of natural steel, is composed of white shellac, 5 parts; borax, 1
part; alcohol, 5 parts; water, 4 parts; and a sufficient quantity
of methylene blue. The borax is dissolved in water, the shellac in
alcohol. The aqueous solution of the borax is heated to a boil and the
alcoholic solution of the shellac is added with constant stirring.
Next add the blue color, continuing to stir. Before this coating is
applied to the steel, e. g., the spokes of a bicycle, the latter are
first rubbed off with fine emery paper. The coat is put on with a soft
rag. The quantity of pigment to be added is very small. By varying the
quantity a paler or darker coloring of the steel can be produced.
«PAINTS FOR ROOFS AND ROOF PAPER:»
«Carbolineum.»—This German preparation is made in three colors.
I.—Pale.—Melt together in an iron kettle, over a naked fire, 30 parts
of American rosin F and 150 parts of pale paraffine oil and stir in 10
parts of single rectified rosin oil.
II.—Dark.—Melt 100 parts of anthracene oil and 20 parts of American
rosin F on a slow fire. Next stir in 2 parts of Para rubber solution
(or solution of caoutchouc waste) and keep on boiling until all is
dissolved. When this is done there should be still added 5 parts
of crude concentrated carbolic acid and 5 parts of zinc chloride
lye, 50° Bé., stirring until cool. The last-named admixture is not
absolutely necessary, but highly advisable, owing to its extraordinary
preservative and bactericidal properties.
III.—Colored.—For red, melt 100 parts of coal-tar oil, then stir in
50 parts of pale paraffine oil, and finally 75 parts of bole or iron
minium, and pass through the paint mill. Although the addition of iron
minium is very desirable, it is considerably more expensive. For gray,
proceed as above, with the exception that metallic gray is used in
place of the bole. For green, metallic green is employed. The colors
are identical with those used in the manufacture of roof varnish. To
increase the antiseptic properties of the colored carbolineum, any
desired additions of phenol or zinc chloride solutions may be made,
but the chief requirement in the case of colored carbolineum is good
covering power of the coating.
«Paints for Roofs Covered with Tar Paper, for Roofing Paper, etc.»—
I.—Distilled coal tar 70 parts
Heavy mineral oil (lubricating oil) 10 parts
American rosin 20 parts
II.—Distilled coal tar 50 parts
Trinidad asphalt 15 parts
Mineral oil, containing paraffine 10 parts
Dry clay, finely ground 25 parts
«Imitation Oil Paint.»—Schulz’s German patent paint is cheap, and
claimed to be {498} durable, weatherproof, and glossy, like oil paint.
The application consists of a ground coat, upon which the surface coat
proper is applied after the former is dry. For the preparation of the
grounding dissolve 1,000 parts, by weight, of Marseilles soap in 10,000
parts of boiling water and stir. In a separate vessel dissolve 2,000
parts of glue in 10,000 parts of boiling water, adding 17,500 parts
of spirit of sal ammoniac. These two solutions are poured together
and well stirred. Then dissolve 400 parts of chrome alum in 5,000
parts of water, and pour into the above mixture. To this mixture
add 10,000 parts of pipe clay, stirring the whole well and tinting
with earth colors, ocher, Vandyke brown, etc. The solid ingredients
must be dissolved in boiling hot water, and sifted so as to obtain
a finely divided ground color. This priming is applied in a warm
state. The coating proper is put on the ground coat after it is dry,
in about one-half to one hour. For this coat dissolve 2,000 parts of
crystallized alum in 10,000 parts of boiling water and add to this
liquid a solution of 2,000 parts of glue in 10,000 parts of water; in
a special vessel prepare soapsuds of 1,000 parts of Marseilles soap in
12,000 parts of boiling water; dissolve 120 parts of chrome alum in
1,500 parts of boiling water, and mix the three solutions together with
diligent stirring. This paint or liquid should also be put on hot, and
assures a durable exterior paint.
«PAINTS, STAINS, ETC., FOR SHIPS.»
«Anti-Fouling Composition.»—Make an agglutinant by heating together
By weight
White lead, ground in oil 2 parts
Red lead, dry 1 part
Raw linseed oil 14 parts
While hot stir in yellow ocher, kaolin, baked clay in powder, or any
inert body, such as silica, barytes, gypsum, etc., to form a stiff
dough, and, without allowing this compound to become cold (the vessel
should not be removed from the source of heat), dilute with more or
less manganese linoleate to the required consistency.
