COLORING TOYS
#10. Sanitation Emphasized.#--All application of color to toys should
carry with it a realization that toys are meant primarily for children
and that all paints should therefore be free from poisonous compounds.
All paints used should be of good quality so that it will not come off
easily to discolor the hands or tongues of children who cannot resist
the temptation of sticking everything possible into their mouths.
#11. Preparation of Surfaces.#--Wooden toys may be finished quite bright
and in various colors.
Before applying the color it is absolutely necessary that every part of
the toy has been thoroly sanded. Where sanding is done by machine, care
should be taken not to sand the wood too much. Many difficulties may
arise from too much as well as from too little sanding. In hand sanding,
the use of a block 2-1/2" x 3-1/2", to which is glued a piece of cork,
is recommended.
#12. Application of Water Colors.#--Toys may be colored by the use of
different materials and by various methods. Kalsomine colors, opaque
water colors, variously known as show card colors, liquid tempera, and
letterine,--all come under the heading of water colors. All but the
kalsomine may be obtained in small jars and ready for use. Kalsomine
colors come in powder form in various colors and may easily be prepared
by mixing with water and a little glue to bind the parts together. They
are much cheaper than the ordinary forms of transparent and opaque water
colors. They may be applied with the ordinary water color brushes.
After a coat of water color has been applied to the toy, it may be
necessary to remove the rough parts with very fine sand paper. Care
should be taken not to "cut thru" when sanding.
To preserve and protect the water color on the toy a coat of white
shellac may be applied. If a more durable finish is desired a coat of
good clear varnish over the shellac will serve the purpose.
#13. Analine Water Stains.#--For general finishing of toys analine water
stains will produce excellent results. They are known for their ability
to penetrate the wood deeply and the ease with which any shade can be
produced. Water stain raises the grain of the wood more than any other.
This makes it necessary to sandpaper down the raised grain until smooth
and then proceed with the shellacking and varnishing until the desired
results are obtained.
In preparing analine water stains, only analines that are soluble in
water are used. Place an ounce of the analine to a quart of hot or
boiling water, pouring the water over the dye-stuff and stirring
meanwhile with a wooden paddle or stick. Soft water is the best. In
about an hour the dye may be filtered thru a piece of fine woven cloth.
As metal is apt to discolor the dye, it is better to use a glass
container. If the prepared solution is too strong it may be diluted in
more water. Use hot water for diluting the stain.
The work with water stain must be done quickly in order to obtain a
uniform coloring on the surface. Water stains are used a great deal
where the dipping process is employed in the finishing of toys. A hot
dipping stain is preferable to a cold dipping stain, first, because it
penetrates more readily and second, because it dries quicker.
#14. Formulas for Analine Water Stains.#--(Stock Solutions).
_Red_: Rose benzol five parts, water ten parts.
_Rose Red_: Dissolve 3 oz. Rose Bengal in 5 pints of water.
_Blue_: (a) Dissolve 1 oz. of the best indigo carmine in 8 oz. of
water. (b) Prussian blue dissolved in water.
_Dark Blue_: Dissolve 3 oz. Bengal blue in 3-1/2 pints of boiling water,
and stir and filter the fluid in ten minutes time.
_Green_: Mix Prussian blue and raw sienna in such proportions as will
give the desired color. Mix in water.
_Brown_: Dissolve 3 oz. of Bismark brown in 1/2 gal. of water.
_Yellow_: Auramine 4 parts, sulphate of soda 10 parts, mixed in water.
_Black_: Nigrosine black, four ounces, dissolved in one gallon of
boiling water.
When wanted for use, these analines may be diluted with water. The rule
is, an ounce of analine to the gallon of water to form a working stain.
Or to a pint of the stock solution, as it is called, you may add three
pints of water.
#15. Oil Stains.#--It will be found that quicker work can be done with
oil stain than with water colors. For that reason, oil stains are also
used a great deal as a dipping stain. In preparing oil stains, the best
mineral or earth pigments to dissolve with turpentine are Van Dyke
brown, chrome green, burnt and raw sienna, and lamp black.
