Part 4

Walnut, mahogany, chestnut, oak, ash and butternut may be classed as open grained woods, which need to be well filled with paste filler colored to match the color of the wood. When the filler is dry put on a coat or two of white shellac and rub down smooth with No. 1 sandpaper, and follow with two or more coats of hard oil or varnish, as you like; give each coat plenty of time to dry and rub each coat with curled hair or hair cloth, except the last coat. If you want an egg shell or half gloss, rub the last coat with pulverized pumice stone and raw linseed oil. If you want a dead finish rub down with pulverized pumice stone and water instead of oil. If you want a polish, first rub with the pumice stone and water; then with rotten stone and water, and polish with rotten stone and oil, or furniture polish and rotten stone. If you want a gloss finish, flow on the last coat and omit rubbing. Treat the close-grained woods as above stated, with the exception of the filler. The shellac also may be omitted, but it will take at least one more coat of hard oil or varnish for the job.

Cherry, sycamore, maple, birch, gumwood, redwood, cypress, pine, whitewood, poplar and hemlock are all close-grained woods, and need no paste filler. Pine especially should have a coat of shellac to keep back the pitch.

For an extra fine job of gloss finish, rub next to the last coat with pumice stone and water, flow on a coat of good varnish, and leave it in the gloss. In this case great care is required in cleaning the work to keep it from showing specks.

It stands the beginner in hand to be careful and not use his shellac too heavy to work well; shellac has good body and an apparently very thin coat will be a good heavy one.

To do a fine job the room and work must be clean, the clothing free from dust, and the work, brushes and varnish free from specks. If specks show on your gloss coat call a halt, and find where they come from.

Soft cotton rags are the best material for wiping off surplus filler.

A felt pad of convenient size to handle is the best for rubbing work. Get one at the furniture shop. For a cheap job omit the water rubbing, and rub with pumice stone and raw oil.

TO MAKE BLEACHED OR WHITE SHELLAC VARNISH.

Take powdered white shellac 1½ pounds, best grain alcohol 1 gallon. Add the gum to the alcohol, set it in a warm place and shake your jug or bottle occasionally. Don’t put it in tin or iron; either of them will discolor it. You can hasten the process by setting your jug in a sand or water bath, and gently heating it; or set it by the stove, or in the sunshine.

To make the common orange shellac of commerce, dissolve 1½ pounds orange shellac in 1 gallon methylated spirit or grain alcohol. This will dry in ten or fifteen minutes, and makes a hard lustrous varnish when dry, and stands the weather better than most gum varnishes. It makes a turbid liquid of orange brown hue and dries rather a pale brown. For use on dark wood this is equal to the white shellac, if not superior.

TO COLOR PUTTY.

There is no use in trying to color common putty to match the color of natural wood. The whiting in it will not take clear tints. Use lead putty, which you can tint with raw sienna for pine, yellow ochre for oak, burnt umber and burnt sienna for walnut, and burnt sienna for mahogany. Better have the putty too light than too dark.

SPOTS ON PAINT.

Poor lumber and thin painting are often the cause of spots on paint, especially on two-coat work. On cross-grained and other extra-porous places more of the oil sinks into the wood than on the general surface, and the result is flat places in the paint, which fade sooner than the glossy paint; hence, the work looks spotted.

To provide against this kind of spotting use more care in priming and see that all extra-porous places are well filled with the prime coat, or touch them up before the second coat goes on. A little extra work with the brush when putting on the prime will save trouble.

Another cause may be traced to the practice of putting on a coarse dark priming coat, which will show through in places where the paint is thinnest.

Mildew, or fungus growth, is another cause. This sometimes comes from the use of too much japan, _poor or fat oil_, or when the paint dries tacky or soft.

Adulteration of linseed oil with mineral and other non-drying oils, has a tendency to make paint dry soft. Linseed oil, kept for a few days in an old sour tank or in an old rancid can in the paint shop, is liable to cause fermentation to take place, which may result in mildew in damp weather in shaded places.

When an oil can smells sour, or there is a deposit of foots at the bottom, it is unfit to keep oil in.

Another cause of spotting may be found in insufficient and improper brushing or spreading the paint; especially the priming, which requires as much care in putting on as any other coat on the job.

