file which includes the original illustrations4 ,see #dhagc-;h4htm or #dhagc-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#dhagc_/pg#dhagc-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#dh agc_/dhagc-;h4zip7 ,images of the original pages are available through ,internet ,archive4 ,see https3_/_/archive4org_/details_/practica lcarriag#ja;hill ,transcriber's note3 ,text enclosed by underscores is in italics 7italics74 ,text enclosed by equal signs is in bold 7bold74 ,the advertisements on pages ix-xxiii follow the body of the book4 ,an additional transcriber's note is at the end4 ,third ,edition--,published ,april #ae1 #aijc4 ,,practical ,,carriage ,,and ,,wagon ,,painting ,a ,treatise on the ,painting of ,carriages1 ,wagons and ,sleighs1 ,embracing ,full and ,explicit ,directions ,for ,executing ,all ,kinds of ,work4 ,including ,painting ,factory ,work1 ,lettering1 ,scrolling1 ,ornamenting1 ,varnishing1 etc4 with ,many ,tested ,recipes and ,formulas ,profusely ,illustrated by ,m4 ,c4 ,,hillick ,chicago1 ,u4 ,s4 ,a43 ,press of the ,western ,painter #aijc ,copyright #aijj ,by ,charles ,h4 ,webb4 ,,dedicated ,,to ,,the ,,vehicle ,,painters ,,of ,,america ,,and ,,the ,,world4 ,,preface ,,to ,,third ,,edition4 ,the great demand for ,,practical ,,carriage ,,and ,,wagon ,,painting has already exhausted the second edition1 and orders are arriving in increasing numbers every day4 ,the publisher wishes to express his grateful thanks to the trade for the generous patronage accorded the work4 ,not only would we express our thanks to those who have purchased the book1 but we feel deeply grateful to the trade press for the generous reviews and kindly expressions of approval that they have given the volume4 ,we send the third edition forth with the conviction that it is an improvement over the old ones in many respects1 although we think the other editions were well worth the price charged for them4 ,it has been almost twenty years since a volume on carriage and wagon painting made its appearance in this country1 during which time the enterprising carriage painter has been wide awake4 ,he has found many new processes and a multitude of new materials of which the workman of twenty years ago knew nothing2 he has raised vehicle painting from a simple mechanical process1 which was intended to preserve the surface from decay1 to a fine art of the highest order1 and fashionable people now take as much pride in having beautiful and stylish equipages as they do in wearing clothing that is up to date1 or in securing jewels that are sufficiently brilliant to dazzle all beholders4 ,no one realized more fully than the writer that an up-to-date work on the difficult but noble calling of the carriage and wagon painter was badly needed1 so he began to cast about for someone who was fully qualified for the task of writing such a book4 ,he knew that the author of such a work should be a man of extended trade practice and one who could divest himself of high-flown scientific terms and make his language so plain that any workman who cared to do so could easily comprehend the instruction given4 ,a careful survey of the field led to the selection of ,mr4 ,m4 ,c4 ,hillick1 whose work for the magazines during the past ten or twelve years has done so much to assist carriage and wagon painters to elevate their calling to its present high standard4 ,mr4 ,hillick has long held a high place among the best-known carriage painters in this country1 is thoroughly posted on all the various branches of the business1 and has the happy faculty of being able to impart his knowledge to others in such a plain1 practical way that they cannot fail to understand him4 ,his excessive modesty came very near causing him to decline1 but he was finally induced to undertake the work1 and ,,practical ,,carriage ,,and ,,wagon ,,painting is presented to a generous public with the knowledge that its superior has never made its appearance in this country4 ,it is but a short time since the demands of the times gave birth to that great institution--the factory shop--that monster establishment from which hundreds of vehicles are turned out daily4 ,the writer pleads guilty to a strong prejudice against the class of work done in these factories1 yet he is compelled to admire the finished product and applaud the genius of the painter who can thus marshal his forces and1 by working to a set of fixed rules1 seem to defy natural laws1 and out of it all bring a thing of beauty which1 while it does not prove a joy forever1 does possess a degree of durability that we of the old school of carriage painters were led to believe was impossible4 ,it has remained for ,mr4 ,hillick to take us through this great establishment1 and he describes the processes and gives us the formulas that are employed1 in such plain1 helpful language1 that no one can read his words without profit as well as pleasure4 ,time and space forbid 7even if ,i had the ability to give it7 a comprehensive review of this work4 ,it would be impossible to enumerate the millions of good points it possesses1 so it is best to let the succeeding pages speak for themselves4 ,they will do it much more eloquently than ,i could hope to do4 ,i am sure of one fact1 and it is that if carriage and wagon painters all over the world will read and practice the teachings of the succeeding chapters they will become better painters1 better citizens1 and our country roads1 as well as our boulevards1 will sparkle with a stream of better painted and more beautiful vehicles4 ,when the writing of ,,practical ,,carriage ,,and ,,wagon ,,painting was committed to ,mr4 ,hillick1 the writer expected great things of him4 ,now1 as ,i look over the chapters of the completed work1 ,i am happily conscious of the fact that ,i am not disappointed in the slightest degree1 and ,i wish to thank ,mr4 ,hillick for giving to the vehicle world a work on painting that will prove helpful to the master workman as well as to the ambitious apprentice4 ,,charles ,h4 ,,webb4 ,,chicago1 ,april1 #aijc4 ,,contents4 ,introductory #a ,,chapter ,i4 ,,the ,,shop ,,and ,,its ,,equipment4 ,locating and ,fitting up the ,shop--,system of ,ventilation--,furnishing and ,equipping the ,varnish ,room--,the ,set ,room1 ,etc4--,with ,fourteen ,illustrations of ,labor-,saving ,devices for the ,paint ,shop and ,varnish ,room #c ,,chapter ,,ii4 ,,buying1 ,,using1 ,,and ,,preserving ,,brushes4 ,how to ,select a ,brush--,how to ,care for ,it--,softening the ,hard ,brush--,brush ,keepers--,preserving ,liquids1 ,etc4--,with ,seventeen ,illustrations #i ,,chapter ,,iii4 ,,the ,,surfacing ,,stage ,,of ,,painting4 ,materials ,used--,priming--,its ,importance--,numerous ,formulas for ,primers--,when to ,prime and ,how--,lead ,coats--,their ,office and ,significance--,rub ,lead1 with ,full ,directions for ,making and ,applying--,knifing ,lead1 with ,numerous ,formulas for ,making ,it--,putty--,ten ,formulas for ,making ,putty--,directions for ,using ,putty so as to ,obtain the ,best ,results--,sandpapering--,how and ,how ,not to ,do ,it--,sizes of ,paper to be ,used--,roughstuff--,many ,formulas for ,making ,it--,the ,mission of ,roughstuff1 with ,full and ,complete ,directions for ,applying and ,surfacing ,it--,six ,illustrations ,accompany the ,chapter #ag ,,chapter ,,iv4 ,,colors4 ,colors ,scientifically ,analyzed--,prismatic and ,objective ,color--,the ,orders of ,objective ,colors and their ,uses in ,vehicle ,painting--,harmonizing and ,contrasting ,colors--,testing ,colors--,assaying for ,opacity1 ,coloring ,strength1 ,brilliancy1 and ,durability--,with a ,practical ,working ,table for ,compounding #ie of the ,most ,fashionable and ,popular ,colors ,used in ,modern ,carriage and ,wagon ,painting #bh ,,chapter ,v4 ,,the ,,application ,,of ,,colors ,,to ,,surfaces4 ,detailed ,instructions for ,preparing the ,foundation ,colors--,how to get the ,finest ,results in ,using the ,ever-,popular ,greens1 ,blues1 and the ,varied ,colors ,belonging to the ,red ,order--,also ,yellows1 ,browns1 and ,blacks--,complete ,information ,covering the ,painting of a ,white ,job #cg ,,chapter ,,vi4 ,,varnish1 ,,and ,,the ,,marvelous ,,thing ,,about ,,it4 ,virtues of ,varnish--,brief ,review of its ,mission--,applying ,rubbing ,varnish--,surfacing ,it1 and the ,tools and ,appliances ,used--,importance of the ,water ,supply1 ,washing ,up1 ,etc4--,the ,tale of ,fine ,varnishing ,made ,easy--,flowing the ,finishing ,coat--,varnishing ,running ,parts--,various ,movements ,necessary--,numerous ,illustrations #dg ,,chapter ,,vii4 ,,depravities ,,of ,,varnish4 ,their ,causes and ,cure or ,prevention--,graining ,out--,cracking--,sweating--,deadening1 ,sinking ,in--,enameling1 ,silking1 ,etc4--,pitting--,seedy or ,specky--,crawling--,wrinkling1 ,crinkling--,runs1 ,sags1 ,curtains1 ,draperies--,ridging1 ,roughing--,perishing1 ,crumbling1 ,rusting--,chipping1 ,flaking1 ,peeling--,fire ,checks--,greening--,blooming--,blisters --,spotting #ed ,,chapter ,,viii4 ,,striping ,,and ,,its ,,purpose4 ,how to ,learn the ,art--,directions for ,making ,pencils and ,caring for ,them--,mixing ,striping ,colors--,names of ,stripes--,with ,thirty-,six ,illustrations1 including ,pencils1 ,various ,styles of ,stripes1 ,panel and ,corner ,designs1 ,etc4 #fa ,,chapter ,,ix4 ,,scroll ,,painting4 ,the ,passing of the ,fine ,old ,roman ,scroll and its ,destined ,return to ,favor--,relief and ,flat ,scrolls ,fully ,described--,how to ,learn the ,art of ,scrolling--,scrolls in ,gold1 ,aluminum1 and ,colors--,the ,basis of ,beautiful ,scroll ,work--,recipes for ,gilding ,size--,with ,eighteen ,illustrations1 ,including ,five ,full-,page ,designs of ,relief and ,flat ,scrolls #ge ,,chapter ,x4 ,,lettering4 ,wagon ,lettering as ,distinguished from ,sign ,writing--,specific ,directions for ,learning the ,art of ,wagon ,lettering1 ,including ,laying ,out1 ,spacing1 ,outlining1 ,balancing1 ,shading1 ,punctuation1 ,etc4--,roman1 ,modified ,block1 ,ornamental1 and ,grecian ,alphabets1 ,numerals1 ,etc41 ,shown--,with ,designs for ,business ,vehicle ,panels #hi ,,chapter ,,xi4 ,,monograms4 ,their ,antiquity1 ,relation to ,modern ,vehicle ,painting1 ,etc4--,designing and ,painting the ,monogram--,necessary ,tools--,making a ,transfer ,monogram--,leading ,colors and ,engaging ,combinations--,with ,eighteen ,illustrations #ajb ,,chapter ,,xii4 ,,painting ,,the ,,modern ,,business ,,wagon4 ,considered as a ,work of ,art and as an ,advertising ,medium--,practical ,instructions which ,cover the ,various ,classes of ,business ,vehicles--,the ,factory ,method ,explained--,painting ,heavy ,trucks and ,farm ,wagons--,popular ,colors for ,painting ,business ,wagons--,numerous ,formulas for ,painting ,canvas