#16. Shellacking.#--There are two kinds of shellac, orange and white.
The white shellac is orange shellac that has been bleached. The purpose
of shellac as commonly understood is to give a quick coat over the
stain. The thin coat formed serves as a protector for the stain and also
as an undercoater for the following coat of varnish. In this way at
least one coat of varnish is eliminated and a great deal of time saved
because the shellac dries within a few minutes. To thin shellac use
denatured alcohol.
On cheaper toys a coat of shellac only may be used as a covering for the
color stain. If orange shellac is used it will be found that it effects
the color of the stain used. White shellac also produces a slight change
in color and for this reason many working with toys will use a good
clear varnish instead.
#17. Varnishing.#--Two or three coats of varnish will produce a very
durable finish. The first coat of varnish ought not be quite as heavy as
the succeeding coats. If the varnish is of extra heavy body it should be
reduced slightly for the first coat. The best varnish reducer is thin
varnish. To prepare this reducer, take one part varnish (the same
varnish to be reduced), and two parts of turpentine. Shake these
together well and let stand twenty-four hours before using. This will
reduce the consistency of the varnish without tearing down the body as
pure turpentine would. The first coat of varnish should be allowed to
dry thoroly before the second coat is applied.
Oil varnishes made from good hard gums, pure linseed oil, and
turpentine, are the most valuable. In using turpentine to thin varnish
care should be taken that adulterated turpentine is not used. To play
the game safe it is advisable to use a little benzine, for it will not
injure the varnish, but will evaporate entirely, and not flatten the
varnish as turpentine does.
#18. Points on Varnishing.#--(1) The less varnish is worked under the
brush the better its luster. (2) Use clean brush and pot, and clean
varnish. See that the surface is clean before beginning to varnish. (3)
Allow a coat of varnish plenty of time for drying until it becomes hard.
#19. Colored Varnish.#--Colored varnish is that in which a proportion of
varnish is added to the pigment and thinned. The base is usually an
earth color such as ochre, sienna, venitian red, Van Dyke brown, umber,
lamp black, etc.
With this the work can be done in one coat. This method of finishing is
usually employed on the cheaper class of toys where it isn't advisable
to apply an expensive finish.
#20. Another Suggestion for Finishing.#--Tint a gallon of benzine or
gasoline with chrome green, chrome yellow, and vermilion, ground in
Japan until the desired shade is obtained. This formulae is especially
good for dipping purposes.
#21. Use of Paint.#--Although paint can be bought ready prepared and in
any color, as has been stated, it is advisable to have the students mix
their own colors and choose their own color scheme.
#22. Ingredients of good Paint.#--The best paints are usually made by
mixing together white lead, linseed oil, pigment of the desired color
(colors ground in oil), and a drier.
While white lead is sufficient as the pigment for white paint, a better
result is obtained by mixing zinc oxide with the white lead. These two
substances have the convenient property of balancing each other's
disadvantages. For instance, zinc oxide has a tendency to crack and to
peal, which is overcome by the tougher coating formed by the white lead.
Again, when white lead is exposed to light and weathering, it becomes
chalky, which fault is remedied by the property possessed by zinc oxide,
of remaining hard.
The linseed oil used is obtained from flaxseed by pressing the thoroly
ground seed. About twenty-three gallons of oil can be obtained from one
bushel of the seed. By boiling the oil with lead oxide or manganese
oxide it can take more oxygen from the air, and thereby its drying
powers are increased.
Driers are substances that absorb oxygen from the air and give part of
it to the oil. The raw linseed oil absorbs the oxygen from the air very
slowly, but the addition of turpentine is a great aid in overcoming this
defect.
To insure the best results in painting, one must first consider the kind
and condition of the surface to be painted, and to what use the toy will
be put; then decide on the proper composition and consistency of the
paint.
#23. Application of Paint.#--In applying the paint to the toy the first
coat should be thinned. This will act as a primer or undercoat for the
succeeding coats of paint. Care should be taken that plenty of time is
allowed between coats for the paint to dry thoroly. Three coats of paint
will produce a good finish.