For instance, here is a job which shows “laps.” Now, if this prime is right when it is put on single, it is wrong when it is put on double, because, where the laps are, the work has at least one more coat than the balance of the job, hence the paint is liable to fade spotted.

PORCELAIN FINISH.--CHINA GLOSS.--GLOSS FINISH.

All different names for about the same thing. To make a fine job: If the work is new, see that it is smooth, free from dust and stains. Then give it a coat of priming, put on thin, so as not to show brush marks, and rub down with No. 0 sandpaper. Next, get a good body with keg lead, mixed in turpentine and a very little linseed oil; put on thin coats, so as not to show brush marks; use a fitch brush, or at least a _fine_ bristle chiseled brush. When dry, rub down with sandpaper and flow on a coat of thin white shellac. This is to keep back the oil in the lead coats, and prevent chemical action between the lead and zinc coats. Next, put on two or more coats of French zinc ground in damar varnish; enough at least, to get a clear white. Thin with turps and a little damar varnish, and put on thin enough to show no laps or brush marks.

Then put on a coat or two of French zinc ground in damar varnish, thinned with 1 part damar varnish and 2 parts turpentine. Next put on a coat of damar varnish mixed with a little zinc ground in damar, just enough to make the varnish white. Flow on a coat, and be careful that it does not run on your work. To avoid runs always commence at the top of a panel with a full brush and work down so as not to have a surplus in the lower corners of the panels; this applies to all parts of the work. It is quite a knack to put on a full coat of this varnish and zinc, and not have it run.

In all cases put on enough zinc coats to make a clear white before you put on the varnish. The small quantity of zinc is put in the varnish to take off the yellow tinge, and to keep it from turning yellow. Use lead putty. See recipes to make it on another page.

ANOTHER WAY.

Very hard and white, for parlors.--To prepare the wood for the finish, if it be pine, give one or two coats of the “Varnish--Transparent for wood,” which prevents the pitch from oozing out, causing the finish to turn yellow; next, give the room, at least, four coats of pure zinc, which may be ground in only sufficient oil to enable it to grind properly; then mix to a proper consistency with turpentine or naphtha. Give each coat time to dry. When it is dry and hard, sandpaper it to a perfectly smooth surface, when it is ready to receive the finish, which consists of two coats of French zinc ground in, and thinned with damar varnish, until it works properly under the brush.

LEAD POISONING--HOW TO AVOID IT.

White lead may enter the human system in three ways, to-wit: Through the stomach, the lungs and the skin. In other words, it may be eaten, inhaled or absorbed, hence the stomach, lungs and skin should each be carefully guarded against it. To guard the stomach, through which you are in the most danger of taking in the poison, make it a rule to keep the mouth closed as much as possible when using white lead, and _especially when sandpapering_. Make it a rule to never eat or drink without first carefully cleansing your lips, and carefully removing the paint from your hands before eating. Tobacco chewers, who carry tobacco in their pockets, are in especial danger of lead poison, if working in paint, because the tobacco becomes more or less poisoned with lead from the fingers, if the painter is not careful to clean his hands before taking a chew. There is no great danger from inhaling white lead, except when sandpapering, or when dusting after sandpapering.

It is a pretty good thing to carefully guard the nose with a damp sponge while sandpapering, and to carefully free the nostrils from lead. There is no danger of poisoning by absorption through the skin, unless the painter is careless. When T see some men at work, I wonder how they can possibly escape lead poisoning. Their clothing glazed with oil paint, their hands daubed to the wrist by grasping the brush by the head, instead of by the handle; or by general carelessness in mixing and handling paints.

SYMPTOMS OF LEAD POISON.

Tired feeling, wakefulness at night, neuralgic pains, “shaky” hands, constipated bowels, bad taste in the mouth, and pain in the bowels, a blue edge on the gums, and a coated tongue. If you get the colic, see a doctor; for the other symptoms, get away from paint for a while if possible, and take the following: Iodide of potash, ½ oz.; syrup sarsaparilla, 8 oz. Dose:--Teaspoonful three or four times a day in half a cup of milk. Eat graham mush and drink milk.

TO FINISH FURNITURE AND OTHER WORK IN SIXTEENTH CENTURY OAK.