and ,cloth ,tops #aji ,,chapter ,,xiii4 ,,re-,,painting ,,and ,,re-,,varnishing ,,vehicles4 ,full ,description of ,manner of ,doing the ,various ,classes of ,work--,how to ,match ,colors--,to ,burn ,off ,paint--,tables of ,materials used in ,painting ,vehicles--,treatment of ,tops and ,dashes1 ,formulas for ,dressings1 ,etc4--,method of ,marking ,vehicles--,washing ,finished ,work--,schedule of ,prices for ,repainting #aag ,,chapter ,,xiv4 ,a ,,practical ,,study ,,of ,,materials4 ,white ,lead--,importance of its ,purity--,quality of ,colors in ,general--,adulteration as ,viewed from the ,painter's ,standpoint--,purity of ,raw ,linseed ,oil--,turpentine--,testing ,coach ,japan--,varnish #acj ,,chapter ,,xv4 ,,painting ,,cutters ,,and ,,sleighs4 ,decorative ,features of the ,work--,the ,various ,processes of ,painting ,fully ,detailed--,the ,anti-,kalsomine ,method--,prevailing ,colors--,striping and ,scrolling--,instructions ,bearing upon ,re-painting1 ,re-varnishing1 ,etc4--,with ,nine ,artistic ,ornaments #aci ,,chapter ,,xvi4 ,,facts ,,and ,,formulas ,,from ,,the ,,paint ,,shop ,,diary4 ,many ,practical ,matters and ,methods ,briefly ,stated--,blending of ,colors--,spontaneous ,combustion--,the ,best ,varnish ,room--,remedy for ,rusted ,carriage ,springs--,painting ,metallic ,surfaces--,thinning ,varnish--,painting a ,natural-,wood ,finished ,job--,repairing ,bruised ,surfaces--,how to ,make ,varnish ,go ,wrong1 ,etc41 ,etc4 #adh ,,index ,,to ,,advertisers4 ,pratt ,lambert ix ,chicago ,varnish ,company x ,murphy ,varnish ,company xi ,john ,w4 ,masury ,son xii ,surrey ,varnish ,works xiii ,standard ,varnish ,works xiv ,national ,lead ,company xv ,berry ,bros4 xvi ,john ,lucas ,company xvii ,the ,western ,painter xviii ,edward ,smith ,company xix ,william ,sedgwick xx ,john ,l4 ,whiting ,son ,co4 xxi ,geo4 ,e4 ,watson ,company xxii ,valentine ,company xxiii ,,introductory4 ,in many of its elementary principles the art of carriage and wagon painting as at present exemplified does not materially differ from the art as it was interpreted in the remote past4 ,processes and systems have changed and adapted themselves to the swifter modes of life1 but not a few of the paint materials1 especially those used in the foundation and surfacing coats1 remain practically the same as used in former times4 ,the ,p4 ,w4 ,f4's1 as surfacing agents expected to take the place of white lead and oil and their assistant pigments1 tossed merrily upon the topmost wave of favor for a brief period some two decades ago1 but the fiat of their decline went forth and at the present time the great majority of carriage and wagon painters still adhere to white lead1 raw linseed oil1 ochres1 and regulation roughstuff pigments for their foundation materials1 as did their instructors and predecessors4 ,the abbreviated time allowance accorded the painter for the painting and finishing of a vehicle has made necessary a readjustment of proportions of both liquid and pigment ingredients which1 it must be confessed1 has operated in a way harmful to the natural durability of the material employed4 ,the painter1 however1 can in no wise be held responsible for the general lack of durability which is said to distinguish the painting of the present as compared to that of the past4 ,the great inexorable ,public is the master1 the painter its unwilling but submissive servant4 ,nevertheless1 conditions of permanency and durability are still wrought and achieved in the modern field of carriage and wagon painting1 conditions which conform1 with a large measure of credit to the art of painting1 to the other resultant durable effects obtained along nearly all other lines of industrial activity4 ,our painting today fails to excel the painting of tradition simply because the exactions of a wonderfully fast age tend directly to promote failure rather than to aid success4 ,the job of painting which withstands fierce and continuous attacks of service for a reasonable length of time must be justly registered durable1 regardless of what it would have been termed in the past4 ,past conditions and circumstances cannot fairly be used as yardsticks to measure what we at present call beautiful and enduring in the art of painting4 ,in the matter of tools1 appliances for handling work1 colors and varnishes used1 carriage and wagon painting1 amid the advances made in all the other constructive departments of industry1 has enjoyed improvement4 ,brushes in greater variety1 finer in quality1 and better adapted to the practical needs of the painter1 are in evidence4 ,colors of a wider range of hues1 tints1 shades1 and incomparably finer as to quality than were obtainable formerly1 are now at the disposal of the painter4 ,and the varnishes--surely they have been improved1 made more reliable1 more uniform in quality1 better behaved and more suited to the ever-varying requirements of service4 ,carnage and wagon painting has become as much of a business as an artistic venture4 ,commercial conditions have of late years so shaped themselves that the painter1 to successfully conduct a painting business1 must of necessity study the profound science of business quite as thoroughly as he does the science of building paint structures and developing color effects4 ,he imparts a moral1 business1 and mechanical force to the community4 ,he now has available sources of education more easily within his reach than at any former time4 ,paint trade literature1 so far as it is represented in magazine form at least1 is at hand to render him aid and encouragement4 ,he is rapidly becoming better fitted to meet the expanding limits of competition1 to critically analyze both the theory and practice of painting1 to become1 in short1 a greater power for good in the community as well as a studious and original mechanic4 ,in the inseparable community of business interests1 the painting of the vehicular equipment has reached the level of a prominent industry4 ,its chief attainments are1 firstly1 to preserve the structural parts of the vehicle from the action of the elements2 secondly1 from the remorseless and gnawing tooth of service2 thirdly1 to aid in making the vehicle really beautiful1 a work of art4 ,the mission of the following chapters will be to record the systems1 methods1 and processes practiced in modern carriage and wagon painting1 to the end that the apprentice--good luck to him1 and may he pluck the peach from the sunniest side of the fence always--may be enlightened1 that the already skilled workman may be interested somewhat1 and that the trade of carriage and wagon painting may be welcomed as a delightful guest1 worthy of enthusiastic entertainment4 ,,chapter ,i4 ,,the ,,shop ,,and ,,its ,,equipment4 ,give ample room and verge enough4--,gray4 ,it would not be fit nor seemly to lay down any arbitrary rules for the guidance of the painter in the selection or construction of the paint shop4 ,conditions and circumstances here control4 ,but so far as the painter is able to have authority in the matter it should be directed in favor of large1 roomy apartments1 high ceilings1 and a fine outfit of windows4 ,light is an indispensable commodity in the paint shop4 ,and room--there is never an excess of it4 ,to do good work at a profit invokes an easy1 commodious working space4 ,to this end1 therefore1 the painter may well direct his best endeavors4 ,nor should the ventilation be neglected4 ,a ventilator in quite common use1 old-time but effective when the construction of the shop permits of its use1 consists of the regulation stove pipe1 say #ab inches in diameter and extending #ah inches or #b feet above the roof of the building1 furnished at its upper extremity with a revolving hood or cap4 ,the local tinsmith usually has an invention of his own in the way of revolving ventilators which is workable and nicely suited to the needs of the paint shop4 ,where ceiling ventilators are not practicable1 apertures some #h inches in diameter may be made in the walls well up toward the ceiling1 one or two on each side of the room1 according to the size and location1 and into these apertures insert tin frames1 both ends of which are covered with wire gauze1 the gauze on the inside or room end of the fixture being fitted to a hinged lid frame4 ,into this tin and gauze compartment put clean curled hair or moss4 ,metal caps may be fitted to cover the inside opening of these ventilators1 so that if necessary the air can be shut out entirely so far as entrance through these channels is concerned4 ,there are numerous other styles of ventilators1 but they do not call for mention1 as local and individual needs will suggest the kind most feasible to adopt4 ,illustration3 ,,fig4 #a--,,wheel ,,jack4 ,illustration3 ,,fig4 #b--,,wheel ,,jack4 ,illustration3 ,,fig4 #c4 ,the mixing bench should be located in a light corner of the room4 ,it should be furnished with a slab of marble or stone1 preferably marble4 ,a cupboard with tightly fitting doors should be over1 or at the side of1 the bench with specially prepared boards on which to wipe brushes near at hand4 ,a first-class paint mill should be a fixture in close proximity to the paint bench4 ,illustration3 ,,fig4 #d--,,long-,,acre ,,body ,,trestle4 ,illustration3 ,,fig4 #e--;,,body ,,trestle4 ,illustration3 ,,fig4 #f--;,,body ,,and ,,gear ,,trestle4 ,the varnish room 7sacred temple of the painter's hopes shall we say871 over which men rarely fail to disagree1 needs to be every inch as large as conditions will permit4 ,it should have ventilators1 such as above described or similar1 in plenty4 ,the gauze and tin funnel ventilators might well be used near the floor and ceiling1 thus driving the room impurities up and out4 ,the varnish room cannot well be too large1 nor too light1 nor too cosy4 ,nor can it follow too closely the ,quaker's code as to furnishings1 for unadorned1 adorned the most strictly applies to this historic apartment4 ,it is agreed that the northeast corner of the shop is the best location for the varnish room4 ,the north light is the most restful and the easiest light to work by1 and it is esteemed the best drying light4 ,the room ought not to be placed immediately over the smith shop4 ,it should have plenty of windows1 north and east1 and made to lower at the top4 ,if possible1 have a hardwood floor1 and oiled1 with ceiling and side walls of matched lumber1 good quality and preferably painted white or some very light color1 that it will reflect the light4 ,personally1 ,i am in favor of blue colored shades for north windows and yellow ones for east and west windows4 ,if possible1 connect a set room1 provided with abundance of light1 with the varnish room1 into which the work may be removed the morning after