coating them with asphaltum lacquer or varnish. A formula recommended
for this purpose is as follows: Dissolve asphaltum, 1 part, in light
coal-tar oil, 2 parts, and add to the solution about 1 per cent of
castor oil. This lacquer dries somewhat slowly, but adheres very firmly
to the glass. Asphaltum lacquer may also be rendered less brittle by
the addition of elemi. Melt together asphaltum, 10 parts, and elemi, 1
part, and dissolve the cold fused mass in light coal-tar oil, 12 parts.
Amber-colored bottles for substances acted upon by the actinic rays of
light may be obtained from almost any manufacturer of bottles.
«Can Varnish.»—Dissolve shellac, 15 parts, by weight; Venice
turpentine, 2 parts, by weight; and sandarac, 8 parts, by weight, in
spirit, 75 parts, by weight.
«Copal Varnish.»—Very fine copal varnish for those parts of carriages
which require the highest polish, is prepared as follows:
I.—Melt 8 pounds best copal and mix with 20 pounds very clear matured
oil. Then boil 4 to 5 hours at moderate heat until it draws threads;
now mix with 35 pounds oil of turpentine, strain and keep for use.
This varnish dries rather slowly, therefore varnishers generally mix
it one-half with another varnish, which is prepared by boiling for 4
hours, 20 pounds clear linseed oil and 8 pounds very pure, white anime
rosin, to which is subsequently added 35 pounds oil of turpentine.
II.—Mix the following two varnishes:
(_a_) Eight pounds copal, 10 pounds linseed oil, 1/2 pound dried
sugar of lead, 35 pounds oil of turpentine.
(_b_) Eight pounds good anime rosin, 10 pounds linseed oil, 1/4 pound
zinc vitriol, 35 pounds oil of turpentine. Each of these two sets is
boiled separately into varnish and strained, and then both are mixed.
This varnish dries in 6 hours in winter, and in 4 hours in summer. For
old articles which are to be re-varnished black, it is very suitable.
«Elastic Limpid Gum Varnishes.»—I.—In order to obtain a limpid rubber
varnish, it is essential to have the rubber entirely free from water.
This can be obtained by cutting the rubber into thin strips, or better,
into shreds as fine as possible, and drying them, at a temperature of
from 104° to 122° F., for several days or until they are water free,
then proceed as follows:
II.—Dissolve 1 part of the desiccated rubber in 8 parts of petroleum
ether (benzine) and add 2 parts of fat copal varnish and stir in. Or,
cover 2 parts of dried rubber with 1 part of ether; let stand for
several days, or until the rubber has taken up as much of the ether as
it will, then liquefy by standing in a vessel of moderately warm water.
While still warm, stir in 2 parts of linseed oil, cut with 2 parts of
turpentine oil.
«ENAMEL VARNISHES:»
«Antiseptic Enamel.»—This consists of a solution of spirituous gum lac,
rosin, and copal, with addition of salicylic acid, etc. Its purpose
is mainly the prevention or removal of mold or fungous formation. The
salicylic acid contained in the mass acts as an antiseptic during the
painting, and destroys all fungi present. {721}
«Bath-Tub Enamel Unaffected by Hot Water.»—I.—In order to make paint
hold on the zinc or tinned copper lining of a bath tub, a wash must be
used to produce a film to which oil paint will adhere. First remove all
grease, etc., with a solution of soda or ammonia and dry the surface
thoroughly; then apply with a wide, soft brush equal parts, by weight,
of chloride of copper, nitrate of copper, and sal ammoniac, dissolved
in 64 parts, by weight, of water. When dissolved add 1 part, by weight,
of commercial muriatic acid. This solution must be kept in glass or
earthenware. It will dry in about 12 hours, giving a grayish-black
coating to which paint will firmly adhere.
The priming coat should be white lead thinned with turpentine, with
only just sufficient linseed oil to bind it. After this is thoroughly
dry, apply one or more coats of special bath-tub enamel, or a gloss
paint made by mixing coach colors ground in Japan with hard-drying
varnish of the best quality. Most first-class manufacturers have
special grades that will stand hot water.