First fill the wood with any good filler. Fill it well, then take Vandyke brown 3 parts, and burnt sienna 1 part, and mix to a stiff paste with boiled oil and japan, and thin with turpentine, until you can brush it on the wood, and not have it look dauby or muddy. Give the work a light coat, and brush it out well and carefully. Too much pigment will make your work too dark. Wherever you want the light or worn spots to appear, wipe off the stain with a cloth, and with a badger blender carefully blend the stain into the edges of the worn or light spots. Don’t stain too much at once, for fear your stain may set so you cannot wipe out and blend. When the stain is dry, sandpaper lightly with No. 0 paper. Finish with two coats rubbing varnish, or with hard oil finish. Polish with rotten stone and raw oil.

A SUPERIOR GLUE (WATERPROOF).

A very superior article may be made by dissolving 3 parts of india rubber in 30 parts of naphtha; heat and agitation will be required to effect the solution; when the rubber is completely dissolved, add 64 parts of finely powdered shellac, which must also be heated in the above mixture until all is dissolved. This mixture may be produced in sheets like glue by pouring it while hot upon plates of metal, where it will harden. When required for use, it may simply be heated in a pot till soft. Two pieces of wood or leather, joined together with this glue, can scarcely be sundered without a fracture of the parts.

A VALUABLE CEMENT.

We find the following recipe good: The compound of glycerin, oxide of lead, and red lead, for mending cast-iron that has been fractured with the happiest results. It takes some little time to dry, but turns almost as hard as stone, and is fire and waterproof. For mending cracks in stone or cast-iron ware, where iron filling cannot be had, we think it is invaluable. Take litharge and red lead, equal parts, mix thoroughly and make into a paste with concentrated glycerin to the consistency of soft putty, fill the crack and smear a thin layer on both sides of the casting so as to completely cover the fracture. This layer can be rubbed off, if necessary, when nearly dry, by an old knife or chisel.

LINSEED OIL AND IRON RUST.

The oleaginous principle of linseed oil is said to be in the nature of neutral salts called linolein, consisting of linoleic acid combined with a glycerine base. Linolein is said by some writers to constitute three-fourths of the volume of linseed oil, and that the drying properties of the oil reside in the acid principle of the linolein; that is, linoleic acid has the property of attracting and combining with oxygen to form the substance known as dry linseed oil. This acid is said to be a compound of several different acid principles, combined in definite proportions. Writers seem to disagree as to what the acids are, and in what respect they differ from the acid properties of the non-drying fixed oils, but that is a question which need not be discussed here. The glycerine base of linolein seems to be common to all fixed oils, and is set down as an oxide consisting of one equivalent of water and five of oxygen; hence the affinity between the linoleic acid and its glycerine base.

Linoleic acid, like other acids, has an affinity for alkalies and the ordinary metallic oxides. It unites with them, forming _neutral compounds_. This affinity is said to be electrical; the alkalies and oxides electro-positive, and the acid electro-negative. The greater the contrast in this respect, the stronger the affinity; hence, some acids separate others from their bases and form new salts by precipitation. As an instance:

Drop sulphuric acid into a solution of acetate of lead. It will displace the acetic acid, form sulphate of lead and precipitate, leaving the liberated acetic acid in solution. In linolein, this acid is so constituted that the affinity, or attraction between it and its glycerine base, is too feeble to resist and keep back the oxygen of the air; hence, when linseed oil is exposed to the air in a thin layer, oxygen unites with its linoleic acid, and this process continues until the oil becomes dry to the touch. Beyond this point the process is slower, because the oil is now less penetrable; but the process goes on until the layer of oil becomes hard and brittle, no matter with what pigment it may be mixed, although the pigment may for a time retard the action of the destroying elements.

Linseed oil dries too slowly for general use by the painter, hence various ways have been devised to hasten the drying process. If the foregoing theory is correct, the process which will cause the oil to dry to a good wearing body in the time desired, and leave it in the best condition to resist the action of the elements and the absorption of oxygen, is the best. I regard the lead oxides as the best dryers for this purpose--at least according to my experience. When we add an oxide to linseed oil as a dryer in the small quantity which experience has taught us is best to use, it is evident that it is not sufficient in itself to oxidize the whole of the oil to an appreciable extent. Writers differ as to the peculiar action of the oxides upon the oil, but I think it safe to say that the dryer sets up some chemical reaction which increases the affinity between the linolein and the oxygen of the atmosphere; at any rate, there is no dispute upon the point that linseed oil in drying absorbs a large per cent. of oxygen.

