Part 3
Bright violet 1 purple, 1 blue. Light purple 1 purple, 1 white. Regular purple 10 rose lake, 1 blue. Scarlet purple 15 rose lake, 1 blue. Typewriter purple 1 purple, 4 white. Violet 4 rose lake, 1 ultramarine
MISCELLANEOUS
All colors in the left-hand column of the following are the base upon which to work. By adding white to them you form the colors given in middle column, but when black is substituted for white you obtain the colors given in the right-hand column. Example: Add white to “any lake red” for pink; add black to “any lake red” for maroon.
Base Result of Adding White Result of Adding Black
Any lake red Pink Maroon Vermilion Yellowish Pink Russet Scarlet Salmon Buff Brown Orange red Yel. sal. buff Yellow-brown Orange Salmon Terra Cotta Yellow-orange Amber Yel. terra cotta Orange yellow Cream Old Gold Yellow Lemon or Sulphur Citrine Yellow-green Straw Olive Emerald green Pea green Sage Bluish green Sea green Myrtle Turquoise Pale turquoise Dull Indigo Ultramarine Azure Blue Slate
MISCELLANEOUS
Color Desired Parts
Azure Blue 1 ultramarine, 40 white.
Antwerp Blue 4 emerald green, 8 ultramarine, 1 white.
Autumn Leaf 20 straw, 2 orange, 1 Venetian red.
Autumn Gray 20 emerald green, 10 yellow, 1 black.
Apple Green 4 orange, 9 chrome green, 1 white.
Ash Gray 2 burnt sienna, 3 ultramarine blue, 70 white.
Amber 4 burnt sienna, 4 burnt umber, 2 orange, tinged with black and white.
Apricot 30 chrome yellow, 2 vermilion, 1 crimson.
Alabastar 1 chrome yellow, 4 white.
Amaranth 4 Tuscan red, 4 vermillion, 1 ultramarine.
Anemone 6 English vermilion, 6 deep bronze blue, 2 black, 1 white.
Amaranth 3 English vermilion, 1 deep bronze blue.
Armenian Red 2 venetian red, 1 ocher.
Ash Gray 60 zinc white, 3 ultra blue, 2 burnt sienna.
Antique Bronze 3 black, 1 orange.
Apple Green 30 white, 1 chrome green.
Blue Grass 1 Prussian blue, 3 emerald green, 7 white.
Bordeaux Blue 3 orange, 1 black, 6 Prussian blue.
Begonia 5 English vermilion, 4 black, 4 Prussian blue.
Biscuit color 20 white, 1 Naples yellow.
Bismark Brown 20 burnt sienna, 20 umber, 2 orange, 1 white.
Blood Red English vermilion, tinged with blue and yellow.
Blue Green 3 chrome green, 1 prussian blue.
Blue Grass 1 prussian blue, 3 emerald green.
Bluish Gray 6 regular gray, 1 dark blue.
Purple-Brown 6 deep red, 1 purple.
Brown-Black 2 bluish red, 5 black.
Photo-Brown 4 bluish red, 1 brown-black.
Maroon-Brown 8 bluish red, 1 blue.
Bay 3 venetian red, 3 black, 1 orange.
Chocolate Brown 12 deep red, 2 deep blue tinted with black.
Milk Chocolate 12 deep red, 2 deep blue, 1 white tinted with black.
Chestnut Brown 3 Venetian red, 3 black, toned down with orange.
Maroon, deep 5 black, 3 red, 1 Prussian blue.
Cologne 2 parts of yellow chromate of lead, 1 of sulphate of lead, and 7 of Sulphate of lime or gypsum.
Citron 2 yellow, 1 red, 1 blue.
Crimson Red 30 bright red, 1 blue.
Campanula 3 blue, 1 red.
Citron 2 yellow, 1 red, 1 blue.
Garnet 3 red, 1 blue.
Greenish Gray 8 regular gray, 1 medium green.
Green Tint 1 light green, 15 white.
Nasturtium 3 red, 1 chrome yellow.
Olive 2 blue, 1 red, 1 yellow.
Purple tint 1 purple, 50 white.
Russet 2 red, 1 blue, 1 yellow.
Sulphur 30 yellow, 1 blue.
Sea Green 1 medium green, 3 white.
Saffron 3 chrome yellow, 1 red.
Sky Blue 99 white, 1 prussian blue.
Sky Blue 99 white, 1 ultramarine blue.
Turquoise 3 blue green, 1 white.
Violet-blue 10 violet, 1 blue.
Violet tint 1 violet, 30 white.