finishing4 ,the varnish room requires a small cupboard for holding varnish1 cups1 dusters1 brushes1 chamois skins1 sponges1 etc41 a body trestle or two1 a few wooden1 low-cut horses for supporting the varnished work1 a stove1 if the shop be not heated by other means1 a sliding door or two1 and--that's all4 ,illustration3 ,,fig4 #g--;,,gear ,,frame4 ,illustration3 ,,fig4 #h--,,seat ,,frame4 ,the colors1 pigments1 and brushes will be considered in their appropriate order as the chapters proceed4 ,many shop fixtures will be similarly presented4 ,illustration3 ,,fig4 #i--;,,frame ,,for ,,bodies4 ,illustration3 ,,fig4 #aj--;,,gear ,,horse4 ,the work-handling appliances here furnished have been observed1 studied1 and many of them used by the writer in his travels up and down the land of paint shops4 ,the revolving wheel jack is an indispensable fixture in the paint shop4 ,fig4 #a has a plank base1 and an axle for a standard4 ,the cut shows how it is made4 ,many shops use it4 ,fig4 #b is frequently seen in provincial paint shops4 ,it consists of a hardwood scantling of the size noted in the cut1 with a #e_/h-;inch or #c_/d-;inch round iron stuck into one end and projecting #g inches out4 ,a hole to nicely take the iron is bored through the floor into a joist1 a floor plate is placed over it1 and the upright is ready to revolve4 ,a tapering piece of round iron #c_/d inch at the base is driven through the upper end of the standard1 having a projection of #g or #h inches4 ,a thick metal washer is then slipped over the arm1 thus completing the fixture4 ,fig4 #c is largely used in factory shops4 ,it is the finest wheel jack extant4 ,observe the bottom4 ,almost any foundry will cast one at from #a4be to #a4ej each4 ,weight1 from #dj to #fj lbs42 diameter1 #ah to #bj inches2 hole for insertion of arm1 #a inch to #a-a_/d inches4 ,weld stub axle to the round arm4 ,have varying sizes of axle stubs1 from #c_/d1 #g_/h1 and #a inch to #a-a_/d inches4 ,this is a particularly fine jack for wheel striping purposes4 ,can be easily transferred to any part of the shop1 and runs true4 ,illustration3 ,,fig4 #aa--,,rubbing ,,deck4 ,illustration3 ,,fig4 #ab--;,,asphalt ,,or ,,cement ,,deck4 ,the ,long-,acre body trestle1 a ,london production1 is often met with in the paint shop4 ,fig4 #d shows it in working order1 on rollers1 and the wheels connected with a wooden pin for a pivot4 ,fig4 #e is a second body trestle1 neat1 easy to work1 and the cut quite completely explains how it is built4 ,height1 and proportion of parts can be made to suit the individual fancy4 ,fig4 #f represents a combination body and gear trestle largely used in factory paint shops4 ,height1 #c ft41 #b in42 length of revolving frame pieces1 #bg in41 #bb in4 in size4 ,a #dd inch piece #i in4 long supports the frame4 ,inclined pieces are #be in4 long2 size1 #bb in4 ,the trestle is of hardwood1 or should be1 bolted together4 ,fig4 #g1 a gear frame1 fits onto the frame of ,fig4 #f4 ,it should be #d ft41 #f in4 long and #ad in4 wide4 ,it easily takes the shortest gears as well as the longest1 and the workman is enabled to always obtain the best possible light4 ,fig4 #h is a seat frame made to fit the trestle1 ,fig4 #f4 ,make it of #a-;inch stuff4 ,length1 #b ft42 height at rear1 #i in42 front1 #b in42 width1 #ac-a_/b in41 to fit frame4 ,this holds a carriage seat in capital shape for painting and finishing4 ,fig4 #i is a frame for holding bodies while varnishing them or while rubbing the varnish4 ,one-inch pine boards #f in4 in width afford good material for the frame4 ,let it be from #cb to #cf in4 high1 about the same in length1 and #bg in4 wide4 ,at top of standards bolt #ga-;inch pieces #f in4 long1 containing steel brads to hold the work in place4 ,fig4 #aj is a horse for holding carriage gears during the process of painting and finishing4 ,gear horses can't all be revolving ones1 and this one is strong and handy to work around4 ,make the legs of #ca-a_/b pine or ash and the bed piece1 to which the iron standards are bolted1 of ash #cc inches4 ,bolt the legs to the bed piece and stay them in the middle4 ,the iron standards1 #e_/af in4 thick and #a-a_/b in4 wide1 are cranked over at right angles1 as shown in cut1 bolted firmly to bed piece1 and at upper ends are hollowed out to hold the axle arms4 ,height of horse1 #cj to #cd inches2 width1 wide enough to take a gear from #d ft4 to #e ft41 #d in4 ,let the iron standards go #cj inches long1 cranked at the middle4 ,a rubbing deck for roughstuff and varnish rubbing1 washing up work1 etc41 is a necessity even in the small shop4 ,fig4 #aa explains an inexpensive one4 ,a ,a is the shop floor1 ,d the wall1 ,b ,b the false or double floor inclining to the center1 where a shallow metal gutter is let into the floor opening to a waste pipe which conveys all the waste matter outside the shop4 ,the outer edges of the double floor rest upon stoutly-secured blocks of wood4 ,fig4 #ab shows an asphalt or cement rubbing deck in general use in many leading shops4 ,g is the shop wall1 ,f the waste pipe1 ,e the deck4 ,the asphalt deck is not an expensive fixture1 neither wears nor rusts out1 and1 like ,fig4 #aa1 is a practical time saver4 ,and along with the rubbing deck the painter should adopt measures for securing a plentiful supply of clean soft water for shop uses1 and1 if possible1 have it piped directly to the rubbing deck4 ,these are days of hard-fought business battles1 and any aid that will out-foot one's competitor is an effective aid4 ,a good water supply right at hand helps mightily4 ,fig4 #ac is a deck barrel for holding a ready supply of water for the rubber2 also for holding certain styles of carriage and cutter bodies while rubbing4 ,the slit cut at an angle lets a buggy1 surrey1 or other carriage seat in1 and holds it fast while the rubbing proceeds4 ,illustration3 ,,fig4 #ac--;,,deck ,,barrel4 ,illustration3 ,,fig4 #ad--,,varnish ,,room ,,stove4 ,the varnish room stove1 when one is forced to use such a fixture1 gives the painter much concern4 ,in ,fig4 #ad is to be observed a way of enclosing the stove in sheet-iron1 after the fashion of the railroads once upon a time4 ,cut an opening in the wall separating the varnish room from some one of the other apartments1 set the stove just inside the varnish room1 inclose it in the sheet-iron cylinder1 making the cylinder fit close into the wall opening1 and have the opening to the stove1 and the stove door1 reached from the room adjoining the varnish room4 ,even when wholly located in the varnish room such a cylinder1 enclosing the stove all over1 is a practical reducer of stove dirt1 etc4 ,,note4--,figs4 #c1 #e1 #f1 and #ad of this chapter1 and ,figs4 #a1 #b1 and #c of ,chapter ,,ii4 are published by permission of the ,hub4 ,,chapter ,,ii4 ,,buying ,,and ,,selecting ,,brushes--,,care ,,of ,,them--,,softening ,,hard ,,brushes--,,brush ,,keepers--,,preserving ,,liquids--,,brushes ,,used ,,in ,,vehicle ,,painting1 ,,etc4 ,one conspicuously famous brush maker has declared the art of brush making to be an art preservative4 ,the carriage and wagon painter is deeply concerned in the achievements of that art1 because every distinct advancement made therein makes possible an equally distinct advancement in the art of painting4 ,to a greater extent1 perhaps1 than any other class of painters1 the carriage and wagon painter should be interested in making up his brush equipment of tools of the best quality4 ,the brush made of reliable stock1 having the proper hang and point1 and which balances like a thoroughbred1 is an economical tool to buy1 regardless of the price4 ,the vehicle painter requires a brush made scientifically1 by the outlay of honest workmanship1 and of material that is wholly above suspicion4 ,a brush that has simply the price to recommend it is usually an unreliable article and worketh evil1 like a thief in the night1 unexpectedly4 ,in making choice of a brush for putting on priming1 lead1 and roughstuff1 and for such other features of general use as require a round or oval bristle brush1 the painter may properly look at the filling of the tool4 ,deception1 if practiced at all1 is usually placed where it shows the least4 ,the first-class brush is distinctively the brush that shows good quality--uniform quality--from center to outside4 ,other things being equal1 the brush that is made up uniformly as to its bristle equipment will develop a good point1 and all carriage painters are alive to the importance of this virtue in both paint and varnish brushes4 ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,much of the usefulness of a brush depends upon the manner of caring for it when it comes into the paint shop4 ,the bristle brushes used for priming1 lead1 and roughstuff require bridling until worn down somewhat4 ,there are many patent brush bridles now procurable at a nominal cost which tend to give a brush much better shape than the shop-made bridle4 ,if these are not at hand1 the painter can take tufting cord 7our friends1 the carriage trimmers1 keep it7 and wind the brush securely but not too tightly2 or he can take a piece of light weight rubber cloth and1 extending the piece well down on the handle1 tie it at the proper distance around the bristles4 ,the rubber side of the piece should be fastened next the bristles4 ,then1 from where it is tied around the bristles1 fold the piece back onto the handle and tie securely4 ,trim off1 and a bridle is furnished that is perfectly water- and paint-proof1 the cloth side of the rubber being folded inside4 ,for a shop-made bridle the writer finds this a serviceable one4 ,after bridling1 drop a little oil paint into the heel of the brush and set it away in a dustproof compartment for a few days4 ,then use the brush for a time in oil paint1 suspending the brush when not in use in raw linseed oil4 ,in the course of two or three days the brush may be put into other paint if desired and suspended in water4 ,suspend the brush just up to the butts of the bristles1 or so they are just covered1 and invariably keep the water up to that point4 ,under no circumstances permit a brush to rest upon its point when not in use4 ,it destroys the form of the tool and lessens its spring and elasticity4 ,the bristle paint brushes require a clean storage quite to the extent that the color or varnish brushes do4 ,therefore1 the receptacle in which they are kept should be fitted with a cover and should be tight enough to keep out all forms of dirt4 ,a common tobacco pail procured of the local grocery1 painted inside and out1 fitted with a cover1 and having nails driven at certain distances apart all around it1 one-third of the way down from the top1 on which the brushes may be suspended1 makes