[Footnote: A paper read before the Master Car Painters' Association,
Chicago, September, 1883.]
By JOHN S. ATWATER.
The subject of locomotive painting has been pretty well discussed at the
former meetings of the association, and we have heard many excellent
suggestions regarding the use of oils, mineral paints, and leads from
gentlemen of long experience. But as the secretary has invited a display
of my ignorance I will endeavor to explain as clearly as possible
the methods I pursue, which, though not new or original, have been
productive of good results.
If time enough can be had we can prime with oil alone, or in connection
with the leads or minerals, and be sure of durability; but in these
days of "lightning speed," "lightning illuminations," and "lightning
painting," we must look about for something with "chain lightning" in
it, which, unlike the lightning, will remain bright and stick after it
strikes. We all have to paint according to the time and the facilities
we have for doing the work.
The scale on iron or steel is the only serious trouble which the painter
has to contend with. Rust can be removed or utilized with the oil,
making a good paint, but unless time can be given it is better to remove
the rust.
If possible let tanks get thoroughly rusted, then scrape off scale and
rust with files sharpened to a chisel edge, rub down large surfaces with
sandstone, and use No. 3 emery cloth between rivet heads, etc., then
wash off with turpentine. This will give you a good solid surface to
work upon.
For priming I use 100 pounds white lead (in oil), 10 pounds dry red
lead, 13 pounds Prince's metallic, 8 quarts boiled oil, 2 quarts
varnish, 6 quarts turpentine, and grind in the mill, as it mixes it
thoroughly with less waste. I mix about 250 pounds at a time (put into
kegs and draw off as wanted through faucets).
This _o-le-ag-in-ous_ compound can be worked both ways, quickly by
adding japan, slower by adding oil, and reduce to working consistency
with turpentine.
Without the oil or japan it will dry hard on wrought iron in about seven
days, on castings in about four days. When dry putty with white-lead
putty, thinned with varnish and turpentine, and knifed in with a
"broad-gauge" putty knife. Next day sandpaper and apply first coat
rough-stuff, which is, equal parts, in bulk, white lead and "Reno's
umber," mixed "stiff" with equal parts japan and rubbing varnish, and
thin with turpentine. Next morning, second coat rough-stuff, made with
Reno's umber, fine pumice stone, japan, and turpentine. At 1 o'clock
P.M. put on guide coat for the benefit of the small boys, which is
rough-stuff No. 2, darkened with lamp-black and very thin. The addition
of fine pumice to rough-stuff No. 2 encourages the boys in rubbing, and
prevents the blockstone from clogging.
By the time the last end of the tank is painted the first end is ready
for rubbing, though it is better to stand until next day.
After rubbing sandpaper and put on very thin coat of varnish and
turpentine (about equal parts). This soaks into the filling, hardening
it and making a close, smooth, elastic surface, leaving no brush marks
and being more durable than a _quick_-drying lead. This can be rubbed
with fine sandpaper or hair to take off gloss, and colored the next
morning, but it is better to remain 24 hours before coloring.
Upon this surface an "all japan color" would, before night, resemble a
map of the war in Egypt, but by adding varnish and a very little raw oil
to the "japan color," making it of the same nature as the under surface,
will prevent cracking.
If I sandpaper in the morning, I put on first-coat color before noon.
Second ditto afternoon, and varnish with rubbing varnish that night; rub
down, stripe and letter next day, though I consider it better to stripe
and letter on the color, and varnish with "wearing body varnish."
The tank is then ready for mounting. When mounted I paint trucks and
woodwork, two coats lead, color, "color and varnish," and finish the
whole with "wearing body varnish." Time, from 14 to 16 days.
On cabs I use the same priming as on tanks, let stand five days, putty
nail holes and "plaster putty" hard wood, and give two coats lead, mixed
as follows: 100 pounds keg lead, 19 pounds Reno's umber, 3½ quarts
japan, 1½ quarts varnish, 6 quarts turpentine. I call this "No. 2 lead,"
and allow 24 hours between coats, then apply a coat of No. 2 "rough
stuff" at 7 A.M. Rub down at 10 A.M. two coats color, and varnish before
6 P.M. Striped and lettered next day and finished on the following day
if it is not taken away from me, and put on the engine. Time, eleven
days. Can be done in five days.
On castings, same priming, putty and "No. 2 lead" if time is allowed. I
use rough-stuff No. 2 on all flat places, rub down and give two coats
of No. 2 lead. Also painting inside of all castings, and sheet iron
casings; and inside of boiler jacket, with "Prince's metallic."
All castings I get ready for color before they are put on the
locomotive, except such as have to be filed or fitted on outside edges.
As there is very little time given to finish a locomotive after the
machinists get through, I usually finish it _the day before it is done_.
