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Adhesives, Paints, and Varnishes: Combination
Combination Primer, pure lead; second coat, pure lead; third coat, pure zinc.
The primer may be tinted with not ADHESIVES, PAINTS, AND VARNISHES more than 1 per cent of pure lampblack, ocher, or umber in oil. This applies to all combinations, except where the final finish is to be white.
Combination "B."-Primer, pure lead; second coat, zinc, lead; third coat, pure zinc.
Combination "C."-Primer, pure lead; second coat, zinc, lead; third coat, zinc, lead.
Combination D."-Primer, 1/2 zinc, lead; second coat, zinc, lead; third coat, zinc, lead.
Combination "E"-Straight Zinc, Four-coat Work (White).-Primer, pure zinc with 1 pint of turpentine to the gallon of paint; second coat, pure zinc with pint of turpentine to the gallon of paint; third coat, pure zinc with 1 gill of turpentine to the gallon of paint; fourth coat, pure zinc ground in pure linseed oil (without turpentine).
Combination "F"-Straight Zinc, Three-coat Work (White).-Primer, pure zinc, with pint of turpentine to the gallon of paint; second coat, pure zinc with 1 gill of turpentine to the gallon of paint; third coat, pure zinc with all oil.
In all the foregoing, only a sufficient quantity of dryer to be used to insure work drying in five days.
Where tints are desired, add to the foregoing tints as desired, mixed with pure oil colors.
Inside Painting, Woodwork.
Where dark tones are required, the same combinations may be used as are specified on outside work.
Where light tones are required, combinations "B," "E," or "F" may be used; if white or very light, "E" or "F" should be used.
Where a flat surface is required, the proportion of turpentine should be increased and that of oil decreased to the point where a desired flatness is obtained.
Plaster Painting, Inside. Make all plaster work perfectly smooth and clean by brushing and sandpapering and washing if necessary, to remove any discoloration which will show through or injure paint.
The specifications should be the same as the foregoing, except that another coat should be added. This coat should be the same as the primer if tone is dark and the same as final coat if tone is light.
If an extraordinarily good job is required, both the above primer and final coats should be repeated, making five coats in all.
Enamel Painting on Walls or on Woodwork. - First coat, primer of pure lead and linseed oil; second coat, lead and zinc; third coat, lead and zinc, with the addition of suffi cient varnish to form a proper surface for final coat. Or any of the foregoing formulas may be used with the addition of varnish to the third coat. The above coats to be applied carefully and evenly, with brush marks showing as little as possible, and each coat to be lightly sandpapered so that final coat may be flowed on without showing any brush marks. Final coat to be a first grade of interior varnish with the addition of only sufficient zinc and color to produce the approved tint and to be carefully flowed on.
Good workmen can make a firstclass job of the above, and a bad workman can, if so inclined, so stint the materials and workmanship that it may not be satisfactory, and another final coat may be necessary. Should the bidding be public and the architects be unable to select painters of known reputation, a clause like the following may be added:
If, after the fourth coat, the work is not satisfactory, then the painter shall without extra charge do whatever is necessary to make the work perfectly satisfactory.
Stipple Wall Painting. - First coat, pure lead; second coat, zinc and lead (half turpentine and half oil); third coat shall be of stippling putty mixed with zinc and hard oil, and to be stippled evenly and lightly; fourth coat shall be of pure zinc in oil and turpentine (with such tint as required), to be applied perfectly even and to be only of sufficient thickness to give proper tint and show stippling.
CARE OF PAINTS AND BRUSHES To Keep Paint Fresh.--Any paint left over after using must be sealed..
Or it may be kept fresh in an open can or pail by merely filling up the vessel with water. When the paint is again needed the water may be poured off. But take care that the water does not evaporate, as in that case the paint will be ruined. - Care of Brushes. - Paint brushes should not be left in paint or allowed to rest on the bristles in such a way as to curve the bristles to one side After using, they should be thoroughly cleaned with turpentine and dried. Or the bristles should be immersed in a slow-drying varnish, the handles being suspended so that the bristles wi'l not touch the bottom of the can, and the whole covered to keep out the air.
Or clean brushes first in linseed oil, then in warm soapsuds, and hang up to dry.
Or, if likely to be used again shortly, they may be suspended in water, oil, or varnish. But take care that these materials do not evaporate and allow the brush to get dry, as it may be ruined.
To preserve brushes for future use without cleaning, bore a hole through the handle, string them on a wire, and suspend in a covered can containing linseed oil or varnish sufficient to cov er the bristles. Close the can tightly to prevent evaporation. - To Clean Paint Brushes.
When brushes become hard or gummed with oil and paint, soak the bristles in soft soap for two or three days, but do not immerse the head of the brush.
Then soak out the paint in hot water.
To Paint Furniture. - Furniture, cabinetwork, carriages, and the like, which require a highly finished surface, should first have all old paints and varnish removed by means of burning or otherwise, and the surface refinished.
Or, if the old paint is not badly checked or cracked, it may be sufficient to wash the work quite clean and rub it down to a dead finish with a wet cloth and ground pumice powder, and again wash and dry before painting. This takes off all grease and oil, and provides a surface on which paint and varnish will lie smoothly and adhere.
Dryer for Paint. - Bring 64 pounds of water to a boil, and slowly stir in pound of shellac and 4 pound of borax. Stir constantly until a complete emulsion is formed. This solution is a resinous varnish which, like paint, is waterproof and resists the action of the elements. To use this as a dryer, mix equal quantities of this solution with oil paints and thin slightly with turpentine, stirring to make a complete emulsion. Prepare this mixture only as wanted, since it dries in 10 to 20 minutes.