HINTS FOR PAINTERS AND DECORATORS
A house painted white not only looks cool, but is cool, as white reflects the sun’s rays. The effect at night is reversed.
The amount of trimming color necessary is usually about one-fifth of that required for the entire surface.
Do not paint damp or unseasoned, sappy or pitchy wood.
Do not paint or paper walls having a northern exposure with cold color such as blue, gray or white. Use warm tones like rose, tan, etc. And in like manner better results are obtained by using the cold shades or colors in rooms with a southern exposure.
COVERING CAPACITY OF VARNISH
One gallon of varnish will cover approximately 300 square feet, two coats when properly flowed on.
Varnish is transparent and therefore cannot hide any defects in a surface. If the surface is badly marred, use graining materials. Or cover up the old surface with a suitable paint or enamel.
NEW WOOD.—Before varnishing new open grained wood such as oak, ash and mahogany, it is necessary to fill the pores with a good filler. Some prefer it in paste form. This is not absolutely necessary for close-grained woods such as maple, pine and birch.
Paint for general purpose is composed of lead, zinc, linseed oil and turpentine dryer, which are the best known ingredients, excepting such colors that cannot be made from lead and zinc.
Lead, when used alone does not make as serviceable a paint as lead and zinc ground together in pure linseed oil and colors. Zinc is recognized as an indispensable ingredient in paint. Lead, while quite necessary, is likely to change when used alone, by that is meant, it discolors easily, and when exposed to the air chalks off and leaves the wood exposed.
Zinc, which is a more durable metal, retains its whiteness also gives to colors and permits incorporating the largest possible quantity of linseed oil, thus giving life and durability to the paint. A mixture of both lead and zinc, is, therefore, necessary to obtain best results to resist light, heat and cold.
NEW WORK
To secure best results, new work should have three coats, that is two besides the priming coat.
Do not prime or apply paint to a new building until plastering is thoroughly dried out.
ADULTERATING COLORS
Do not imagine that the durability of paint is increased by the use of whiting, clay, silica and other cheap materials. They only make bulk and trouble.
AGGREGATED FORM OF CHECKING
Avoid “alligatoring,” which is a form of checking and frequently caused by applying finished coats over priming or second coats before drying.
SEEDY, SPECKY, SANDY VARNISH
You may find varnish to be full of small grains. This may be due to chill in transit or in storage, or a decided difference in temperature between the varnish and the work. Allow the varnish to reach the temperature of the work before applying. The same appearance may be caused by what painters term a “lousy” brush. USE ONLY AN ABSOLUTELY CLEAN BRUSH.
PAINT FOR STIPPLING
For rough stipple, mix your paint from equal parts of white lead in oil, zinc white in oil and dry plaster of paris (the latter of the finest grade). Thin down with raw linseed oil and turpentine in equal parts, adding two teaspoonfuls of pale japan to each pint of liquid. Make the paint just stout enough to apply with a wall brush and put it on in that consistency. When the surface has been so coated, and before the paint begins to set, use a good size stippler, and see that you do the work uniformly and evenly. You can color the white to any desired tint with finely powdered dry color or you may use color ground in oil, but if much of the latter is required, use one-third raw oil and two-thirds turpentine for thinning. When solid color is desired for wall stippling, use colors ground in oil and the finest bolted whiting, dry to make stout paste. Mix in this paste with one part oil and three parts turpentine and add one part japan. When the paint is applied in stout consistency, it may be stippled or combed and very pretty effects are obtained. Before applying the stipple to unpainted walls, two coats of pure lead in oil should be given.
GOOD BRUSHES GET GOOD RESULTS
Keep brushes out of water. When paint and varnish brushes are not in use, they should be suspended in raw linseed oil away from the bottom of the container by at least two inches and at least an inch above the bottom ferrule or strap. Water is not a paint solvent. When brushes are suspended in linseed oil, the oil will dissolve the pigment which, being heavier, will sink to the bottom of the container, in this way cleaning the brush.
Quantity Needed.
To ascertain the number of gallons of paint required for a building:—add the width of front and rear with the length of both sides, and multiply by the height. A gallon of paint, properly brushed out, will cover 350 square feet, two coats. Do not flow the paint on, but thoroughly brush it on.
By dividing the total feet of surface by 350, you will obtain the number of gallons necessary to paint the house, two coats. The above estimate, owing to the fact that surfaces vary in their natures, is based on a surface of good condition to receive the paint.