A knowledge of this unanimously conceded point led me to believe that a coat of pure linseed oil might make the best possible priming coat for iron work which had commenced to rust. Why? Because iron rust is an oxide of iron, having an excess of oxygen. Spread on rusty iron, it penetrates the rust, absorbs its excess of oxygen and dries with the remaining neutral oxide held fast in its body. This is my theory; whether correct or not, numerous tests have proved to me that a coat of linseed oil will stop the rusting of iron if applied under proper conditions. When rust is _thick or scaling_ there is no safety short of taking it off. Iron rust is more or less hydrated; to free it from moisture, give it the flame of the gasoline paint burner.

WHITE ENAMEL (SELECTED).

First, the wood is primed with a composition consisting of three parts of turpentine and one part of oil, japan gold size being used as a dryer. On this drying thoroughly the work is rubbed down until perfectly smooth. Next are applied two or three coats of pure white lead mixed entirely flat; each coat is rubbed down, time being allowed for it to dry. Equal parts of lead and zinc are used for the next coat, and three-fourths zinc and one-fourth lead for the one succeeding. After this has become thoroughly hard it is rubbed down very smooth. A thin coat of color made of zinc and turpentine is now rubbed on; for the next coat the same flat color is used, with the addition of about one-half the quantity of good light coach varnish. For the last coat enough zinc is used in the varnish to make it white if the last coat of zinc is not white and solid before varnishing. If the work is to be gilded or striped the zinc must be left out of the last coat of varnish.

VARNISH TO IMITATE GROUND GLASS.

An expert has sent the following to the _British Journal of Photography_: To make a varnish to imitate ground glass, dissolve 90 grains sandrac and 20 grains of mastic in 2 ounces of washed methylated ether, and add, in small quantities, a sufficiency of benzine to make it dry with a suitable grain--too little making the varnish too transparent, and excess making it crapy. The quantity of benzine required depends upon its quality--from half an ounce to an ounce and a half, or even more; but the best results are got with a medium quality. It is important to use washed ether, free from spirit.

VARNISH FOR RUSTIC WORK.

One quart of boiled linseed oil and two ounces of asphaltum, to be boiled on a slow fire until the asphaltum is dissolved, being kept stirred to prevent its boiling over. This gives a fine dark color, is not sticky, and looks well for a year; or, first wash the article with soap and water, and when dry, on a sunny day do it over with common boiled linseed oil; leave that to dry a day or two, then varnish it over once or twice with hard varnish. If well done this will last for years and prevent annoyance from insects.

TO CLEAN VERY DIRTY BRASS.

Rub some bi-chromate of potassa fine, pour over it about twice its bulk of sulphuric acid, and mix this with an equal quantity of water. The dirtiest brass is cleaned in a trice. Wash right off in plenty of water, wipe it and rub perfectly dry, and polish with powdered rotten stone.

TO COUNTERFEIT TORTOISE SHELL VERY FINELY.

In order to do this well, your foundation or ground-work must be perfectly smooth and white, or nearly so, you then gild it with silver leaf with slow size, so as to have it perfectly smooth with no ragged edges, cleaning the loose leaf off. Then grind cologne earth very fine, and mix it with gum water, common size; and with this, you having added more gum water than it was ground with, spot or cloud the ground-work, having a fine shell to imitate; and when this is done, you will perceive several reds, lighter and darker, appear on the edges of the black, and many times lie in streaks on the transparent part of the shell. To imitate this finely, grind dragon’s blood with gum water, and with a fine pencil draw those warm reds, flushing it in about the dark places more thickly, but fainter and fainter and thinner, with less color towards the lighter parts, so sweetening it that it may in a manner lose the red, being sunk in the silver or more transparent parts. When it is dry, give it a coat of varnish, let it stand for a few days, then rub it down with pumice stone and water. Then grind gamboge very fine, and mix with varnish, giving of this as many coats as will cause the silver to have a golden color, then finish with a clean coat of varnish.