II.—The following preparation produces a brilliant surface on metals
and is very durable, resisting the effect of blows without scaling or
chipping off, and being therefore highly suitable for cycles and any
other articles exposed to shock:
For the manufacture of 44 gallons, 11 pounds of red copper, 8.8 pounds
of yellow copper, 4.4 pounds of hard steel, and 4.4 pounds of soft
steel, all in a comminuted condition, are well washed in petroleum or
mineral spirit, and are then treated with concentrated sulphuric acid
in a lead-lined vessel, with continued stirring for 2 hours. After 12
hours’ rest the sulphuric acid is neutralized with Javel extract, and
the fine powder left in the vessel is passed through a silk sieve to
remove any fragments of metal, then ground along with linseed oil,
ivory black, and petroleum, the finely divided mass being afterwards
filtered through flannel and incorporated with a mixture of Bombay gum,
22 pounds; Damascus gum, 11 pounds; Judea bitumen, 22 pounds; Norwegian
tar rosin, 11 pounds; and 11 pounds of ivory black ground very fine
in refined petroleum. When perfectly homogeneous the mass is again
filtered, and is then ready for use. It is laid on with a brush, and
then fixed by exposure to a temperature of between 400° and 800° F. The
ivory black may be replaced by other coloring matters, according to
requirements.
«A Color Enamel.»—On the piece to be enameled apply oil varnish or
white lead, and add a powder giving brilliant reflections, such as
diamantine, brilliantine, or argentine. Dry in a stove. Apply a new
coat of varnish. Apply the powder again, and finally heat in the oven.
Afterwards, apply several layers of varnish; dry each layer in the
oven. Apply pumice stone in powder or tripoli, and finally apply a
layer of Swedish varnish, drying in the oven. This enamel does not
crack. It adheres perfectly, and is advantageous for the pieces of
cycles and other mobiles.
«Cold Enameling.»—This style of enameling is generally employed for
repairing purposes. The various colors are either prepared with copal
varnish and a little oil of turpentine, or else they are melted
together with mastic and a trifle of oil of spike. In using the former,
the surface usually settles down on drying, and ordinarily the latter
is preferred, which is run on the cracked-off spot by warming the
article. After the cooling, file the cold enamel off uniformly, and
restore the gloss by quickly drawing it through the flame. For black
cold enamel melt mastic together with lampblack, which is easily
obtained by causing the flame of a wick dipped into linseed oil to
touch a piece of tin.
White.—White lead or flake white.
Red.—Carmine or cinnabar (vermilion).
Blue.—Ultramarine or Prussian blue.
Green.—Scheele’s green or Schweinfurt green.
Brown.—Umber.
Yellow.—Ocher or chrome yellow.
The different shades are produced by mixing the colors.
«Enamel for Vats, etc.»—Two different enamels are usually employed,
viz., one for the ground and one for the top, the latter being somewhat
harder than the former. Ground enamel is prepared by melting in an
enameled iron kettle 625 parts brown shellac, 125 parts French oil of
turpentine, with 80 parts colophony, and warming in another vessel
4,500 parts of spirit (90 per cent). As soon as the rosins are melted,
remove the pot from the fire and add the spirit in portions of 250
parts at a time, seeing to it that the spirit added is completely
combined with the rosins by stirring before adding any more. When all
the spirit is added, warm the whole again for several minutes on the
water bath (free fire should {722} be avoided, on account of danger of
fire), and allow to settle. If a yellow color is desired, add yellow
ocher, in which case the mixture may also be used as floor varnish.
The top enamel (hard) consists of 500 parts shellac, 125 parts French
oil of turpentine, and 3,500 parts spirit (90 per cent). Boiling
in the water bath until the solution appears clear can only be of
advantage. According to the thickness desired, one may still dilute in
the cold with high-strength spirit. Tinting may be done, as desired,
with earth colors, viz., coffee brown with umber, red with English
red, yellow with ocher, silver gray with earthy cerussite, and some
lampblack. Before painting, dry out the vats and putty up the joints
with a strip of dough which is prepared from ground enamel and finely
sifted charcoal or brown coal ashes, and apply the enamel after the
putty is dry. The varnish dries quickly, is odorless and tasteless,
and extraordinarily durable. If a little annealed soot black is added
to this vat enamel, a fine iron varnish is obtained which adheres very
firmly. Leather (spattering leather on carriages) can also be nicely
varnished with it.