a cheap and excellent keeper for the ordinary paint brushes4 ,illustration3 ,,complete ,,set ,,of ,,finishing 7,,flowing7 ,,brushes4 ,illustration3 ,,camel-,,hair ,,flowing ,,brush4 ,illustration3 ,,coach ,,duster4 ,illustration3 ,,chiseled ,,paint ,,brush4 ,camel's hair color brushes may well have a little paint1 one-half oil and one-half turpentine1 dropped into the heels of them4 ,these brushes1 used in japan ground colors1 need to be kept suspended in water4 ,change the water frequently and make sure that it is clean4 ,a brush keeper such as is recommended for varnish brushes is one of the best possible keepers for color brushes4 ,it insures cleanliness4 ,and vehicle painting without cleanliness is like unto a landscape painting with the beauties of nature left out4 ,the brushes kept in water do better in rain water than in hard water4 ,during the cold months1 especially in shops where freezing is liable to occur1 it is advisable to add a little glycerine to the water4 ,the glycerine delays the freezing point and does not injure the brushes4 ,never soak a brush in water before using it in paint4 ,animal fat circulates in the capillary tubes of all bristles and hair1 and if water is soaked into these arteries1 the spring and elasticity of the brush is not only destroyed1 but it speedily becomes a very much water-logged tool4 ,to swell up a brush which for some cause has become dried out and shrunken1 part the bristles so that the end of the handle is exposed1 and pour in a small quantity of water1 say three or four teaspoonfuls4 ,then stand it away1 bristles up1 handle down1 for two or three hours and the brush will have returned to its normal condition4 ,if a brush handle gets smeared with paint or varnish1 a wire scrub brush dipped in a solution of sal soda will clean off the sticky substance in short order4 ,to test the bristles in a brush1 remove some of them and submit them to a smart flame4 ,bristles1 the real animal product1 will curl and writhe and emit a peculiar odor4 ,no known adulterant burns this way4 ,illustration3 ,,round ,,paint ,,brush4 ,a brush that has been allowed through accident or neglect to get soggy may be limbered up nicely by soaking in heated turpentine4 ,hardened brushes may often be softened into workable condition again by soaking the bristles in hot linseed oil4 ,a simple soaking in turps or benzine will sometimes effect the needed softening up4 ,brushes1 however1 that have dried up1 saturated with quick drying colors or paint1 can at best never be restored to a first-class working condition4 ,the best form of economy1 therefore1 is to throw such brushes away4 ,remedies in impressive array have been marshalled wherewith to restore varnish brushes that have become lousy1 but the vehicle finisher recognizes no reliable or economical remedy for the purpose named4 ,a dirty varnish brush can be cleaned by washing in oil first1 then in turps1 and lastly worked in for putting on first rubbing coats1 and thus gradually brought back to its original cleanliness4 ,but the varnish brush once lousy1 look you6 always lousy4 ,better ,to the fire ,i now consign thee1 ,peace unto thine ashes be4 ,when a varnish brush is accidentally dropped on the floor while being used1 pick it up carefully and1 holding it at an acute angle1 bristles down1 pour a small quantity of turpentine over it1 thus flooding the accumulated dirt completely off4 ,illustration3 ,,camel-,,hair ,,color ,,brush4 ,illustration3 ,,oval ,,chiseled ,,varnish ,,brush4 ,there is a considerable diversity of opinion as to the best preserving liquid in which to keep the varnish brushes4 ,local needs and requirements are probably the safest guides in the matter of choosing preserving liquids for varnish brushes4 ,when the brushes are used daily1 as they are in big shops1 it is a very good way to keep them in raw linseed oil4 ,then1 every morning before beginning work1 the brushes may be rinsed out in turpentine1 wiped out clearly over the edge of the cup1 and an elastic brush full of life is assured4 ,illustration3 ,,badger-,,hair ,,flowing ,,brush4 ,brushes used daily upon clean surfaces are1 or should be1 clean1 and rinsing in turpentine can do no harm to a clean brush4 ,but in the case of brushes used every two or three days or occasionally1 different treatment is needed4 ,such brushes are liable to be used upon surfaces and amid surroundings less cleanly than those which obtain in the fine factory or custom shop1 and the rinsing in turps1 consequent upon preserving them in oil1 would merely serve to loosen and set in motion the dirt and flocculent matter gradually collected and forced up into the body of the tools4 ,for this reason it were better to keep them in finishing varnish or1 preferably1 brush keeping varnish1 i4 e41 varnish minus its driers4 ,whatever the preservative1 the brushes require the most watchful attention4 ,if kept in finishing varnish1 the liquid should be changed frequently4 ,so delicate a tool1 of which so much is expected1 makes imperative the observance of gentle1 cleanly treatment4 ,varnish brushes ought never to be left lying around for any considerable length of time when not in use4 ,dust is never idle1 but always moving and1 like the dew of the evening1 it falleth upon the just and the unjust1 varnish brushes included4 ,have a stiff1 partly-worn brush to clean the handles of varnish brushes4 ,wiping them with cloth distributes lint4 ,illustration3 ,,spoke ,,brush4 ,illustration3 ,,chiseled ,,fitch ,,tool4 ,in ,fig4 #a is shown a double compartment brush keeper4 ,it can be made of tin or zinc and is not expensive4 ,attach lock and key to it1 and the brushes conditioned to a peerless trim are secure4 ,make the keeper #h in4 long1 #e in4 wide1 #i in4 deep2 outfit with spring fasteners1 run wires through #c in4 from top1 and #c_/d in4 from bottom of the can locate a rack made of small wires criss-crossed on a light wire frame4 ,the dirt which collects in the keeper goes to the bottom beneath the gauze rack1 and should a brush fall into the preserving liquid it is held aloof from the dirt accumulations4 ,these are regulation brush keepers1 clean1 durable1 and cost in the neighborhood of #a4 ,fig4 #b represents the famous thirty-cent brush keeper1 several times illustrated but still deserving a place here4 ,it is claimed to be made upon scientific principles1 namely1 the break between the body of the keeper and its lid or cover occurs at the bottom and below the point of brush suspension1 instead1 as in the ordinary keeper1 at the top and above the point of suspension4 ,it can be made of any size to meet individual needs4 ,such a can affords a splendid keeper for camel's-hair color brushes and for color-and-varnish brushes4 ,fig4 #c displays what has been somewhat widely heralded as the western idea of a brush keeper1 although the gentleman who first published a cut of the keeper and who1 ,i believe1 was the inventor of it1 has seldom1 if ever1 been given credit for his ingenuity4 ,my veteran brother of the brush1 ,mr4 ,v4 ,b4 ,grinnell1 is deserving of the thanks of the trade for his invention4 ,it consists of an ordinary glass fruit can 7a metal top with rubber attachment is best71 in which is located a tin cup1 having a heavy wire soldered to it and projecting up to near the top of the can4 ,this allows the cup to be easily removed from the top of the can4 ,a second wire is soldered onto the first one so that it projects out horizontally over the cup1 allowing for the suspension of the brushes in the liquid contained in the cup4 ,the illustration shows how the keeper is made completely4 ,two or three brushes may be kept in each can1 and they may be kept air-tight1 too1 a matter of moment to the vehicle painter4 ,illustration3 ,,pear ,,flowing ,,varnish ,,brush4 ,the vehicle painter's brush equipment should consist of a good assortment of round or oval bristle brushes for putting on priming1 lead1 and roughstuff4 ,for the best grade of carriage painting1 the chiseled brush is advised for the priming and lead coats4 ,in size they should run about #d4j4 ,for working upon large surfaces1 however1 larger brushes will be needed1 hence any exact size cannot be advised to meet all cases4 ,spoke brushes1 dusters in plenty1 flat chiseled bristle paint brushes1 extra thick camel's-hair color brushes1 varying in size from #a in4 to #c in41 camel's-hair flowing brushes1 #a-a_/b to #b-a_/b in4 in size1 for applying color-and-varnish of some kinds1 chiseled badger hair brushes1 double thick1 #a in4 to #b in4 for varnishing gears1 oval chiseled sash tools for cleaning up surfaces and painting when needed certain parts of a vehicle1 chiseled fitch tools for cleaning up panels1 and lastly not less than four sets of varnish brushes for varnishing vehicle body surfaces1 along with some oval or round chiseled varnish brushes required especially in wagon painting4 ,the painter needs a set of at least three brushes1 #a in41 #a-a_/b in41 and #b-a_/b in4 in size1 for varnishing the inside surfaces of bodies1 these to be used for no other purpose4 ,then1 properly1 he should have a set of brushes for putting on first rubbing varnish coats1 consisting of a #a-;inch chiseled badger hair brush1 and a #b-a_/b in4 and one #c-;in4 bristle brush4 ,then another set of the same number for the remaining rubbing coats4 ,illustration3 ,,long-,,handled ,,spoke ,,brush4 ,the finishing kit of brushes may properly consist of five chiseled half elastic flowing brushes1 as follows3 ,one #a-;in41 one #a-a_/b-;inch1 one #b-;in41 one #b-a_/b-;in41 one #c-;in4 ,some finishers prefer a #a-;in4 badger hair brush for flowing the edges of the panels1 but the set of flowing brushes herewith illustrated answers every purpose fully and completely4 ,the art of fine brush making has so far advanced within recent years that it is now possible to get varnish brushes which require but very little working in varnish to prepare them for flowing on the finishing coats4 ,to clean a new varnish brush preparatory to using it as a finishing brush1 first draw the stock of the tool through the fingers1 continuing this operation until the loose dirt is quite fully worked out4 ,then repeatedly submerge it in clean linseed oil and wipe out over the edge of a cup1 after which use it for a week or two in rubbing varnish4 ,the brush may then safely be used for applying finishing coats of varnish4 ,illustration3 ,,oval ,,chiseled ,,sash ,,tool4 ,all brushes not specially mentioned in the foregoing as round or oval brushes are assumed to be flat1 this style of brush being the one chiefly employed in vehicle painting4 ,illustration3 ,,chiseled ,,flowing ,,varnish ,,brush4 ,in the matter of camel's-hair1 badger hair1 and