«Marine Paint to Resist Sea Water.»—First prepare the water-resisting
agglutinant by heating together
Dry white lead, carbonate only 1 part
Litharge 1 part
Linseed oil (fluid measure) 14 parts
Heat these and stir until of the consistency of thick glue, and for
every 36 parts, by weight, of this compound add 3 parts, by weight,
of turpentine, and 1 part, by weight, of mastic varnish (mastic rosin
dissolved in turpentine); reheat the whole, and for every 32 parts, by
weight, stir in and mix the following:
Baked and powdered clay 4 parts
Portland cement 16 parts
Zinc white 1 part
Red lead 1 part
After well mixing, dilute with more or less turpentine (not exceeding
25 per cent of the whole), or linoleate of manganese, the latter being
preferable, as it has greater binding power. For colored paints use red
oxide of iron or green oxide of chrome, but do not use chrome green or
lead, as they will not stand the action of the sea water.
«Compositions for Ships’ Bottoms.»—
_Green._
Pale rosin 25 pounds
Prepared mineral green 8 pounds
D. L. zinc 13 pounds
Boiled oil 2 pounds
Mineral naphtha 1 gallon
Petroleum spirit 1 1/2 gallons
_Prepared Mineral Green._
Dry levigated mineral green 28 pounds
Turpentine 7 pounds
Turpentine varnish 7 pounds
Refined linseed oil 7 pounds
_Copper Color._
Pale rosin 25 pounds
Light Italian ocher 15 pounds
D. L. zinc 5 pounds
Turkey red paint 1/2 pound
Petroleum spirit 1 1/2 pounds
Mineral naphtha 1 pound
_Pink._
Pale rosin 25 pounds
D. L. zinc 16 pounds
Deep vermilion 7 pounds
Mineral naphtha 1 gallon
Petroleum spirit 1 1/2 gallons
«PAINTS FOR WALLS OF CEMENT, PLASTER, HARD FINISH, ETC.»
«Coating for Bathrooms.»—As a rule cement plastering, as well as oil
paint, suffices for the protection of walls and ceilings in bathrooms,
but attention must be called to the destructive action of medicinal
admixtures. For such rooms as well as for laboratories, an {499}
application of Swedish wood tar, made into a flowing consistency with a
little oil of turpentine and put on hot, has been found very excellent.
It is of advantage previously to warm the wall slightly. To the second
coat add some wax. A very durable coating is obtained, which looks so
pleasing that it is only necessary to draw some stripes with a darker
paint so as to divide the surface into fields.
«Cement, to Paint Over Fresh.»—The wall should be washed with dilute
sulphuric acid several days before painting. This will change the
surplus caustic lime to sulphate of lime or gypsum. The acid should be
about one-half chamber acid and one-half water. This should be repeated
before painting, and a coat of raw linseed oil flowed on freely should
be given for the first coat. While this cannot be always guaranteed
as effectual for making the paint hold, it is the best method our
correspondent has heard of for the purpose, and is worth trying when it
is absolutely necessary to paint over fresh cement.
«Damp Walls, Coating for.»—Thirty parts of tin are dissolved in 40
parts of hydrochloric acid, and 30 parts of sal ammoniac are added. A
powder composed of freestone, 50 parts; zinc oxide, 20 parts; pounded
glass, 15 parts; powdered marble, 10 parts; and calcined magnesia,
5 parts, is prepared, and made into a paste with the liquid above
mentioned. Coloring matter may be added. The composition may be used
as a damp-proof coating for walls, or for repairing stonework, or for
molding statues or ornaments.
«Facade Paint.»—For this zinc oxide is especially adapted, prepared
with size or casein. Any desired earth colors may also be added. The
surfaces are coated 3 times with this mass. After the third application
is dry, put on a single coating of zinc chloride solution of 30° Bé. to
which 3 per cent borax is added.
This coating is very solid, can be washed, and is not injured by
hydrogen sulphide.
«Hard-Finished Walls.»—The treatment for hard-finished walls which are
to be painted in flat colors is to prime with a thin coat of lead and
oil well brushed into the wall. Next put on a thin coat of glue size;
next a coat mixed with 1/3 oil and 2/3 turpentine; next a coat of
flat paint mixed with turpentine. If you use any dry pigment mix it
stiff in oil and thin with turps. If in either case the paint dries too
fast, and is liable to show laps, put a little glycerine in, to retard
the drying.
«PAINTS, WATERPROOF AND WEATHERPROOF:»
See also Fireproof Paint.
The following are claimed to be both waterproof and weatherproof:
I.—In 50 parts, by weight, of spirit of 96 per cent, dissolve 16 parts,
by weight, of shellac, orange, finely powdered; 3 parts, by weight, of
silver lake, finely powdered; and 0.6 parts, by weight, of gamboge,
finely powdered. This paint may be employed without admixture of any
siccative, and is excellently adapted for painting objects which
are exposed to the inclemencies of the weather, as it is perfectly
weatherproof.