«Finishing Enamel for White Furniture.»—Various methods are practiced
in finishing furniture in white enamel, and while numerous preparations
intended for the purpose named are generally purchasable of local
dealers in paint supplies, it is often really difficult, and frequently
impossible, to obtain a first-class ready-made enamel. To prepare such
an article take 1/2 pint of white lead and add to it 1/4 pint of
pure turpentine, 1/4 gill of pale coach Japan, and 1/2 gill of
white dammar varnish. Mix all the ingredients together thoroughly.
Apply with a camel’s-hair brush, and for large surfaces use a 2-inch
double thick brush. There should be at least three coats for good
work, applied after an interval of 24 hours between coats; and for
strictly high-class work four coats will be necessary. Each coat
should be put on thin and entirely free from brush marks, sandpapering
being carefully done upon each coat of pigment. Work that has been
already painted or varnished needs to be cut down with, say, No. 1/2
sandpaper, and then smoothed fine with No. 1/2 paper. Then thin
white lead to a free working consistency with turpentine, retaining
only a weak binder of oil in the pigment, and apply two coats of it to
the surface. Give each coat plenty of time to harden (36 hours should
suffice), after which sandpapering with No. 1 1/2 paper had best be
done. Ordinarily, upon two coats of white lead, the enamel finish, as
above detailed, may be successfully produced. For the fine, rich enamel
finish adapted to rare specimens of furniture and developed in the
mansions of the multimillionaires, a more elaborate and complex process
becomes necessary.
«Quick-Drying Enamel Colors.»—Enamel colors which dry quickly, but
remain elastic so that applied on tin they will stand stamping without
cracking off, can be produced as follows:
In a closed stirrer or rolling cask place 21.5 parts, by weight, of
finely powdered pale French rosin, 24 1/2 parts, by weight, of Manila
copal, as well as 35 parts, by weight, of denaturized spirit (95 per
cent), causing the cask or the stirrer to rotate until all the gum
has completely dissolved, which, according to the temperature of the
room in which the stirrer is and the hardness of the gums, requires 24
to 48 hours. When the gums are entirely dissolved add to the mixture
a solution of 21 1/2 parts, by weight, of Venice oil turpentine in
0.025 parts, by weight, of denaturized spirit of 95 per cent, allowing
the stirrer to run another 2 to 3 hours. For the purpose of removing
any impurities present or any undissolved rosin from the varnish, it
is poured through a hair sieve or through a threefold layer of fine
muslin (organdie) into suitable tin vessels or zinc-lined barrels for
further clarification. After 10 to 14 days the varnish is ready for
use. By grinding this varnish with the corresponding dry pigments the
desired shades of color may be obtained; but it is well to remark that
chemically pure zinc white cannot be used with advantage because it
thickens and loses its covering power. The grinding is best carried out
twice on an ordinary funnel mill. Following are some recipes:
I.—Enamel White.—Lithopone, 2 parts, by weight; white lead, purest,
1/2 part, by weight; varnish, 20 parts, by weight.
II.—Enamel Black.—Ivory black, 2 parts, by weight; Paris blue, 0.01
part, by weight; varnish, 23 parts, by weight.
III.—Pale Gray.—Graphite, 2 parts, by weight; ultramarine, 0.01 part,
by weight; lithopone, 40 parts, by weight; varnish, 100 parts, by
weight.
IV.—Dark Gray.—Graphite, 3 parts, by weight; ivory black, 2 parts, by
weight; lithopone, 40 parts, by weight; varnish, 110 parts, by weight.
{723}
V.—Chrome Yellow, Pale.—Chrome yellow, 2 parts, by weight; lithopone, 2
parts, by weight; varnish, 40 parts, by weight; benzine, 1 1/2 parts,
by weight.