flowing varnish brushes1 the painter desires said brushes to be tough1 durable fibre1 having soft ends1 elastic1 and which wear soft until worn out4 ,in selecting the brush equipment1 it is a most happy mental exercise to remember that the highest type of brush1 if not mightier than the sword1 at least hath its victories4 ,the numerous accompanying excellent illustrations of brushes specially adapted to the needs of the carriage and wagon painter are the result of valuable and courteously extended assistance tendered by that celebrated brush making firm1 ,john ,l4 ,whiting and ,son ,co41 ,boston1 ,mass4 ,,chapter ,,iii4 ,,priming--,,lead ,,coats--,,rub ,,lead--,,knifing ,,lead--,,putty ,,and ,,puttying--,,sandpapering--,,roughstuff 1 ,,applying ,,and ,,rubbing ,,it--,,materials ,,used ,,in ,,foundation ,,coats--,,mixing ,,formulas1 ,,etc4 ,fine and durable carriage and wagon painting cannot be accomplished upon foundations in anywise weak or unstable4 ,the supreme aim of the painter1 then1 should be to begin at the base of the foundation and1 with patient toil and skill1 aided by materials of recognized value1 bring up a surface of uniform excellence and quality4 ,,materials4 ,white lead and raw linseed oil2 an invincible combination in the old days--shall we not say invincible still8 ,assuredly1 nothing surpasses it today when conditions are favorable to its proper treatment2 nothing upon the horizon of coming events bids fair to surpass it4 ,it is only when the limitations of time intervene1 when we must perforce bow down and worship the great ,american idol1 ,hurry1 that the sinewy strength and permanency of white lead1 linseed oil1 and the few other constituents which enter into the foundation coats1 are seriously shattered4 ,white lead1 for example1 must of necessity figure as an elemental part of the lead coats1 if not of the priming1 of putty1 and of roughstuff4 ,it is not now impossible to find primers being used entirely devoid of lead1 but the burden of proof remains favorable to the excellence of lead4 ,a pigment filler is quite as necessary as a liquid one4 ,and pure white lead1 ,dutch process1 if it please my readers--observe its properties in this respect3 ,it is of great density1 body1 permanent to a rare degree1 of impalpable smoothness when properly ground1 and chemically unites with oil1 forming a kind of varnish1 which makes it a filler and pore sealer of great value4 ,in addition1 it absorbs more oil1 solidifies it1 and remains elastic for a greater length of time1 except red lead perhaps1 than any other pigment so far discovered4 ,moreover1 it mixes happily with all other pigments which do not contain a sulphur ingredient4 ,briefly1 these are the properties which recommend it to the carriage painter4 ,its noble running mate1 raw linseed oil--what of it as a paint oil8 ,its chief virtue lies in the fact that when exposed to the air it gradually1 in drying1 absorbs a large proportion of oxygen1 which1 it is declared by ,hurst1 forms a new compound of a resinous character1 remarkably elastic and stable4 ,since the failure of the ,p4 ,w4 ,f4's and various other substitutes for the historic lead and oil surfacing agents1 to meet the exacting needs of the trade1 the swift processes now practiced have pressed into service time quickening aids which1 in a work of this kind1 it would scarcely seem fit to omit4 ,many painters have adopted yellow ochre as a main ingredient for priming1 and in particularly hurried instances1 or1 in fact1 in the priming of a certain grade of regular factory work1 varnish and1 to some extent1 turpentine are used4 ,ochre of good quality1 finely ground 7a coarse ground ochre is worthless in carriage painting71 and containing a strong percentage of silica1 is a valuable component of priming4 ,silica is an acknowledged pore filler1 and in many of the wood fillers heralded along the highway of commerce it is the piece de resistance4 ,a high grade ochre is a good drying and a very permanent pigment4 ,it is a first-class surfacing material and not easily affected by atmospheric or other impurities4 ,thus we have the ingredients which1 properly combined and manipulated1 form the basis of all beautiful and durable carriage painting as gauged according to present day standards4 ,let us now consider the separate parts of the foundation building4 ,,priming4 ,priming is the agent required to go into and saturate the minute cells and pores of the wood1 getting a firm grip of the fibers1 sealing them against moisture1 and affording the painter a tough1 elastic ground for his leveling materials to follow4 ,primer ,no4 #a4--,white lead and raw linseed oil1 darkened to a lead color with lampblack4 ,a teaspoonful of coach japan to be added to each pint of the mixture1 or omitted1 as the time limit may impose4 ,no4 #b4--,white lead1 #b parts2 yellow ochre1 #a part4 ,liquid1 raw linseed oil4 ,the use of japan to depend upon circumstances4 ,no4 #c4--,white lead1 #a part2 yellow ochre1 #b parts4 ,liquid1 raw linseed oil4 ,no4 #d4--,white lead1 #a part2 yellow ochre1 #b parts4 ,liquids1 rubbing varnish #a_/d2 turpentine #a_/d2 raw linseed oil #a_/b4 ,a tablespoonful of japan to each quart of the mixture4 ,this is a very quick primer1 that can be sandpapered the day following its application4 ,no4 #e4--,white lead1 shaded with lampblack4 ,liquids1 rubbing varnish #a part2 raw linseed oil #e parts4 ,in the above formulas keg lead is referred to4 ,priming should contain just enough pigment to stain the oil4 ,only in this form does it perform the functions of a primer4 ,some hardwood surfaces1 negative in composition1 require a priming thinned somewhat with turpentine2 otherwise such close textured spaces of wood are not sufficiently penetrated by the oily particles of the priming4 ,the durability of the priming rests largely upon the penetration of the oil into the arteries of the wood along with a certain necessary per cent4 of the pigment4 ,it is a good plan not to follow the surfacing of a job in the wood shop too closely with the priming4 ,immoderate pressure of the wood fibres usually results from the pressure of the wood worker's leveling methods4 ,give the wood time to expand before priming1 but not time to absorb moisture4 ,graining out of surfaces often results from priming a surface too soon as well as too late4 ,many factors must necessarily be considered in order to have the priming coat do all that it should do4 ,the condition of the wood1 the climate1 season1 atmosphere1 etc41 all require diligent study4 ,the application of the priming to the surface deserves particular attention4 ,granted that first-class filling and surfacing pigments1 combined with liquids rich in gummy resinous matters1 make the ideal primer1 the coating fails of its mission when practices of neglect mark its application to the surface4 ,therefore1 apply the priming smoothly and in a uniform film to the surface4 ,coat all parts of a job1 outside1 top1 bottom--everywhere4 ,insist upon its being well brushed out--just as any coat of paint should be4 ,illustration3 ,,putty-,,holder4 ,,the ,,lead ,,coats4 ,what we shall be pleased to term first lead was formerly made of white 7keg7 lead thinned to a brushing consistency with linseed oil and turpentine1 half and half4 ,that was at a time when egg-shell gloss coats were in demand4 ,a different principle has been established of late years in reference to the composition of the lead coats1 and the egg-shell gloss is now regarded with suspicion and1 to a large extent1 abandoned altogether4 ,consequently1 the first lead should be mixed of #c_/h oil to #e_/h turps1 or even with a still smaller percentage of oil if the limitations of time so direct4 ,apply this lead with a bristle brush and enforce rigidly the rule of smoothness and sleek brushing out4 ,second lead means in modern paint shop lingo flat lead--a lead that dries to a dull1 lustreless appearance1 practically dead lead4 ,it is composed of white lead1 thinned to a working consistency with turpentine1 and given a binder of oil to the extent of1 say #b_/c of a tablespoonful of oil to a pint of the lead4 ,these lead coats should properly contain #a teaspoonful of japan to a pint of the lead1 and be shaded with lampblack4 ,the flat1 or dead1 lead is best applied with a camel's-hair brush4 ,,rub ,,lead4 ,in connection with these lead coats attention must be directed to the rub lead process as a part of the system of lead surfacing now practiced in the leading shops of the country4 ,the rub lead is usually used directly upon the priming coat4 ,there are several formulas in circulation for the mixing of the lead1 but the writer thinks the one here given 7used in the leading factory paint shops7 covers the painter's practical needs fully4 ,mix dry white lead to a grinding consistency in #c_/d raw linseed oil to #a_/d japan1 the liquids to be carefully measured4 ,add enough lampblack to give the mixture a clean slate color1 then run through the paint mill1 after which reduce to a brushing consistency with the proper proportions of oil and japan4 ,make the lead just stiff enough to brush on with a fairly stiff bristle brush4 ,apply to the surface and1 after permitting the mixture to take on a tack for a quarter of an hour or more as the drying conditions of the apartment may be favorable or otherwise1 proceed to rub the lead into the surface with the palm of the hand4 ,for getting a fine1 velvety1 and very dense surface of pigment1 the rub lead system has no rival4 ,however1 it cannot be worked over and re-coated so soon after being applied 7it should be given #dh hours in which to dry7 as can the knifing lead4 ,this ,,knifing ,,lead1 or glazing lead1 or draw putty1 as it is variously and locally known1 renders it possible to quickly fill and level up a surface1 making it compact and solid as to texture4 ,knifing lead1 ,no4 #a4--;,dry white lead #b_/c2 keg lead #a_/c4 ,liquids1 rubbing varnish and japan1 thinning to the exact working consistency with a little turps4 ,no4 #b4--;,dry white lead1 mixed in equal parts of rubbing varnish and japan4 ,no4 #c4--;,dry white lead #e_/h2 keg lead #a_/d2 roughstuff filler 7finely ground7 #a_/h4 ,liquids1 rubbing varnish #a_/b2 japan #a_/d2 turpentine #a_/d4 ,this last for large panels4 ,these leads should all be colored slightly in the direction of the final color to be used upon the work4 ,carriage and wagon painters use knifing lead on running parts very largely1 and especially upon work that must be gotten out quicker than the rub lead would permit4 ,on the panels of business wagons of the medium grade1 knifing lead is used to the exclusion of roughstuff4 ,on such panels it is advisable to apply the lead with a bristle brush1 