EXAMPLE
Front 25 feet Rear 25 feet Side 45 feet Side 45 feet ———— 140 feet Multiply by average Height, 25 feet Divide by 350 3500 feet —10 gallons
TO REMOVE RUST STAINS FROM CONCRETE OR STUCCO
Rust stains can be removed from concrete or stucco work by scrubbing the spots with a solution of 1 part muriatic acid and 5 parts water. When using this, the hands should be well protected from the acid as it is very strong, and will cause severe burns. After scrubbing the concrete, the acid must be well rinsed off with clean water.
ALUMINUM PAINT MAKES RADIATORS LESS EFFICIENT
The aluminum or bronze paint generally applied to radiators greatly reduces their effectiveness and makes it necessary to have a larger surface for the same heating effect, according to experiments performed by Dr. W. W. Coblentz, of the Bureau of Standards. Dr. Coblentz finds that the heat radiated from an aluminum painted radiator surface is less than a third of that emitted by a radiator of the same size painted with a non-metallic paint, enameled, or simply allowed to rust.
On the other hand, he finds that aluminum paint is a very effective means of reducing the amount of heat transmitted through a thin material. Applied to the under side of a tent or awning, it reduces by three-fourths the amount of heat from the sun which gets through the cloth, while if used on the cover of an automobile or ice wagon it cuts in half the heat let through and makes the temperature inside the vehicle more nearly that found in natural shade, thereby making it much more comfortable.
PAINT AND VARNISH REMOVER
Benzol and denatured alcohol, equal parts applied to a painted or varnished surface, will eat through to the bare wood in less than ten minutes’ time.
HOW ENAMEL IS APPLIED TO METAL
The basis of all enamels is an easily fusible, colorless glass, to which the desired color and opacity are imparted by mixtures of metallic oxides. The mass, after being fused together and cooled, is reduced to a fine powder, washed and applied to the surfaces to be covered. The whole is then exposed in a furnace till the enamel is melted when it adheres firmly to the metal.
TO RETARD THE DRYING OF PLASTER OF PARIS FOR FIVE HOURS
Plaster of Paris can be retarded by dissolving carpenter’s glue or common paste in the mixing water. To retard it so that it will not set within five hours will require about 2 per cent. of glue, the percentage being based on the weight of the plaster.
CEMENT PANEL PAINT FOR BLACKBOARDS
If you prefer to mix your own paint for cement panel blackboards, use drop black in turpentine, add an equal weight of finest powdered pumicestone mixed in turps and hard oak finish, and thin with enough varnish and turpentine to bind it hard.
PAINTING STUCCO
In painting stucco, the following instructions should be observed. After brushing thoroughly, prepare for the priming coat by mixing one part, by weight, of white lead, red lead, and boiled oil. White lead, stainers, driers, to the extent of one-fourteenth of the mixture, two parts boiled oil, and one part turpentine, form the basis for the second and third coatings. Additional coating should contain less turpentine in proportion to the oil.
A REMEDY FOR LOW CEILINGS
Rooms with low ceilings can be made to appear much higher by using a striped paper, preferably in a pale tint.
TO REMOVE PAINT FROM GLASS
Common washing soda dissolved in water; let it soak a while—if put on thick, say thirty minutes—then wash off. If it does not completely remove, give it another application.
CLEANING PAINTED WALLS
Dissolve two ounces of borax in two quarts of water. Add one teaspoonful of ammonia, put half this mixture into a pail of water. Use no soap.
A GOOD WALLPAPER VARNISH
Dissolve equal parts of borax and shellac in ten times their weight of alcohol; strain. Give two coats. For a very light-colored paper use sandarac instead of shellac. Paper treated with this lacquer can be washed with water, and even with soap, if necessary.
LUMINOUS PAINT FORMULA
Linseed Oil cold compressed and thickened by heat 3 oz., barium sulphate 3 oz., prepared calcium carbonate 3 oz., white zinc sulphide 6 oz., luminous calcium sulphide 18 oz. Mix well and grind in a paint mill, very fine.
FIREPROOF PAINT
Incorporate powdered asbestos into paint to be used on sheds, garages, etc.
TO COLOR CONCRETE
Cinnabar is mixed with cement to produce a bright red concrete and carmine to produce a violet red.
GREASE SPOTS ON WALL PAPER
Grease spots can be removed from wall paper by rubbing with camphorated chalk.