II.—Mix glue water with zinc oxide (zinc white) and paint the
respective object with this mixture. When this is dry (after about
2 hours) it is followed up with a coating of glue water and zinc
chloride in a highly diluted state. Zinc oxide enters into a chemical
combination with zinc chloride, which acquires the hardness of glass
and a mirror-like bright surface. Any desired colors can be prepared
with the glue water (size) and are practically imperishable. This zinc
coating is very durable, dries quickly, and is 50 per cent cheaper than
oil paint.
«Water- and Acid-Resisting Paint.»—Caoutchouc is melted with colophony
at a low temperature, after the caoutchouc has been dried in a drying
closet (stove) at 158° to 176° F., until no more considerable increase
in weight is perceptible, while the colophony has completely lost
its moisture by repeated melting. The raw products thus prepared
will readily melt upon slight heating. To the melted colophony and
caoutchouc add in a hot liquid state zinc white or any similar pigment.
Thin with a varnish consisting of 50 parts of perfectly anhydrous
colophony, 40 parts of absolute alcohol, and 40 parts of benzine. The
whole syrupy mass is worked through in a paint mill to obtain a uniform
product, at which operation more or less colophony varnish is added
according to the desired consistency.
«Water- and Air-Proof Paint.»—An air-proof and waterproof paint, the
subject of a recent French patent, is a compound of 30 parts, by
weight, acetone; 100 parts acetic ether; 50 parts sulphuric ether; 100
parts camphor; 50 parts gum lac; 200 parts cotton; 100 parts paper
{500} (dissolved in sulphuric acid); 100 parts mastic in drops. These
proportions may fluctuate according to need. The paper is reduced well
and dissolved without heat with sufficient sulphuric ether; the cotton
is dissolved in the acetone and the whole is mixed together with the
other ingredients and stirred well. The application is performed as
with any other varnish. The coating is said not to crack or shrink and
to be particularly useful as a protection against moisture for all
stuffs.
«PAINTS FOR WOOD:»
See also Wood.
«Floor Coating.»—A new paint for floors, especially those of soft wood:
Mix together 2.2 pounds joiners’ glue; a little over 1 ounce powdered
bichromate of potash; 3 1/2 ounces aniline brown; and 10 1/2 quarts
water in a tin vessel. After 6 hours have elapsed (when the glue is
completely soaked), heat gradually to the boiling point. The coating
becomes perfectly water-tight after 2 or 3 days; it is not opaque,
as the earthy body is lacking. The glue causes the wood fibers to be
firmly united. It becomes insoluble by the addition of bichromate of
potash, under the influence of light. Without this admixture a simple
glue coat has formerly not been found satisfactory, as it dissolves if
cleaned with water.
«Durable House Paint.»—I.—New houses should be primed once with pure
linseed oil, then painted with a thin paint from white lead and chalk,
and thus gradually covered. The last coat is prepared of well-boiled
varnish, white lead, and chalk. The chalk has the mission to moderate
the saponification of the linseed oil by the white lead. Mixing colors
such as ocher and black, which take up plenty of oil, materially assist
in producing a durable covering.
II.—Prime with zinc white and let this be succeeded by a coating with
zinc chloride in glue water (size). The zinc oxide forms with the
zinc chloride an oxy-chloride of great hardness and glossy surface.
By admixture of pigments any desired shade may be produced. The zinc
coating is indestructible, dries quickly, does not peel, is free from
the smell of fresh oil paint, and more than 5 per cent cheaper.
«Ivory Coating for Smooth, Light Wood.»—In order to cover the articles,
which may be flat or round, with this coating, they must first be
polished quite smooth and clean; then they are coated with thin, hot,
white glue. When the coat is thoroughly dry, the glue is rubbed off
again with fine glass paper. The mass is prepared as follows: Take
3 pounds (more or less, according to the number of articles) of the
purest and best collodion; grind upon a clean grinding stone twice
the quantity that can be taken up with the point of a knife of Krems
white, with enough good pale linseed oil as is necessary to grind the
white smooth and fine. Take a clean bottle, into which one-half of the
collodion is poured; to this add the ground white, which can be removed
clean from the stone by means of a good spatula and put in the bottle.
Add about 100 drops of linseed oil, and shake the mass till it looks
like milk.