#24. Preparation of surface.#--All woodwork must be sanded and thoroly
dry before any paint is applied. Care should be taken to see that all
knots and sappy streaks shall be covered with a coat of orange shellac.
Then apply the first coat.
After the priming coat of paint is thoroly dry, putty up all knot holes,
dents, cracks, and other defects in the surface with a pure linseed oil
putty composed of equal parts of white lead and whiting. When putty is
dry, proceed with the other coats.
#25. Tinting Materials.#--Formulas for making tints are to be followed
only in a general way. Make some allowance for slight variations in the
strength and tone of different makes of colors. Chromes and ochres vary
noticeably. Weigh out your color and add it gradually, not all at once,
noting the effect as you go. When you reach the desired shade, stop,
regardless of what the formula calls for. Turpentine and dark driers
will slightly alter shades. Make allowance for this.
#26. Mixing Paints.#--Faulty mixing, even with the best of materials, is
not likely to make durable paint. The important thing is to give the
lead and oil a chance to incorporate themselves in that close union
which they always make if allowed to do so. The following directions
give best results. The order is important.
(1) Break up the white lead with a paddle, using only enough oil to
bring it to the consistency of colors in oil.
(2) Add your colors for tinting. Coloring matter added after the paint
has been thinned is likely to break up in lumps which leave streaks
when brushed out.
(3) Put in drier.
(4) Add remainder of oil, stirring well.
(5) Last of all, put in turpentine.
Thinners help only the flow of the paint never the quality.
To strain paint thru cheese cloth before using will be a safeguard
against lumpy colors and streakiness. Paint also spreads further if
strained.
#27. Paint Formulas.#--As most toys are exposed to the weather a great
deal, the following formulas are recommended. These take no account of
tinting materials.
(a) Priming Coat:
25 pounds pure white lead
1 gallon pure raw linseed oil
1/2 gallon pure turpentine
1/4 pint drier, free from rosin
(b) Body Coat:
25 pounds pure white lead
3/8 gallon pure raw linseed oil
3/8 gallon pure turpentine
1/4 pint drier, free from rosin
(c) Finishing Coat:
25 pounds pure white lead
1 gallon pure raw linseed oil
1/4 pint pure turpentine
1/4 pint drier.
One must exercise his own discretion in using a larger or smaller
quantity of oil according to whether the wood is oil absorbing, as white
pine, poplar, and basswood, or less permeable, as yellow pine, cypress,
spruce, and hemlock.
#28. Formulas for Making Tinted Paint.#--Any color or tint may be
obtained by varying the addition of tinting colors. These tinting colors
are called "colors in oil." The colors should be added to the white lead
before the paint is thinned.
To twenty-five pounds of white lead ground in oil add colors in oil as
follows:
Medium Blue Slate 3-1/2 oz. lamp black
Gray Blue 1/4 oz. lamp black
1 oz. Prussian blue
1/4 oz. medium chrome green
Dark Drab 5 lbs. French ochre
1/2 lb. lamp black
1/4 lb. Venitian red
Dark Slate 2 oz. lamp black
3 oz. medium chrome yellow
Dark Lilac 1 oz. lamp black
5 oz. Venitian red
Lilac 1/2 oz. lamp black
1-1/2 oz. Venitian red
Forest Green 1-1/2 oz. lamp black
8 lbs. light green
5 oz. medium chrome yellow
Buff 1-1/2 lb. French ochre
3/8 oz. Venitian Red
Cream 5 oz. French ochre
Sea Green 3/8 oz. lamp black
1/2 oz. medium chrome green
1-1/4 oz. medium chrome yellow
Where tinting colors are used in sufficiently large quantities to alter
the consistency of the paint, add one-half as much linseed oil and
turpentine, by weight, as you add tinting material.
#29. Enameling.#--When using enamel as a finish for toys, care should be
taken that the surface of the toy is in proper condition. To obtain good
results proceed as follows: Give the wood a coat of shellac. Sand
lightly and dust. The following coat should consist of part of white
paint and one part of the enamel to be used. This coat should be
slightly tinted with the finishing color, if the finishing coat is not
white. Allow twenty-four hours for drying thoroly; then sand with
No. OO sand paper. Next apply a coat of enamel of the color desired for
the finished work. (Enamels may be tinted with colors ground in oil.)