FURNITURE POLISH
Oil of cedarwood 3 ounces, turpentine 2 ounces, hydrochloric acid (commercial) 1¼ ounces, lubricating oil (light) 1½ ounces, gasoline 1½ pint. Mix the turpentine, lubricating oil, and gasoline thoroughly and add oil of cedarwood, mixing thoroughly. Now add the hydrochloric acid, stirring briskly. Allow to set for three days, stirring occasionally until hydrochloric acid is thoroughly mixed. INFLAMMABLE, KEEP FROM FIRE OR OPEN FLAME. Can be colored if desired (any color) by adding a small amount of soluble color.
FURNITURE AND AUTOMOBILE POLISH
(One quart.)
To ⅔ of paraffin oil add two tablespoonfuls of turpentine oil, one tablespoon of ammonia, one tablespoonful of alcohol. Add enough gasoline to make the quart. Keep away from open flame.
WHITE SPOTS ON A SHELLAC SURFACE
Restore the color of a shellac surface which has become white in spots by holding a hot iron over the spot.
DUSTLESS CONCRETE FLOORS
Paint concrete floors several coats with a mixture of boiled linseed oil mixed with gasoline, half and half.
OLD WIDE SOFT FLOORING MADE TO APPEAR AS HARDWOOD
When the cracks have been filled and floor has been stained the desired color grain half of each board differently. Thus the wide boards appear narrow by graining every other half. It resembles two kinds of wood dovetailed together.
AUTOMOBILE POLISH
This produces a fine luster that does not collect dust or show rain streaks. Although not a cheap polish, it is less costly than some now on the market. It consists of ½ gal. turpentine, ½ pt. paraffin oil, 2 oz. oil of citronella, and 1 oz. cedar oil. These are thoroughly mixed, applied with a soft cloth, and rubbed lightly and briskly until dry.
LIME WHEN NOT IN USE IN WHITEWASH
Lime will lose its value as a whitewash after long exposure to the air, but is ideal when used as fertilizer.
TO FROST A PANE OF GLASS
After the glass has been painted white, and still is wet, gently tap it all over with a soft cloth which has been wadded into a ball or puff.
YELLOW PIANO KEYS
To clean, a paste made from whiting and a solution of potash is laid on, and allowed to remain for twenty-four hours. The ivories will be restored very nearly, if not quite, to their original color without removing them from the keys.
PAINTING ON GLASS
Paints will adhere to glass better if colors are ground in oil. Thin with pale japan and turpentine.
REMOVE INK STAINS FROM WOOD
Prepare a mixture of 8 ounces of concentrated sulphuric acid and 1¾ pints of water. Scour the stain thoroughly with water and sand and then pour some of the mixture upon it and rub until the stain disappears.
TO CLEAN SMOKED OR BLACKENED WALLS AND CEILINGS
Wash with a cloth wrung out of a strong solution of baking soda and water or use vinegar and water. If the stain is not all removed, dissolve gum shellac in alcohol to the consistency of milk or cream, and with it cover the sooty parts. Paint or whitewash over the shellac. The black will not show through.
COMMON WHITEWASH
Ordinary whitewash is made by slaking 10 lbs. of quicklime in 2 gals. of water. The lime is placed in a pail, the water added, and the bucket covered with a piece of old carpet, or an old bag, and allowed to stand for about an hour; the whitewash is then ready for application.
WEATHERPROOF WHITEWASH
For exterior use, a weatherproof limewash is made by slaking 1 bu. (62 lbs.) of quicklime in 15 gal. of water. A solution consisting of 2 lbs. of ordinary salt and 1 lb. of zinc sulphate, dissolved in 2 gals. of boiling water, is prepared, and 2 gals. of skim milk is provided. The salt and zinc-sulphate solution is added to the lime and water, the skim milk being put in last.
LINOLEUM CEMENT
A mixture of glue, isinglass and dextrin, which dissolved in water and heated, is given an admixture of turpentine. The strips pasted down must be weighted with boards and brick on top until the adhesive agent has hardened.
WEIGHT OF PAINT
Good paint weighs 18 pounds and upwards to the gallon. Ordinary paint weighs 15–16 pounds.
HINTS FOR PRESSMEN
COVER WHITE
When cover white is too short or stiff to be workable, add a small amount of mixing white.
PROCESS COLOR PRINTING
For the very best results in this fascinating art, print the lighter colors first, as follows: Yellow, red, blue and black unless otherwise instructed by the engraver.
When dark colors are run first contrary to progressive proof, the full richness and detail are lost and hues altered. Light colors printed over the dark detail, modify and subdue the sharpness which is not always desirable.
Use opaque yellow for the first color when printing on tinted stock; follow with transparent colors.