applying the lead to the surface a little heavier in body than ordinary paint1 and then shortly going over it with a broad blade putty knife1 pressing the pigment into the wood and removing the surplus4 ,knifing lead deserves to be used and applied with circumspect care and skill if the best and most durable results would be achieved4 ,it demands a firm pressing into the cellular fabric of the wood1 accompanied by a clean1 tidy removal of all the pigment not actually necessary to the full and complete development of the surface4 ,but little sandpapering should be needed to fit it for any of the succeeding coats of material4 ,in the painting of running parts of the best grade1 when rub lead or knifing lead is employed1 the second lead1 previously designated as flat or dead lead1 should be employed over the rub or knifing lead1 the puttying of the deep cavities and indentations being done directly upon said rub or knifing leads4 ,,putty--,,making ,,and ,,using ,,it4 ,putty ,no4 #a4--,the putty of history--past1 present1 and shall we say of the future8--so far as history applies to carriage painting1 is this putty ,no4 #a4 ,dry white lead1 japan and rubbing varnish1 the liquids of equal proportions4 ,probably the best known putty in the jobbing carriage paint shop today4 ,illustration3 ,,spatula4 ,no4 #b4--;,dry white lead #c_/d2 keg lead #a_/d4 ,rubbing varnish and japan1 half and half4 ,no4 #c4--,keg lead1 #d parts2 dry white lead #a part4 ,rubbing varnish and gold size japan1 equal parts4 ,no4 #d1 a putty for white work4--,dry white lead #a_/b2 pulverized steatite or soapstone #a_/d2 dry oxide of zinc #a_/h2 dry silica #a_/h4 ,liquids1 very pale rubbing varnish #a_/b2 light 7in color7 japan #c_/h2 turpentine #a_/h4 ,no4 #e4--;,dry white lead #b_/c2 keg lead #a_/c4 ,rubbing varnish and japan1 equal proportions4 ,into this mix the woof or fine pickings of velvet or plush4 ,this is especially intended to be used around glass in heavy vehicles4 ,no4 #f4--,this is a putty to be used on old work having rough cavities1 splintery crevices1 and the like4 ,it cannot be sandpapered1 but will dry tough1 neither chipping nor flaking4 ,keg lead #a part2 whiting #b parts4 ,mix stiff in thick varnish and raw linseed oil1 equal parts2 then thicken up to the right consistence with dry white lead4 ,no4 #g4--;,for shallow cavities requiring a filling that dries quick and hard4 ,dry lead #c parts2 plaster of paris #a part4 ,equal parts of quick rubbing varnish and japan4 ,no4 #h4--;,deep hole putty4 ,whiting mixed with raw linseed oil and japan1 equal parts4 ,then into this mixture mix plush woof4 ,drive a small head tack or two in bottom of hole and then fill in nearly level with the surface with this putty4 ,slash a couple of openings into it with putty knife to quicken the drying1 and then in due time level up with regular putty4 ,illustration3 ,,square ,,point ,,putty ,,knife4 ,no4 #i4--;,expansive shallow dents in a carriage surface require a peculiar kind of putty or cement4 ,finely ground pumice stone #c parts2 dry lead #a part4 ,mix to a working condition in thick glue4 ,apply the putty so that it will show some above the surface4 ,after #aj hours rub down with lump pumice stone and raw linseed oil4 ,no4 #aj4--;,here is a putty that will stick and at the same time sandpaper nicely4 ,shade dry lead with a little lampblack1 and mix with #c_/d coach japan and #a_/d rubbing varnish1 along with a dash of turpentine4 ,the carriage painter will do well to use sparingly of whiting--even gilder's whiting--in making a putty intended for use upon fine surfaces4 ,whiting1 or1 in the speech of the chemist1 carbonate of calcium1 is a hard drying1 tenacious1 stout sticking pigment1 but possesses the ever present property of granulating and working coarse and gritty under the putty knife4 ,when coloring matter is added to putty1 be governed by what the final color of the job is to be4 ,hammer putty well on the mixing block to make it tough and elastic4 ,do this at the time of making it and before use in order to expel the accumulated moisture4 ,make it in sufficient quantity to last for some time4 ,keep the putty in water in a dust proof holder--an air tight one is better4 ,see putty-holder illustrated herewith4 ,the way in which putty is applied has largely to do with making it serve the surface good or ill4 ,good puttying is not accomplished by nimble feats of jugglery4 ,the putty knife demands to be skillfully handled and wisely directed4 ,putty1 in the economy of carriage painting1 is quite as indispensable as paint or varnish4 ,in point of fact1 each is dependent upon the other4 ,just enough is a critical point in deciding how much and how little of putty a surface requires4 ,here are four rules for guidance in the art of puttying3 #a4--,never putty on the priming coat4 #b4--,putty all work as smooth as possible4 ,it is economy and increases the chance for producing first-class work4 #c4--;,avoid1 always1 puttying a crevice1 depression1 or cavity in the wood1 or a joint between two pieces of wood1 that is subject to diverse forms of resistance4 ,the wrenching and twisting of the vehicle will loosen the putty and eventually eject it4 #d4--;,in puttying over nails1 plugs1 etc41 press the pigment firmly into the hole1 filling just level with the surface1 and carefully slick up all surplus putty4 ,the painter will need for general puttying purposes1 in addition to a spatula or two 7which see71 at least four different styles of putty knife2 one large or wide blade knife1 a two-inch blade say1 one square point blade1 ordinary size1 one beveled point1 and one oval point4 ,knives of different shapes will greatly facilitate the labor of puttying1 which at best is often tedious4 ,,sandpapering ,if it were feasible1 sandpaper would1 no doubt1 be voted down and out of the paint shop4 ,at present1 however1 it cannot well be removed from the system of carriage surfacing4 ,the task of sandpapering1 viewed from its rosiest side1 is toilsome1 dirt-inviting1 girt up by a waistband of unpleasant features1 but1 alas6 we must have level and smooth surfaces if we would have beautiful ones1 and sandpapering affords the means of getting them4 ,it is one of the aids--one of the great aids1 let us bear in mind--to the admirable surface effects sought for in the art of carriage painting4 ,it cannot be slighted or to any extent be done imperfectly without marring the appearance or subtracting from the durability of the surface when finished4 ,illustration3 ,,beveled ,,point ,,putty ,,knife4 ,the use of sandpaper begins before even the priming coat has taken its position4 ,a surface well sandpapered ahead of the priming coat saves a great deal of time and leaves plenty of the priming film on the surface where it is needed4 ,no4 #a paper is the proper size to surface the priming coat1 if the surface has previously been well smoothed4 ,the ,no4 #a_/b will do for first lead4 ,this coat requires a very thorough and uniform going over1 touching completely all places that need it1 touching none with a coarse hand1 and never laying bare a flicker of wood needing a full depth of protecting pigment4 ,the second lead1 or dead lead as we know it1 should require only a light going over with ,no4 #j paper1 this to be followed by polishing with curled hair or fine moss used by trimmers4 ,the rub lead and knifing lead coats usually respond to the smoothing caress of ,no4 #a_/b1 or finer1 paper1 the size depending upon the quality of these coats4 ,all along through the system of painting1 sandpaper must needs sound its smoothing monotone1 but particularly upon the primary coats does the painter use it as the fulcrum by which1 among other aids1 he seeks to rear his paint foundation into a tower of strength4 ,illustration3 ,,oval ,,point ,,putty ,,knife4 ,mouldings1 clips1 bolt heads1 difficult places to work up to1 everywhere bespeak the same thorough touch of the sandpaper4 ,there are many sharp edges about a vehicle which may be denuded of pigment at a single rasp of the paper4 ,such parts require a good measure of protection1 otherwise flaking and chipping of the paint and varnish must naturally follow4 ,the painter may well strive to make the work of sandpapering an exact operation--exact as to thoroughness as applied to all parts of a surface1 and exact as to a uniformity of results4 ,in company with the labor of sandpapering must be considered dusting4 ,the latter should be cleanly and tidily done1 quite as thorough1 indeed1 as the sandpapering or any other of the operations1 all alike important4 ,we now come to an article indispensable to the painter in arriving at a state of perfection regarding smoothness of surface4 ,,roughstuff--,,how ,,made1 ,,applied1 ,,and ,,rubbed4 ,webster defines rough as having inequalities1 small ridges1 or points on the surface1 and stuff as refuse or worthless matter4 ,but1 combining the two words into one--roughstuff--the painter construes the term to mean something different from the construction put upon it by the eminent lexicographer when he cleaved it evenly in twain4 ,without the coarse mineral pigments known as fillers1 white lead1 and the liquid mediums used to properly unite and weld them together and denominated roughstuff when ready for use1 the painter1 in his effort to make satisfactorily level and smooth surfaces1 would be in almost as sorry a plight as the mariner bereft of his compass4 ,for1 mark you1 gentle confrres6 roughstuff is essential to carriage body surface elegancies and mirror-like effects4 ,,favorite ,,formulas4 ,no4 #a4--,to #c lbs4 of any ,american filler add #a lb4 keg white lead4 ,beat well together2 then reduce to a thick paste with rubbing varnish and japan1 after which thin to brushing consistency with turps4 ,this is a safe one-coat-per-day 'stuff4 ,no4 #b4--;,equal parts of filler 7excepting ,english7 and keg lead1 by weight1 reduced to a heavy paste in quick rubbing varnish and japan1 and then cut with turps to the proper consistency4 ,two coats per day may be safely applied4 ,no4 #c4--;,five lbs4 filler 7still excepting ,english72 #b-a_/b lbs4 keg lead2 #a_/c elastic rubbing varnish2 #b_/c japan4 ,this is a 'stuff for fine1 heavy coach work4 ,apply coat every #gb hours4 ,do not rub out under three weeks4 ,no4 #d4--7;,a ,london formula47 ,dry white lead1 ground stiff in turpentine1 #a-a_/b lbs42 ochre1 or ,english filling1 ground stiff in turpentine1 #d lbs4 ,mix the two and add #a_/b lb4 of tub lead4 ,add #a pint of japan gold size and about #a_/b pint of the bottoms of wearing varnish4 ,reduce with a little turpentine if necessary4 ,this is a very durable and elastic 'stuff4 ,no4 #e4--7,m4 ,arlot's formula47 ,grind separately lump white lead