VI.—Chrome Yellow, Dark.—Chrome yellow, dark, 2 parts, by weight;
chrome orange, 1/8 part, by weight; lithopone, 1 part, by weight;
varnish, 35 parts, by weight; benzine, 1 part, by weight.
VII.—Pink, Pale.—Carmine, 1/2 part, by weight; lithopone, 15 parts,
by weight; varnish, 40 parts, by weight; benzine, 1 1/2 parts, by
weight.
VIII.—Pink, Dark.—Carmine, 1/2 part, by weight; Turkey red, 1 part,
by weight; lithopone, 15 parts, by weight; varnish, 40 parts, by weight.
IX.—Turkey Red.—Turkey red, pale, 2 parts, by weight; lithopone, 1
part, by weight; Turkey red, dark, 1 part, by weight; white lead, pure,
1/2 part, by weight; varnish, 18 parts, by weight; benzine, 1/2
part, by weight.
X.—Flesh Tint.—Chrome yellow, pale, 1 1/2 parts, by weight; graphite,
1/8 part, by weight; lithopone, 15 parts, by weight; Turkey red,
pale, 2 parts, by weight; varnish, 42 parts, by weight; benzine, 1/2
part, by weight.
XI.—Carmine Red.—Lead sulphate, 5 parts, by weight; Turkey red, pale, 6
parts, by weight; carmine, 1 1/2 parts, by weight; orange minium, 3
parts, by weight; vermilion, 2 parts, by weight; varnish, 50 parts, by
weight; benzine, 1 1/2 parts, by weight.
XII.—Sky Blue.—Ultramarine, 5 parts, by weight; lithopone, 5 parts, by
weight; ultramarine green, 0.05 parts, by weight; varnish, 30 parts, by
weight; benzine, 1 part, by weight.
XIII.—Ultramarine.—Ultra blue, 5 parts, by weight; varnish, 12 parts,
by weight; benzine, 1/2 part, by weight.
XIV.—Violet.—Ultramarine, with red tinge, 10 parts, by weight; carmine,
0.5 parts, by weight; varnish, 25 parts, by weight.
XV.—Azure.—Paris blue, 10 parts, by weight; lithopone, 100 parts, by
weight; varnish, 300 parts, by weight.
XVI.—Leaf Green.—Chrome green, pale, 5 parts, by weight; varnish, 25
parts, by weight; benzine, 1/2 part, by weight.
XVII.—Silk Green.—Silk green, 10 parts, by weight; chrome yellow, pale,
1/2 part, by weight; lead sulphate, 5 parts, by weight; varnish, 30
parts, by weight; benzine, 1/2 part, by weight.
XVIII.—Brown.—English red, 10 parts, by weight; ocher, light, 3 parts,
by weight; varnish, 30 parts, by weight; benzine, 1/2 part, by weight.
XIX.—Ocher.—French ocher, 10 parts, by weight; chrome yellow, dark,
1/2 part, by weight; varnish, 30 parts, by weight; benzine, 1/2
part, by weight.
XX.—Chocolate.—Umber, 10 parts, by weight; Florentine lake, 1/8 part,
by weight; varnish, 25 parts, by weight; benzine, 1/2 part, by weight.
XXI.—Terra Cotta.—Chrome yellow, pale, 10 parts, by weight; Turkey red,
dark, 3 parts, by weight; varnish, 35 parts, by weight.
XXII.—Olive, Greenish.—French ocher, 5 parts, by weight; Paris blue,
1/2 part, by weight; graphite, 1/2 part, by weight; varnish, 25
parts, by weight; lithopone, 5 parts, by weight.
XXIII.—Olive, Brownish.—Chrome orange, 5 parts, by weight; Paris blue,
2 parts, by weight; lead sulphate, 10 parts, by weight; English red, 1
part, by weight; varnish, 40 parts, by weight; benzine, 1 1/2 parts,
by weight.
XXIV.—Olive, Reddish.—Turkey red, dark, 75 parts, by weight; sap green,
75 parts, by weight; ocher, pale, 5 parts, by weight; varnish, 300
parts, by weight; benzine, 1 1/2 parts, by weight.
«ENGRAVERS’ VARNISHES.»