Now painting with this milky substance may be commenced, using a fine
hair pencil of excellent quality. The pencil is not dipped in the large
bottle; but a glass is kept at hand with an opening of about 1 inch,
so as to be able to immerse the pencil quickly. The substance is not
flowing like the alcohol lacquers, for which reason it may be put on
thick, for the ether, chiefly constituting the mass, evaporates at once
and leaves but a very thin film which becomes noticeable only after
about 10 such applications have been made. Shake the bottle well each
time before filling the small glass, as the heavy Krems white is very
apt to sink to the bottom of the bottle. If it is observed that the
substance becomes too thick, which may easily occur on account of the
evaporation, a part of the remaining ether is added, to which in turn
30 to 40 drops of oil are added, shaking it till the oil appears to be
completely dissolved.
The operator must put on the mass in quick succession and rather thick.
After about 10 coats have been applied the work is allowed to rest
several hours; then 3 or 4 coats of pure collodion, to which likewise
several drops of oil have been added, are given. Another pause of
several hours having been allowed to intervene, application of the mass
is once more begun.
When it is noticed that a layer of the thickness of paper has formed,
the articles, after drying thoroughly, should be softly rubbed off
with very fine glass paper, after which they require to be wiped off
well with a clean linen rag, so that no dust remains. Then coating is
continued till the work seems serviceable.
A few applications of pure collodion should be made, and when this has
become perfectly hard, after a few hours, it can be rubbed down with a
rag, {501} tripoli, and oil, and polished by hand, like horn or ivory.
This work can be done only in a room which is entirely free from dust.
The greatest cleanliness must be observed.
«MISCELLANEOUS RECIPES, PAINTS, ETC.:»
«Bathtub Paint.»—Take white keg lead, tint to any desired color and
then add, say, 1/8 boiled oil (pure linseed) to 7/8 hard drying
durable body varnish. Clean the surface of the tub thoroughly before
applying the paint. Benzine or lime wash are good cleaning agents. Coat
up until a satisfactorily strong, pure color is reached. This will give
good gloss and will also wear durably.
«Coating for Name Plates.»—A durable coating for name plates in
nurseries is produced as follows: Take a woolen rag, saturate it with
joiners’ polish, lay it into a linen one, and rub the wooden surface
with this for some time. Rub down with sandpaper and it can be written
on almost like paper. When all is dry, coat with dammar lacquer for
better protection. If the wood is to receive a color it is placed in
the woolen rag before rubbing down, in this case chrome yellow.
«To Keep Flies from Fresh Paint.»—For the purpose of keeping flies and
other insects away from freshly painted surfaces mix a little bay oil
(laurel oil) with the oil paint, or place a receptacle containing same
in the vicinity of the painted objects. The pungent odor keeps off the
flies.
«Heat-Indicating Paint.»—A heat-indicating paint composed of a double
iodide of copper and mercury was first discovered years ago by a German
physicist. At ordinary temperatures the paint is red, but when heated
to 206° F. it turns black. Paper painted with this composition and
warmed at a stove exhibits the change in a few seconds. A yellow double
iodide of silver and mercury is even more sensitive to heat, changing
from yellow to dark red.
«To Keep Liquid Paint in Workable Condition.»—To prevent liquid paint
which, for convenience sake, is kept in small quantities and flat
receptacles, from evaporating and drying, give the vessels such a
shape that they can be placed one on top of the other without danger
of falling over, and provide the under side with a porous mass—felt or
very porous clay, etc.—which, if moistened, will retain the water for a
long time. Thus, in placing the dishes one on top of the other, a moist
atmosphere is created around them, which will inhibit evaporation and
drying of the paint. A similar idea consists in producing covers with a
tight outside and porous inside, for the purpose of covering up, during
intermission in the work, clay models and like objects which it is
desired to keep soft. In order to avoid the formation of fungous growth
on the constantly wet bottom, it may be saturated with non-volatile
disinfectants, or with volatile ones if their vapors are calculated to
act upon the objects kept underneath the cover. If the cover is used to
cover up oil paints, it is moistened on the inside with volatile oil,
such as oil of turpentine, oil of lavender, or with alcohol.
«Peeling of Paints.»—For the prevention of peeling of new coatings on
old oil paintings or lakes, the latter should be rubbed with roughly
ground pumice stone, wet by means of felt rags, and to the first new
coat there should be added fine spirit in the proportion of about
1/10 of the thinning necessary for stirring (turpentine, oil, etc.).
This paint dries well and has given good results, even in the most
difficult cases. The subsequent coatings are put on with the customary
paint. Fat oil glazes for graining are likewise mixed with spirit,
whereby the cracking of the varnish coating is usually entirely
obviated.