with essence of turpentine1 and do the same with unwashed yellow ochre2 then mix the two pastes in the proportion of #c_/d of white lead and #a_/d of ochre4 ,allow the mixture to stand exposed to the air or to a gentle heat in order to evaporate the excess of liquid1 and add gradually small portions of good drying oil1 taking care to stir and beat the mixture well with a brush1 as in distemper painting4 ,the paste thus acquires more body4 ,concerning this 'stuff the author adds3 ,it is possible with this composition to give three coats in a day's work1 but after the last coat we must wait #dh hours for drying4 ,no4 #f4--;,english filler #c lbs42 keg lead #a lb4 ,rubbing varnish and japan1 half and half1 to make a stiff paste4 ,thin with turpentine4 ,no4 #g4--;,english filler1 mixed stiff with rubbing varnish1 #a_/b2 japan #a_/b4 ,thinned with turpentine4 ,probably genuine ,english filler has but few1 if any1 equals1 and certainly no superiors as a roughstuff pigment4 ,it polishes down very close and compact as to texture1 giving a glass-like1 non-porous surface4 ,it requires less lead than other fillers1 because of which property it was specially mentioned as excluded from formulas #b and #c4 ,it does not surface down as easily as some of the ,american fillers1 a fact that has probably limited its use largely4 ,in using keg lead for roughstuff1 a moderately stiff ground lead is advisable4 ,a lead ground in an excess of oil will necessitate washing in turps to expel a portion of the oil1 if the proper proportions of ingredients would be maintained4 ,in mixing roughstuff1 it pays to be exact as to proportions and quantities4 ,use first-class materials1 varnish1 japan1 etc4 ,slops and refuse from varnish and japan cans are to be avoided4 ,they leave the user in a state of uncertainty as to the composition of his 'stuff4 ,if made in considerable quantities at a time1 the pigment should be stored in a tight1 dust-free receptacle and well covered with water or turps1 else it will very soon become gummy and unsuitable for good work4 ,illustration3 ,,paint ,,strainer4 ,the chief mission of roughstuff is to enable the painter to get a firm1 hard1 level surface4 ,it requires putting on with a good brush1 and a skilled and painstaking wielder of the tool4 ,roughstuff should be carried to a surface a little heavier in body than ordinary paint1 but its spreading and flatting property should in no wise be made sluggish and ropy by the absence of thinning mediums4 ,better an additional coat of 'stuff than one coat less because of the excessively thick coats used4 ,roughstuff1 like all quick setting pigments1 needs to be applied1 brushed out1 and leveled quickly under the brush1 so that brush marks may not intrude or uniformity in depth of film be wanting4 ,use a brush suited to the size of the panel2 likewise a brush with a softness and fineness of point and sufficient elasticity to insure1 if properly wielded1 freedom from brush marks4 ,too heavy a pigment is no more a prolific cause of brush marks than a too nearly worn out brush4 ,if the first coat of 'stuff is laid on the panel with horizontal strokes of the brush1 let the second be laid with vertical ones1 and vice versa4 ,on a well-surfaced job1 four coats should suffice4 ,where greater inequalities of the surface exist1 more coats will be necessary4 ,but it is an established maxim in both the practice and theory of carriage painting that the less roughstuff used upon a surface1 granted that the quantity accords perfectly with the needs of the surface1 the greater the durability of the paint and varnish structure4 ,the successful user of roughstuff is one who duly considers the importance of having a correctly-proportioned1 finely-balanced mixture skillfully applied to the surface amid surroundings favorable to its prompt and thorough drying4 ,a guide coat to be used over roughstuff is made of a little of the 'stuff colored a bit with yellow ochre or ,venetian red and thinned down considerably thinner than the 'stuff1 with turpentine4 ,the workman who has roughstuff to rub requires1 as an outfit1 plenty of clean water right at hand1 a good sponge1 chamois skin1 and a varied assortment of rubbing stones and bricks4 ,the rubbing brick product1 of ,german origin1 has been considerably improved of late years2 to such an extent1 in fact1 that it is now possible to obtain it as fine as wished for1 and running from that up to a very coarse quality4 ,however1 for the very high class work1 the natural lava1 or pumice stone1 is not to be surpassed4 ,the quality of the rubbing accomplished depends much upon the selection of the blocks of pumice stone4 ,the blocks of light weight1 open grain1 tunneled with innumerable air cells1 are to be preferred for good cutting properties4 ,immersed in water1 they float instead of sinking4 ,the buoyancy of a piece of lava determines its porosity and its cutting power4 ,this kind of stone may be used until the surface is well reduced1 when1 preferably1 the stone of closer texture and tighter grain may next be used and continued in use until the final dressing up has been concluded4 ,select stones of large cutting surface4 ,after the sawing1 filing1 and necessary dressing up of the stone in preparing it for the surface1 it merits a thorough washing and rinsing to cleanse it from all minute atoms of grit1 etc4 ,in the actual work of rubbing a surface1 keep the surface well washed to prevent gumming of the stone and to enable the eye to see just what the mind and muscle are doing2 but do not flood the work with water4 ,the rubbing stone is doing its work properly when1 under an even1 gentle pressure1 it cuts smooth and free with a clinging1 adhesive motion4 ,when a particle of grit becomes lodged under the stone there will be a rolling1 jarring motion1 easy for even an unpracticed hand to detect1 provided vigilant attention is being directed upon the work4 ,when scratching of the surface occurs1 the rubbing stone requires smoothing off with another stone1 and the surface1 stone1 etc41 given a thorough rinsing with clean water4 ,circular1 zig-zagging motions of the stone are ill-advised4 ,straight1 clean strokes1 all directed in one general direction1 are best and most effective4 ,a surface is not always rubbed sufficiently fine when the guide coat disappears4 ,the guide coat may be but a mere wash and disappear almost completely under a few strokes of the stone4 ,the disappearance of such a guide787 coat is not evidence that the proper surface has been reached4 ,by repeatedly drawing the hand1 with a good pressure1 across the surface at right angles with the direction that governed the laying off of the final coat of filler1 the workman can very accurately decide when an adequately fine surface has been reached4 ,to determine when a surface has been rubbed just enough usually gives the inexperienced rubber no little difficulty1 but with practice he will master the accomplishment4 ,on moulded panels it is advisable to rub the edges of the surface first1 as it will lessen the tendency to thrust the stone forcibly against the moulding1 thus chipping off atoms of stone to be ground into the surface later on4 ,rubbing the roughstuff is the final process in the art of developing the comely and durable foundation4 ,does not the work1 then1 merit a full measure of skill1 alertness1 and patience in its execution8 ,,chapter ,,iv4 ,,prismatic ,,and ,,objective ,,color--,,harmonizing ,,and ,,contrasting ,,colors--,,mixing ,,colors--,,testing ,,them--,,assaying ,,for ,,opacity1 ,,coloring ,,strength1 ,,brilliancy1 ,,etc4--,,table ,,for ,,compounding ,,coach ,,colors1 ,,hues1 ,,and ,,tints4 ,while colors1 as we know them1 differ from each other1 they exist1 according to the generally accepted theory1 as simply different movements of the same element4 ,the immense ocean of ether1 which is in all space1 is one1 and the colors are all waves of that one ocean4 ,when a ray of light undergoes a change of direction it is divided into many minor rays1 which to our visual sense are represented as colors4 ,as1 for example1 if a ray of white light be directed through the edge of a triangular prism so that its course is bent or refracted1 the ray is divided into several different rays of colors1 these being thereby termed spectrum colors4 ,it is practically agreed by authorities that the rainbow affords the most complete illustration of spectrum colors1 these being formed by the passage of light through the spray or drops of water in a shower4 ,color1 then1 may be said to be due to the action of light4 ,hence the established dictum1 namely1 white is a reunion of all the colored rays of the prismatic spectrum4 ,it is a basic element in every color except black1 and1 as a color1 black figures as an absolute neutral1 it being devoid of white light4 ,the conditions and circumstances which unite to produce the varying and various color sensations have never yet been unanimously agreed upon by the eminent color theorists4 ,the practical man may thread the remotest confines of color theories as expounded by ,newton1 ,brewster ,jones1 ,field1 ,rood1 ,young1 and others1 until his adventures bring him out on the toil-won heights and stupendous summits of the modern science of colors1 and what he beholds will simply tend to confuse his intellect and more than ever convince him that the mastery of color laws remains yet to be accomplished2 that no unalterable rule can be successfully applied to the theory of color4 ,to those of my readers who desire to explore deeply into the recesses of color science1 ,i would recommend the works by the afore-mentioned colorists4 ,it is the purpose to deal in this chapter1 so far as possible1 with the more practical aspects of the science4 ,objective color1 as distinguished from what is termed illusive or prismatic color1 is confined to those substances or materials endowed with the selective property for absorbing the colored rays from the light which is imparted to them1 and which1 in the technology of painting1 are known as pigments4 ,the colors which make up the three orders usually1 but not invariably1 recognized by modern colorists1 and which practically apply to the needs of the vehicle painter1 may be placed as follows3,a ,primary ,colors ,secondary ,colors ,tertiary ,colors ,red ,green ,russet ,yellow ,purple ,citron ,blue ,orange ,olive ,carmine1 ultramarine blue1 and lemon chrome yellow most nearly approach to the prismatic colors1 and1 taking them for the primaries1 we find1 according to the deductions of ,chevreul and others1 that in proportional strength they rank thus3 ,yellow1 the weakest1 #c2 red1 medium1 #e2 blue1 strongest1 #h4 ,to form the secondary colors1 yellow1 #c parts1 