Should the enamel not work freely, add a spoonful of benzine to a gallon
of enamel. Turpentine may also be used as a thinner for enamel.
A better finish of enamel consists of two coats of paint before applying
the enamel. This gives it a stronger body and of course makes it more
durable.
Because of its durability and for sanitary reasons enamel is the most
desirable finish for toys. Its glossy finish is attractive and very
appealing to children.
#30. The Dipping Method.#--When a considerable quantity of toys is to be
finished, the problem to be faced will be the cost of application of the
paint rather than the cost of the paint itself. The dipping process,
(immersing the material to be covered) is found to be the most
successful, especially in toy making, where so many small parts are
used.
Many of the small pieces made can be subjected to the dipping process at
quite a saving of time and labor, with probably better results than
where the application of paint or stain is done with a brush.
The success of the dipping process depends on the arrangement adopted
for holding the toys while the actual dipping is done and while they are
drying. Here the exercise of a little ingenuity on the part of the
students and teacher, will overcome most difficulties.
Supposing that a number of checkers, or handles, or small wheels are to
be stained. A dipping frame as shown in Fig. 8 could very easily be
prepared. You will notice the screen tray (which is removable), and the
tin sheet which slopes towards the container. The small pieces to be
stained can be handled in wire baskets with mesh just small enough so
that the pieces will not fall thru.
The wire basket is then immersed in the container and worked up and
down, so that the liquid will penetrate and touch all pieces. It is then
pulled up and swung over the screen tray, where the contents of the wire
basket is dumped. Here, the superfluous paint will drip off on the tin
sheet, which, because of its slope, will cause the superfluous paint to
flow back in to the container. Fig. 9 shows the dipping frame in use.
The screen tray can be removed and placed in a rack to allow for further
drying. Several trays could then be made and a rack to hold them could
very easily be constructed.
The paint used for dipping purposes must so be prepared that too much
does not run off or too much stay on, for this is surely one way to
spoil the work. It should be thinned to the right consistency and care
should be taken that the thinners used are of the best quality.
Where larger pieces of work are to be dipped, wire attachments could be
devised and each part hung separately over the dipping frame until ready
to be placed in a rack. If the wire attachment forms a hook on one end,
it will be possible to hang up the toy until drained and dried. In
removing the toy from the paint it should be drawn out very slowly so
that the surface of the paint may be left as smooth as possible.
Where one desires line effects on toys, these may be lined in afterwards
with a small size striping brush or sign painter's pencil.
[Illustration: Fig. 8. Dipping frame]
[Illustration: Fig. 9. Using the dipping frame]
#31. Polishing by Tumbling.#---Excellent results in polishing large
quantities of small pieces, may be obtained by tumbling. The material to
be polished should be thoroly dry. The parts are then placed in a
tumbler as shown in Fig. 10. Cut up paraffine wax into small pieces,
using about one-fourth pound to each tumbler full of toys. Allow these
to tumble several hours. This will distribute the wax evenly over the
parts and produce a polished surface.
The tumbler as shown in Fig. 10 is turned by hand, altho it could very
easily be placed in a lathe, where one is available.
#32. Care of Brushes.#--A suitable place should be provided for brushes
that are not in use. A tin-lined keeper is recommended. Brushes should
be suspended so that their bristles will not touch the bottom of the
keeper, and have the liquid in which they are kept come well up over the
bristles, so that none of the paint or varnish may dry in the butt of
the brush.
#33. Paint Application by Means of Compressed Air.#--In recent years,
great advancement has been made in the application of paint by means of
compressed air. The early use of pneumatic painting equipment was
confined almost exclusively to the application of finishing materials
such as japans, enamels, lacquers, varnishes, etc., on manufactured
products. But in the past few years improvements have been made which
eliminate all of the difficulties originally experienced and make
possible the use of this method for interior and exterior painting, such
as buildings, ships, etc.; and at present, a large portion of factory
maintenance work is done in this manner. Excessive fumes have been
eliminated and all materials can be applied without removing the
volatile thinners, solvents, binders, etc., thru air reduction. This is
brought about thru the use of low pressure and the perfection of
ingenious patent nozzles and other improvements.