As a sample (one of many), an 8--17--C. locomotive boiler tested
Saturday afternoon, August 12, boiler painted, with 120 pounds steam
on, wheels put under, boiler covered, cab put on, and finished Monday,
August 14, at midnight (did not work Sunday); primed, puttied, colored,
lettered, and varnished same day. After 10 o'clock at night the painters
have a chance, and it is their glorious privilege to work until morning.
The machinists have all the time there is, the painters have what is
left.
So much for the ordinary way. For a quicker method of painting tanks I
send a sample marked No. 1. Time, including first coat varnish, five
days. Priming, 1 pound Reno's umber to 2 quarts pellucedite; two coats
rough-stuff, composed of umber and pellucedite, rubbed down, and thin
coat of pellucedite; one coat drop black, one coat rubbing varnish;
exposed to weather (southeasterly exposure near salt water) March 12,
1879; revarnished one coat, finishing September 1, 1879; remained out
until March 22, 1880. Total exposure, one year and one and a half weeks;
thrown around the shop until August, 1882; has been painted three years
and six months. This is not a sample of good work, but of quick and
rough painting. Considering the time and usuage it has experienced it
has stood much better than I expected, though I cannot safely recommend
that kind of painting when any other can be followed.
Sample No. 3--Time, including two coats varnish, 14 days. Painted as
described in first part of this article; exposed in same places as No.
1, April 3, 1880; total exposure, six months; has been painted two years
and five months.
The above are not exactly "Thoughts on Locomotive Painting." What my
thoughts are would require several dictionaries to express; but that is
owing, not to the kind of work, but having to produce certain results in
a time that will not insure good, durable work.
For removing old paint on wood I use a burner. From iron, I have found
the quickest and most effectual way is to dissolve as much sal soda in
warm water as the water will take up, and mix with fresh lime, making
a thick mortar; spread this on the tank, about an inch thick, with a
trowel; when it begins to crack, which will be in a few minutes, it has
softened the paint enough, so that with a wide putty knife you can take
it all off; then wash off tank with water. This takes off paint, rust,
and everything, including the skin from your hands, if you are not
careful. Plaster one side of tank, and use mortar over again for the
other side.
Engine oil used to brighten smoke stacks, no matter with what painted,
will cause blistering. Tallow and "japan drop black" mixed, and apply
while stack is hot, with an occasional rubbing over with the same, will
remain bright a long time.
Rust always contains dampness, and will feed on itself, extending
underneath and destroying solidly painted surfaces. It is, therefore,
necessary, in order to secure good results, that the rust should be
killed before priming, or that the priming be so mixed that it will
assimilate with the rust and prevent spreading.
Steel tanks will not rust as rapidly as iron, but the scale is more apt
to flake off by the expansion and contraction of the metal, taking the
paint with it.
Heated oil, or heated oil priming, will dry faster and be more
penetrating than cold. I consider heated "boiled oil" and red lead the
best primer for iron.
In regard to ornamentation, my _taste_ is governed by the fact that I
work "by contract," and get no more for a highly ornate locomotive than
I do for a plain one, therefore I like the _plain ones best_, and I
hope that our "good brother Burch's" prophecy, that "the days of 'fancy
locomotives' will return," will never be fulfilled until after I go out
of the business. There is a happy medium between a hearse and a
circus wagon, and the locomotive painter, when not tied down by
"specifications," can produce a neat and handsomely painted engine
without the "spread eagle" or "star spangled banner." My own ideas are
in the direction of simple lines of striping, following the lines of the
surfaces upon which they are drawn.
Finally, take all the time you can get, the more the better, and use
_oil_ accordingly.
* * * * *
"CRACKLE" GLASS.
An ingenious process of producing glass with an iced or crackled
surface, suitable for many decorative purposes, has been invented in
France by Bay. The product appears in the form of sheets or panes, one
side of which is smooth or glossy, like common window glass, while the
other is rough and filled with innumerable crevices, giving it the
frozen or crackled appearance so much admired for many decorative
purposes. This peculiar cracked surface is obtained by covering
the surface of the sheet on the table with a thick coating of some
coarse-grained flux mixed to form a paste, or with a coating of some
more easily fusible glass, and then subjecting it to the action of a
strong fire, either open or in a muffle. As soon as the coating is
fused, and the table is red-hot, it is withdrawn and rapidly cooled. The
superficial layer of flux separates itself in this operation from
the underlying glass surface, and leaves behind the evidence of its
attachment to the same in the form of numberless irregularities, scales,
irregular crystal forms, etc., giving the glass surface the peculiar
appearance to which the above name has been given. The rapid cooling of
the glass may be facilitated with the aid of a stream of cold air, or
by continuously projecting a spray of cold water upon it. By protecting
certain portions of the glass surface from contact with the flux, with
the use of a template of any ornamental or other desired form, these
portions will retain their ordinary appearance, and will show the form
of the design very strongly outlined beside the crackled surface. In
this manner, letters, arabesque, and other patterns in white or colored
glass can be produced with great ease and with fine effect.
* * * * *