«Polychroming of Figures.»—This paint consists of white wax, 1 part,
and powdered mastic, 1 part, melted together upon the water bath and
mixed with rectified turpentine. The colors to be used are first ground
stiffly in turpentine on the grinding slab, and worked into consistency
with the above solution.
«Priming Coat for Water Spots.»—A very simple way to remove rain spots,
or such caused by water soaking through ceilings, has been employed
with good results. Take unslaked white lime, dilute with alcohol, and
paint the spots with it. When the spots are dry—which ensues quickly,
as the alcohol evaporates and the lime forms a sort of insulating
layer—one can proceed painting with size color, and the spots will not
show through again.
PAINT FOR PROTECTING CEMENT AGAINST ACID: See Acid-Proofing.
PAINT, GREASE: See Cosmetics. {502}
PAINT REMOVERS: See Cleaning Compounds.
PALLADIUM ALLOYS: See Alloys.
PALLADIUMIZING: See Plating.
«PALMS, THEIR CARE.»
Instead of washing the leaves of palms with water, many florists employ
a mixture of milk and water, the object being to prevent the formation
of disfiguring brown stains.
«Paper»
«Paper Pads» (see also Adhesives, under Glue).
I.—Glue 3 1/2 ounces
Glycerine 8 ounces
Water, a sufficient quantity.
Pour upon the glue more than enough water to cover it and let stand for
several hours, then decant the greater portion of the water; apply heat
until the glue is dissolved, and add the glycerine. If the mixture is
too thick, add more water.
II.—Glue 6 ounces
Alum 30 grains
Acetic acid 1/2 ounce
Alcohol 1 1/2 ounces
Water 6 1/2 ounces
Mix all but the alcohol, digest on a water bath till the glue is
dissolved, allow to cool, and add the alcohol.
«Papier Maché.»—The following are the ingredients necessary to make
a lump of papier maché a little larger than an ordinary baseball and
weighing 17 ounces:
Wet paper pulp, dry paper, 1 ounce; water, 3 ounces; 4 ounces
(avoirdupois); dry plaster Paris, 8 ounces (avoirdupois); hot glue,
1/2 gill, or 4 1/2 tablespoonfuls.
While the paper pulp is being prepared, melt some best Irish glue in
the glue pot and make it of the same thickness and general consistency
as that used by cabinet makers. On taking the paper pulp from the water
squeeze it gently, but do not try to dry it. Put in a bowl, add about
3 tablespoonfuls of the hot glue, and stir the mass up into a soft and
very sticky paste. Add the plaster of Paris and mix thoroughly. By the
time about 3 ounces of the plaster have been used, the mass is so dry
and thick that it can hardly be worked. Add the remainder of the glue,
work it up again until it becomes sticky once more, and then add the
remainder of the plaster. Squeeze it vigorously through the fingers
to thoroughly mix the mass, and work it until free from lumps, finely
kneaded and sticky enough to adhere to the surface of a planed board.
If it is too dry to stick fast add a few drops of either glue or water,
and work it up again. When the paper pulp is poor and the maché is
inclined to be lumpy, lay the mass upon a smooth board, take a hammer
and pound it hard to grind it up fine.
If the papier maché is not sticky enough to adhere firmly to whatever
it is rubbed upon, it is a failure, and requires more glue. In using it
the mass should be kept in a lump and used as soon as possible after
making. Keep the surface of the lump moist by means of a wet cloth laid
over it, for if you do not, the surface will dry rapidly. If it is to
be kept overnight, or longer, wrap it up in several thicknesses of wet
cotton cloth, and put under an inverted bowl. If it is desired to keep
a lump for a week, to use daily, add a few drops of glycerine when
making, so that it will dry more slowly.
The papier maché made according to this formula has the following
qualities: When tested by rubbing between the thumb and finger, it was
sticky and covered the thumb with a fine coating. (Had it left the
thumb clean, it would have been because it contained too much water.)
When rubbed upon a pane of glass it sticks tightly and dries hard in
3 hours without cracking, and can only be removed with a knife. When
spread in a layer as thin as writing paper it dries in half an hour.
A mass actually used dried hard enough to coat with wax in 18 hours,
and, without cracking, became as hard as wood; yet a similar quantity
wrapped in a wet cloth and placed under an inverted bowl kept soft and
fit for use for an entire week.
«Parchment Paper.»—I.—Dip white unsized paper for half a minute in
strong sulphuric acid, specific gravity, 1.842, and afterwards in water
containing a little ammonia.
II.—Plunge unsized paper for a few seconds into sulphuric acid diluted
with half to a quarter its bulk of water (this solution being of the
same temperature as the air), and afterwards wash with weak ammonia.