[Illustration: Fig. 10. Tumbler for polishing small pieces]
#34. Uses of Pneumatic Sprayers.#--Pneumatic paint sprayers, or air
brushes, are extensively used in the manufacture of toys, furniture,
automobile bodies, sewing machines, telephones, electrical equipment; in
fact, very nearly all manufactured products, as well as on ships,
structural steel and iron work, bridges and buildings.
The speed of the air brush is very great compared with hand-brush work.
Usually, an air-brush operator will accomplish as much in one hour as a
hand or bristle-brush worker will in one day; and it is possible to
obtain an even coating, free from sags, runs or brush-marks and better
results are obtained than with the hand brush method. A film of paint
can be applied in one operation equal to two hand-brush coats, as it is
not necessary to reduce paints by thinning as much for air brush
application, in a great many instances, as is the usual practice for
hand-brushing. The air sprayer can also reach places inaccessible to the
hand brush, and a perfect coat can be applied over rough, uneven
surfaces, which could not be obtained by hand-brushing.
In considering pneumatic painting equipment, the most important thing to
be kept in mind is the proper application of materials. This can be
successfully accomplished only thru the use of compressed air at low
pressures. By this is meant using only sufficient main-line air to lay
the paint, enamel, varnish or whatever finish may be used, on the
object. Excessive pressure results in fumes, waste of material and air
reduction taking place. By air reduction is meant the removal of the
more volatile solvents, thinners, binders, etc., thru evaporation, and
the material thus loses its adherent and coherent properties.
Both types of air-brush equipment illustrated here require three cubic
feet of air per minute to operate and the pressure necessary depends on
the density, consistency or viscosity of the material used. For example,
undercoaters, japans, etc.; require from twelve to fifteen pounds of
pressure to apply perfectly; while enamels and varnishes take from
eighteen to twenty-five pounds. Water stains require about five pounds
of pressure.
#35. Construction of Pneumatic Painting Outfit.#--A pneumatic painting
outfit for finishing work consists essentially of an air brush, either
of the attached-container type or the gun-type with separate paint
tank, and a small compressor of sufficient capacity to operate the air
brush, which can be belt-driven from shafting or direct connected. An
exhaust hood with fan, for the removal of fumes, is advisable where the
operation is reasonably continuous and especially where lacquers are
used. The paint, ready for application, is poured into the tank; and the
compressed air line leads to the tank with a branch line for air and
paint from the tank to the nozzle of the gun type of machine; while only
the air line is required with the attached-container type.
The air hose used is 5/16" in diameter while the paint or fluid hose is
the same size. The paint hose is made of a special compound to resist
the action of the thinners, solvents, etc., used in the paint; and it is
important to have this correct, so that the lining will not disintegrate
and clog the air brush or gun.
Fig. 11 shows a five-gallon container type. It will be noticed that the
fluid connection is nearest the nozzle and that the air connection is at
the bottom of the grip.
#36. Special Attachments for Different Surfaces.#--A cone nozzle is
furnished for painting irregular surfaces and a fan nozzle for wide,
flat work. Adjusting and locking the nozzle regulates the degree of
atomization. The jets of the fan nozzle are depressed to prevent being
knocked out of alignment. Final regulation of the flow of material is
made on the back of the gun, independent of the pressure on the material
container. A wide variety of adjustment is possible with this positive
regulation.
The first pull on the trigger gives air only, which can be used for
dusting ahead of the work; and as the trigger is released, the air valve
closes last, which prevents clogging and dripping. When adjustments have
been made the trigger action is the only moving part of the machine.
Figs. 12 and 13 show the five-gallon container type in actual use.
#37. Cleaning Pneumatic Machines.#--It is not necessary to take the gun
apart nor disconnect the hose to clean the machine. Thinner can be run
thru the device without loss by placing a small can of reducer of the
last material used in the machine, and forcing it thru in the usual
manner.