GOLD SIZE FOR BRONZE POWDER
All pigment that enters into the manufacture of gold size must be earthen. Yellow ocher is admirably adapted for this purpose, as in hue it ranges from a pale yellow to light brown. It is insoluble in oil and will not dull the luster of bronze powder or bleed through.
Gold size for pale gold bronze should be pale yellow; for deep rich gold bronze use medium light orange brown size.
Deep rich gold when applied over pale yellow size produces a medium gold cast.
STREAKING AND SHADOWS
Streaking or shadows which occur when running heavy solids, can oftimes be overcome on three roller platen presses by using a steel vibrator, also expansion trucks which trip third roller. If expansion trucks are not available use vibrator and remove third roller, as in most cases this roller is causing the trouble.
Coach varnish adds lustre to printers’ ink.
MOTTLING AND PICKING
Mottling of printers’ ink is largely due to an over-abundance of reducer, which separates the pigment from the mordant. This difficulty is sometimes overcome by adding silicate of soda (water glass), magnesia, etc. These absorb some of the superfluous oil and force the pigment into a solid mass.
Reducing to eliminate picking is the principal cause of mottle. Before mixing reducer with ink, add a little soft ink, such as halftone; if straight halftone picks, add 00 varnish.
Inks are made for all purposes. Best results are obtained by using them without adulteration. Oftentimes a drop or two of linseed oil distributed on press will do the trick. If ink mottles from the start with no other inks at hand, use less ink and double roll.
Picking and mottling on platen presses is more prevalent than on cylinders. The reasons are obvious. The cylinder requires less ink, has ample distribution and the printed sheet is peeled from the form.
Every printing press has its capacity. You can not successfully print a solid oversize form just because it can be locked in a platen chase. Even with a good vibrator, this kind of form requires double or triple rolling. Taking into consideration the fact that friskets jerk printed sheet from the form, you need not look farther for the cause of picking.
By cutting stock two or more up, and inking form the narrow way with enough of the sheet to be printed protruding for a good hand hold, you can peel it from the form. Do not allow friskets to touch the sheet.
WASH FOR DIRTY TYPE OR CUTS
Crude carbolic acid and turpentine, equal parts. Let stand over night. Rinse off with gasoline.
Color Printing—Some very pretty effects are obtained by printing transparent yellow and crimson or scarlet over black. The black being so modified as to yield greenish hues under yellow and purple hues under red.
GENERAL PURPOSE GLUE
Always Ready for Use.
Fill a quart glass jar with good broken glue; then fill up with acetic acid (which is vinegar in a strong form); set jar in hot water for a few hours to dissolve.
PADDING GLUE (any color) FOR PRINTERS
Requires no heating.
In addition to the above formula purchase ten cents’ worth of analine (any color desired) from your druggist, dissolve this in two ounces of glycerine. Then stir all together. The glycerine keeps the glue flexible and prevents cracking. This formula, in print for the first time, means the saving of a great many dollars.
MIXING GLASS
Before mixing colors on glass, glue or lay a sheet of white paper to the back. Or paint it white.
WHEN TO USE OPAQUE PROCESS INK
When printing process colors on tinted stock, use an opaque yellow, follow with transparent colors.
PROTECTIVE VARNISH FOR PRINTERS’ PLATES
Printing plates, especially etchings which are chiefly composed of zinc, may be kept free from corrosion by dipping or painting with a liquid solution of gum arabic, which is soluble in water.
MISCELLANEOUS
BLACK AND WHITE AS COLORS
Figuratively speaking black and white are colors but technically they are not. Pigments that are jet black and pure white either vegetable or mineral are unknown. It takes the addition of blue to alter the yellowish cast of white, and blue to deepen the brownish cast of any so called black pigment.
White being a neutral color, will harmonize with most any color combination.
NEUTRAL HUES AND TINTS
Neutral hues are made by a 50–50 mixture of warm and cold colors. White added to neutral hues produce neutral tints.
Whiting—Chalk pulverized and freed from impurities.
VARNISH FOR THE BACK OF SILVERED MIRRORS
Dammar gum, 20 parts; asphalt, 3 parts; gutta-percha, 5 parts; benzol, 75 parts; mix and dissolve. To use this varnish, pour it over the silvered surface and move the plate back and forth until it is distributed evenly over the surface.
Soft toned (flat finish) colors and tints are very desirable in the modern home. The flat or dull finish prevents the reflection of light, and makes a desirable back ground for pictures and draperies.
COLOR IN SOAP BUBBLES
The beautiful colors of an ordinary soap bubble are caused by light shining through the thin filament and being reflected from its inner surface.
INVISIBLE WRITING INK