PRICE LIST.

The prices of labor, and cost of material vary so much in different localities that it seems impossible to make a reliable price list for general work. The position, condition, and shape of different jobs all go towards making a general price list, an unreliable guide; also the quality of work demanded may make 50 per cent. difference in price. I have half a dozen printed price lists before me, and they generally agree to about the following prices for painting and glazing, to-wit:

_Per Yard._ 1 coat on new work 8 to 10 cents 1 coat on old work 10 to 18 cents 2 coats on new work 18 to 20 cents 2 coats on old work 20 to 25 cents 3 coats on new work 25 to 28 cents Brick walls, 2 coats 20 to 30 cents Penciling 10 to 15 cents

PRIMING AND GLAZING SASH.

_Per Light._ 10 × 14 and under 5 to 6 cents 12 × 16 7 to 9 cents 14 × 24 10 to 12 cents 18 × 24 15 to 18 cents 24 × 30 20 to 25 cents 30 × 40 35 to 50 cents

For old work where the old putty is in the sash, multiply the above figures by 3 or 4. When called out to the house to set a light or two charge for time and material. Most work of this kind is done at least 30 per cent. below the above prices.

I quote below a price list for sign painters, from a very complete report on painters’ prices and measurements, generally, by one of the ablest of local associations of master painters and decorators:

JAPANNED TIN SIGNS.

_Gold._ _Plain._ 3 × 14 inches $1.25 $ .75 6 × 8 inches 1.50 .75 8 × 10 inches 1.75 1.00 10 × 14 inches 2.50 1.50 11 × 17 inches 3.00 2.00 11 × 17 inches, 3 lines 3.50 2.55 14 × 20 inches 4.00 2.50 14 × 20 inches, 3 lines 4.50 3.00 18 × 24 inches 6.00 3.50 18 × 24 inches, 3 lines 7.00 4.00 Frames additional.

GLASS SIGNS ON WINDOWS AND DOORS.

_In Silver or Gold_ _Per Foot._ Letters up to 6 inches in height $ .75 Letters 6 to 10 inches in height 1.00 Letters 10 to 14 inches in height 1.50

Shaded, one color, 25 per cent. extra.

DRUM SIGNS.

_Gold._ _Plain._ 10 × 14 inches $ 3.50 $ 2.50 11 × 17 inches 4.00 3.00 14 × 20 inches 5.00 3.50 18 × 24 inches 7.00 5.00 20 × 24 inches 8.50 6.50 24 × 30 inches 10.00 7.00 30 × 30 inches 12.00 8.50 30 × 48 inches 15.00 10.00

The above include moulding and urns and putting up.

Drilling holes in iron extra.

MUSLIN SIGNS.

_Per Foot._ Up to 1 foot high, black 8 cents 1 to 2 feet, black 10 cents 2 to 3 feet, black 12 cents Colored one-half extra. Muslin furnished. Frames extra.

OIL CLOTH SIGNS.

_Per Foot._ Up to 1 foot 20 cents 1 to 2 feet 25 cents 2 to 3 feet 30 cents Oil cloth furnished. Frames extra.

BOARD SIGNS.

Including three coats of paint and lettering. _Gold._ _Plain._ 6 inches × 4 feet $ 4.00 $ 2.50 8 inches × 6 feet 5.00 3.50 10 inches × 8 feet 6.00 4.00 1 foot × 12 feet 7.50 5.00 1 foot × 15 feet 8.50 5.00 14 inches × 16 feet 8.50 5.00 14 inches × 18 feet 9.00 6.00 14 inches × 20 feet 9.50 6.00 16 inches × 16 feet 9.50 6.00 16 inches × 18 feet 10.00 6.00 18 inches × 18 feet 10.00 6.00 18 inches × 20 feet 12.00 7.00 18 inches × 24 feet 15.00 7.00 18 inches × 30 feet 18.00 8.00 Board extra. Irons and putting up extra. Shading, 25 per cent. additional, one color.

WALL SIGNS.

Two coats of paint and lettering. Extra coat, 1 cent per square foot additional.