[Illustration: Fig. 11. A five-gallon air brush outfit]
#38. Directions for Cleaning Machine.#--Close right-hand Air Valve and
open release valve. Unscrew air nozzle a few turns. Obstruct outlet with
thumb and pull trigger. Spraying pressure is thus forced thru gun and
fluid hose and the material backed into the container. It is advisable
frequently to run thinner thru the machine as follows: (1) Place small
can of thinner in center of container directly beneath fluid tube. (2)
Replace cover and tighten wing-nuts. (3) Close left-hand air valve and
open right-hand air valve. Pressure on container will force thinner thru
the machine and clean perfectly without loss. Do not use spraying
pressure in cleaning. The thinner can be used again for either cleaning
or thinning purposes.
[Illustration: Fig. 12. Using pneumatic paint sprayers]
#39. Directions for Operating Pneumatic Equipment.#--
1. Attach main-line air hose to air filter.
2. Attach fluid hose to connection marked "Fluid" on tank and to the
front connection near air nozzle on hand-piece.
[Illustration: Fig. 13. A five-gallon outfit in actual use]
3. Attach air hose to connection marked "Air" on cover and to the handle
connection on hand-piece.
4. Thoroly mix and strain material so that it is entirely free from
skins, lumps, and foreign materials.
5. Tighten wing-nuts until paint container is air-tight.
6. See that release valve is closed. Then open right-hand air valve,
turn fluid-pressure regulator until gage shows 5 lbs. pressure in
container. Pull trigger and use fluid regulator on gun to control the
flow. If material is heavy, increase pressure in container.
[Illustration: Fig. 14. Attached container type of sprayer]
7. Open left-hand air valve and turn spraying pressure regulator until
sufficient pressure (5 lbs. to 25 lbs.), is obtained to lay the material
on.
8. Make final adjustment of the flow of material with fluid regulator on
back of hand-piece and get proper spray by adjusting the air nozzle.
9. Spraying pressure and pressure in the container depends upon the
density of the material used and the size of the surface to be coated. A
little experimenting on the part of the operator will determine the best
pressure to use. When the fan nozzle is used, 3 to 5 lbs. more pressure
should be applied to the material container and from 5 to 8 lbs. more
atomizing or spraying pressure used.
Fig. 14 shows a complete attached container which operates on
identically the same principles as the type shown in Fig. 11. It
consists of a 1-1/2 pint container, reducing outfit, compressor, and air
tank. The 1-1/2 pint container as shown in Fig. 15 is supplied complete
with two fluid tips, gasket, agitator tube, cup-holder, hose union, and
six feet of air hose.
The reducing outfit in Fig. 16 consists of a regulative valve, an air
gage, and an air filter, complete with connections and fittings. This
outfit is for the purpose of maintaining an even low spraying pressure.
Regulated pressure is applied to the air-tight material container,
raising the coating material to the nozzle where only sufficient
main-line pressure is used to lay the coating on. The spraying pressure
necessarily depends on the density, consistency and viscosity of the
material used.
[Illustration: Fig. 15. A one and one-half pint container and parts]
For fine finishing work, where the quantity of materials used each day
is not great, or where the colors are changed frequently, the attached
container type is recommended.
#40. Preparing Colors.#--The three primary colors are red, blue and
yellow. With the three primary colors at hand, almost every variety of
color desirable for ordinary use can be easily prepared. Fig. 17 shows a
color chart.
Red mixed with yellow will result in orange.
Red mixed with blue will result in purple.
Yellow mixed with blue will result in green.
The colors obtained by mixing any two primaries are called secondary
colors. Therefor the secondary colors are orange, purple and green.
Orange mixed with purple will result in brown.
Orange mixed with green will result in olive.
Purple mixed with green will result in slate.
The colors obtained by mixing any two secondaries are called tertiary
colors.
The tertiary colors are brown, olive and slate.
Of course different tones of each color can be made up by mixing unequal
proportions.
[Illustration: Fig. 16. Reducing outfit]
[Illustration: Fig. 17. Chart showing proportions required for standard
colors]