In copper-plate engraving the plate must be covered with a dark-colored
coating which, though entirely unaffected by the etching fluid, must be
soft enough to allow the finest lines to be drawn with the needle and
must also be susceptible of complete and easy removal when the etching
is finished. Varnishes which possess these properties are called
“etching grounds.” They are made according to various formulas, but
in all cases the principal ingredient is asphalt, of which only the
best natural varieties are suitable for this purpose. Another common
ingredient is beeswax, or tallow.
Etching grounds are usually made in small quantities, at a single
operation, by melting and stirring the solid ingredients together and
allowing the mass to cool in thin sheets, which are then dissolved in
oil of turpentine. The plate is coated uniformly with this varnish
through which the engraver’s tool readily penetrates, laying bare the
metal beneath. After the lines thus drawn have been etched by immersing
the plate in acid, the varnish is washed off with oil of turpentine.
The following formulas for etching grounds have been extensively used
by engravers: {724}
I II III IV
Yellow wax 50 30 110 40 parts
Syrian asphalt 20 20 25 40 parts
Rosin — — — 20 parts
Amber — — 20 — parts
Mastic 25 25 25 — parts
Tallow — — — 2 parts
Bergundy pitch — — — 10 parts
«FLOOR VARNISHES.»
I.—Manila copal, spirit-soluble 12 parts
Ruby shellac, powdered 62 parts
Venice, turpentine 12 parts
Spirit, 96 per cent 250 parts
The materials are dissolved cold in a covered vat with constant
stirring, or better still, in a stirring machine, and filtered. For the
pale shades take light ocher; for dark ones, Amberg earth, which are
well ground with the varnish in a paint mill.
II.—Shellac, A C leaf, 1.2 parts; sandarac, 8 parts; Manila copal, 2
parts; rosin, 5 parts; castor or linoleic acid or wood oil acid, 1.50
parts; spirit (96 per cent), 65 parts.
«French Varnish.»—So-called French varnish is made by dissolving I part
of bleached or orange shellac in 5 parts of alcohol, the solution being
allowed to stand and the clear portion then being decanted. The varnish
may be colored by materials which are soluble in alcohol.
For red, use 1 part of eosin to 49 parts of the bleached shellac
solution. For blue, use 1 part of aniline blue to 24 parts of the
bleached shellac solution, as the orange shellac solution would impart
a greenish cast. For green, use 1 part of aniline green (brilliant
green) to 49 parts of the orange shellac solution. For yellow, use
either 2 parts of extract of turmeric or 1 part of gamboge to 24
parts of the solution, or 1 part of aniline yellow to 49 parts of the
solution. For golden yellow, use 2 parts of gamboge and 1 part of
dragon’s blood to 47 parts of the orange shellac solution. The gamboge
and dragon’s blood should be dissolved first in a little alcohol.
«Golden Varnishes.»—
I.—Powdered benzoin 1 part
Alcohol enough to make 10 parts.
Pure saffron, roughly broken up, about 6 threads to the ounce.
Macerate 3 days and filter. Vary the quantity of saffron according to
the shade desired. Mastic and juniper gum may be added to this varnish
if a heavier body is desired.
II.—Benzoin, juniper gum, gum mastic, equal parts.
Dissolve the gums in 9 times their weight of alcohol (varied more or
less according to the consistency wanted), and color to the desired
shade with threads of pure saffron. This varnish is very brilliant and
dries at once.
«India-Rubber Varnishes.»—I.—Dissolve 10 pounds of India rubber in
a mixture of 10 pounds of turpentine and 20 pounds of petroleum by
treating same on a water bath. When the solution is completed add 45
pounds of drying oil and 5 pounds of lampblack and mix thoroughly.
II.—Dissolve 7 pounds of India rubber in 25 pounds of oil of
turpentine. By continued heating dissolve 14 pounds of rosin in the
mixture. Color while hot with 3 pounds of lampblack.
«Inlay Varnish.»—
Ozokerite 17 parts
Carnauba wax 3 parts
Turpentine oil 15 parts
Melt the ozokerite and Carnauba wax, then stir in the turpentine oil.
