,
39, Nairn Street, KIRKCALDY, N.B.
Sample Gallon, 12/- Carriage Paid.
ELLAM, JONES & CO., L^{TD.,}
Varnish, Paint and Colour Manufacturers,
_MARKEATON MILLS, DERBY_.
ESTABLISHED NEARLY A CENTURY.
SPECIALITIES:
MARKEATON RED.
A perfect substitute for Vermilion, used exclusively by the Midland,
Great Central, Hull and Barnsley Railway Companies for their signal
arms, and by nearly all the Corporations in the United Kingdom for
their Fire Appliances.
In Washington Bags of 30lbs. at 1/6 per lb. The most reliable
Permanent Red on the market.
“ELLAMITE.”
_A PAINT ABSOLUTELY UNIQUE._
It is of the appearance of silver, may be applied to the roughest iron
or to any surface--covers splendidly--goes far. It is =quite durable
both inside and OUTSIDE, and costs only 20/- a gallon nett.=, in ¹⁄₂
gallon tins, free; and also in =1/-= and =2/- tins=, subject.
This preparation is made by a process of electrolysis.
Railings, iron gates, &c., look splendid when painted with it.
Painters and decorators all over the country are taking it up.
Specified for many important works, including Great Yarmouth New
Britannia Pier, Yarmouth Aquarium, &c.
CHROMATE OF ZINC, STEEL BLUE, etc.
ORIGINAL MANUFACTURERS OF OXIDE OF IRON.
SAMPLES ON APPLICATION TO
ELLAM, JONES & CO., Ltd.,
Paint, Colour and Varnish Manufacturers,
MARKEATON MILLS, DERBY.
ZINGESSOL,
Orr’s New Washable Distemper.
_Fast Colours_, SUPERSEDING
_Artistic_, ALL OTHERS.
_Economical_.
WARRANTED FREE
FROM LIME.
Durable as Oil Paint for Inside or Outside Work, and much less
expensive.
It is a happy combination of the old Italian Gesso ground with a zinc
preparation, and not only non-poisonous, but a valuable Sanitary
Agent.
A well-chosen Wall Decoration in Zingessol is an art education to
those accustomed only to coloured washes or tawdry papers.
☛ Price List, Patterns of Stock Colours, &c., will be sent on
application to the Manufacturers:
ORR’S ZINC WHITE ^{LTD.}
_Widnes, Lancashire._
OR TO THEIR AGENTS.
Telegrams: “ORR, WIDNES.”
[Illustration: G·B·KENT·&·SONS
BEST·BRITISH·BRUSHES]
[Illustration: ESTABLISHED IN 1760.
LEWIS BERGER AND SONS LIMITED
_Manufacturers of_
PAINTS, COLOURS, AND VARNISHES.
Specially Prepared Lines for DECORATORS SIGN·WRITERS &c write for
samples & particulars
_Homerton, London, N.E._]
Transcriber’s Notes
Inconsistent spelling (including that of proper names), punctuation,
lay-out and formatting have been retained, unless mentioned below.
The differences in wording between the table of contents and the text
have not been standardised; except as mentioned under Changes below,
chapter and (sub-)section headings in the text are based on the text
rather than on the table of contents.
Because of the difficulty to calibrate the named (mixed) colours, the
colour samples provided have been copied straight from the scans,
without any colour correction or contrast or brightness adjustments.
See also the section on The Nomenclature of Colours.
The inconsistencies in the Index have not been corrected.
Depending on the hard- and software used and their settings, not all
elements may display as intended.
Page 41: Naples yellow is mentioned twice, possibly one mention is
erroneous.
Changes made
Some obvious punctuation and typographical errors have been corrected
silently.
Page 7: Venetian read changed to Venetian red
Page 37: Torquoise Blue changed to Turquoise Blue
Page 60: Chapter title HOW TO TEST THE QUALITY OF COLOURS inserted cf.
table of contents.
Page 74: Chapter title RECIPES, TABLES, HINTS AND NOTES inserted cf.
table of contents.
Page 86: Putty for inside wook changed to Putty for inside work
Page 88: In printing over bad stains changed to In painting over bad
stains
Page i: Birdseye changed to Bird’s Eye as in text.
End of Project Gutenberg's Paint & Colour Mixing, by Arthur Seymour Jennings