This varnish is applied like a polish and imparts to the wood a dark
natural color and a dull luster.
«Japanning Tin.»—The first thing to be done when a vessel is to be
japanned, is to free it from all grease and oil, by rubbing it with
turpentine. Should the oil, however, be linseed, it may be allowed to
remain on the vessel, which must in that case be put in an oven and
heated till the oil becomes quite hard.
After these preliminaries, a paint of the shade desired, ground in
linseed oil, is applied. For brown, umber may be used.
When the paint has been satisfactorily applied it should be hardened
by heating, and then smoothed down by rubbing with ground pumice stone
applied gently by means of a piece of felt moistened with water. To be
done well, this requires care and patience, and, it might be added,
some experience.
The vessel is next coated with a varnish, made by the following formula:
Turpentine spirit 8 ounces
Oil of lavender 6 ounces
Camphor 1 drachm
Bruised copal 2 ounces
Perhaps some other good varnish would give equally satisfactory results.
After this the vessel is put in an oven and heated to as high a
temperature as it will bear without causing the varnish to {725}
blister or run. When the varnish has become hard, the vessel is taken
out and another coat is put on, which is submitted to heat as before.
This process may be repeated till the judgment of the operator tells
him that it is no longer advisable.
Some operators mix the coloring matter directly with the varnish; when
this is done, care should be taken that the pigment is first reduced to
an impalpable powder, and then thoroughly mixed with the liquid.
«LABEL VARNISHES.»
I.—Sandarac 3 ounces av.
Mastic 3/4 ounce av.
Venice turpentine 150 grains
Alcohol 16 fluidounces
Macerate with repeated stirring until solution is effected, and then
filter.
The paper labels are first sized with diluted mucilage, then dried, and
then coated with this varnish. If the labels have been written with
water-soluble inks or color, they are first coated with 2 coats of
collodion, and then varnished.
II.—The varnished labels of stock vessels often suffer damage from the
spilling of the contents and the dripping after much pouring.
Formalin gelatin is capable of withstanding the baneful influence of
ether, benzine, water, spirit of wine, oil, and most substances. The
following method of applying the preservative is recommended: Having
thoroughly cleaned the surface of the vessel, paste the label on and
allow it to dry well. Give it a coat of thin collodion to protect
the letters from being dissolved out or caused to run, then after a
few minutes paint over it a coat of gelatin warmed to fluidity—5 to
25—being careful to cover in all the edges. Just before it solidifies
go over it with a tuft of cotton dipped into a 40 per cent formalin
solution. It soon dries and becomes as glossy as varnish, and may be
coated again and again without danger of impairing the clear white of
the label or decreasing its transparency.
«Leather Varnishes.»—I.—An excellent varnish for leather can be made
from the following recipe: Heat 400 pounds of boiled oil to 212° F.,
and add little by little 2 pounds of bichromate of potash, keeping the
same temperature. The addition of the bichromate should take about 15
minutes. Raise to 310° F., and add gradually during 1 hour at that
temperature, 40 pounds Prussian blue. Heat for 3 hours more, gradually
raising to 482° to 572° F., with constant stirring. In the meantime,
heat together at 392° F., for 1/2 an hour, 25 pounds linseed oil, 35
pounds copal, 75 pounds turpentine, and 7 pounds ceresine. Mix the two
varnishes, and dilute, if necessary, when cold with turpentine. The
varnish should require to be warmed for easy application with the brush.
II.—Caoutchouc, 1 part; petroleum, 1 part; carbon bisulphide, 1 part;
shellac, 4 parts; bone black, 2 parts; alcohol, 20 parts. First the
caoutchouc is brought together with carbon bisulphide in a well-closed
bottle and stood aside for a few days. As soon as the caoutchouc is
soaked add the petroleum and the alcohol, then the finely powdered
shellac, and heat to about 125° F. When the liquid appears pretty
clear, which indicates the solution of all substances, the bone black
is added by shaking thoroughly and the varnish is at once filled in
bottles which are well closed. This pouch composition excels in drying
quickly and produces upon the leather a smooth, deep black coating,
which possesses a certain elasticity.
«METAL VARNISHES.»