and blue1 #h parts1 produces green1 which is the contrasting color to red1 the contrasting primary being always the color not contained in the secondary4 ,purple1 the contrast to yellow1 contains red1 #e parts2 blue1 #h parts4 ,orange1 the contrast to blue1 has red1 #e parts2 yellow1 #c parts4 ,any color in the secondary column opposite a color in the primary column is the contrasting color to that primary1 and in the tertiary column1 the tertiary opposite any given secondary may be accepted as the harmonizing color to that secondary's contrasting primary2 as1 for example1 yellow1 the primary1 has purple as its contrasting1 and citron as its harmonizing1 color4 ,in like manner russet harmonizes with red and olive with blue4 ,the tertiaries may be produced by uniting the secondaries in equal proportions1 or by the primaries being combined in the proportion of #b parts of any given primary and #a part of each of the two remaining primaries4 ,for instance1 olive is made of purple and green1 both secondaries1 or it may be made of blue1 #b parts1 and #a part each red and yellow4 ,citron is made from green and orange2 russet from orange and purple4 ,referring to the three different orders of colors1 it will be found that experiment will enable one to effect many changes in the development of color harmony4 ,any one color of any of the three orders will harmonize with the colors which contrast with the remaining two colors of the same order4 ,take the primary1 blue4 ,the contrasting colors to the remaining two primaries are purple and green1 with which blue harmonizes4 ,the contrasts to the primaries1 red and blue1 are respectively green and orange1 with which the third primary1 yellow1 harmonizes4 ,or red will harmonize with the contrasts to the primaries1 yellow and blue1 which are purple and orange4 ,continuing the experiment to the secondary colors1 it is found that green harmonizes with citron and olive1 the contrasts to the two remaining secondaries1 purple and orange2 purple harmonizes with russet 7russet contains a double share of red1 bear in mind7 and olive1 both being contrasts to orange and green1 the other secondaries4 ,orange harmonizes with citron and russet1 the contrasts to purple and green4 ,these experiments in the domain of color contrasts and harmony might be pursued indefinitely1 but the above will suffice to afford the student who essays the colorist's art 7and what vehicle painter doesn't aspire to that art87 a practical working plan for the acquirement of such information as will enable him ultimately to successfully meet the exacting requirements of modern vehicle ornamentation4 ,knowledge of the harmony of analogy1 a simple1 effective1 and ready way of varying painting1 together with a knowledge of contrasts1 the finer1 higher1 and superior system of effecting the most adorable and fetching color adornment1 is an indispensable help to the painter1 to attain which he can well afford to make many sacrifices4 ,the harmony of color as it applies to the use of two or more colors with reference to the relationships which should exist between them1 requires to be further intensified by a strict and vigilant regard for the season1 conditions1 and circumstances which obtain when certain combinations of colors are employed4 ,and for this reason3 ,blue is a cold color1 chilly in the extreme at some seasons of the year1 upon certain surfaces4 ,it may be called a space color and imparts a retiring effect to form4 ,red1 applied to form1 appears stationary and gives a warmth of sentiment4 ,orange is1 if anything1 warmer in its effect than a full red4 ,bright yellow tends to excitement of the vision4 ,green has a conspicuous or advancing appearance4 ,the primary colors have no established hues1 tints1 or shades1 but in every compound of the primaries a hue is recognizable4 ,green1 for instance1 as a compound of blue and yellow1 can be made to vary surprisingly in hue as the proportion of one primary is increased and the other reduced1 and vice versa4 ,in every compound of the primaries the predominating primary fixes the hue thereof4 ,hue1 then1 as an authority has well said1 may be a mixture of two or more colors of any order1 but the mixture should not depart from the original color4 ,tone1 as applied to a color1 measures the depth of the hue of that color4 ,dilute a color1 or the hue thereof1 with white1 and a tint of that color or hue is the result4 ,to illustrate3 ,by adding white to chrome yellow1 the yellow is reduced along down through the long lists of tints until it reaches white4 ,a color or hue deepened by the addition of black becomes a shade of that color or hue2 or1 in other words1 a shade is any color made deeper by the addition of black4 ,the positive colors contain no white or black by mixture1 while the negative colors do contain white or black or both4 ,,the ,,mixing ,,of ,,colors1 in view of the fact that the manufacture of them has now reached a very high state of perfection1 would seem to be a comparatively easy matter1 but it must be understood that in vehicle painting1 business vehicle painting especially1 there are many hues1 tints1 and shades demanded which the color maker does not furnish4 ,such mixtures have to be prepared by the painter1 and the work becomes a skilled operation4 ,first he must be fortified with a clear knowledge of the proportions of the ingredients required to form the desired color or hue thereof1 or tint or shade4 ,then he must skillfully and perfectly combine them4 ,the word perfectly is emphasized because if the constituents be not perfectly combined1 a long train of evils is invited4 ,a most minute and perfect incorporation of all the particles of the paint material must be made1 otherwise a lack of uniformity in strength1 coloring1 and covering power results4 ,certain colors have a property of unduly asserting themselves when combined with certain other colors in the mixing cup1 and if allowance be not made for this assertive strength and a very thorough mixture of the parts effected1 the color1 when applied to the surface1 is apt to show streaks4 ,some pigments require grinding upon the slab under the muller to obtain an absolutely perfect commingling of the particles4 ,this rule applies to the mixing of pigments3 ,the more perfect the mixing1 the more perfect the product2 perfect not only as regards its strength1 permanence1 and brilliancy of color1 but perfect also as regards its working properties4 ,while two or more pigments may mix nicely together1 they may not liquify readily1 and unless the workman be thorough in his mixing operations1 lack of a uniform film of color ensues1 a condition which later on develops the faded and bleached out surface1 and in many instances the flaking and shelly one4 ,the painter who would become a skilled mixer of pigment will insist upon exact quantitative measurements of all the ingredients he may employ1 both liquids and solids1 when such measurements are possible1 and he will further see that the ingredients are perfectly united4 ,the attainment of a high average of results in the use of colors depends greatly upon the achievements of the color maker and upon the uniform quality of his product4 ,fineness of grinding1 uniformity of color in respect to its coloring and covering power1 and brilliancy1 are valued essentials4 ,it is necessary that the painter should get from the color maker not one1 two1 or three successive lots of color that are of standard color1 tint1 or shade1 but every lot should correspond to the exact standard4 ,when the painter opens a new lot of color1 he desires it to be exactly like the last in every particular1 provided1 of course1 the last lot was standard4 ,hence1 uniformity of color1 of tint1 of shade1 of quality throughout1 is a requirement with which the color maker may properly be expected to comply4 ,it will thus be observed that the purchase of colors is one of the really important steps leading up to fine and durable color effects4 ,in testing a color for covering power or opacity1 for coloring strength1 and for brilliancy1 comparison should always be made with a strictly standard color4 ,to assay for covering power or opacity1 weigh out1 say #ej grains1 of the standard color and the same number of grains of the color under examination1 and to each sample add #aj grains of fine china clay1 if the colors be dark1 or #aj grains of the highest grade of lampblack 7this being a pure black7 should they be light1 and mix intimately4 ,the sample which departs the least from its own color has the best body or covering power4 ,or mix exactly equal quantities of the standard color and the color to be assayed1 in equal quantities of raw linseed oil1 incorporating the oil and the pigment thoroughly1 and then apply to glass surfaces 7small panes of window glass answer the purpose fully71 spreading the pigment as evenly as possible4 ,the sample covering the glass most solidly has the strongest covering power4 ,coloring power is determined by mixing a given quantity of a standard sample of color with a certain quantity of china clay or1 if preferred1 zinc white4 ,of the sample to be assayed take the same quantity of color and mix with exactly the same quantity of china clay or zinc white used with the standard4 ,the sample showing the greatest depth of color may be accepted as having the strongest coloring power4 ,the durability or permanency of a pigment may be tested by mixing the pigment with raw linseed oil1 spreading on a piece of glass1 exposing it to the rigors of the weather1 and noting its condition from time to time4 ,the fineness of a color or pigment can be judged by rubbing the material between two thick pieces of glass or subjecting it to a powerful microscopic examination4 ,or a common fruit can with a tight cover may be two-thirds filled with clean water1 half an ounce of color put therein1 and the contents vigorously shaken4 ,the finer the sample is ground1 the longer the time it will require to settle out4 ,the following table is intended to aid in the compounding of the principal hues1 tints1 and shades of colors used in carriage and wagon painting4 ,it would prove futile to try to make the proportions arbitrary1 because the uniformity of colors advocated above does not universally obtain1 the product of one firm differing from that of other firms and very often1 unfortunately1 lacking uniformity in itself4 ,moreover1 color sense has not reached a uniform development1 and the proportions which would1 for example1 make a cherry red as accepted by one person might not appear that color to the second person4 ,however1 in most of the formulas proportions are indicated1 and the table is presented not as an infallible guide1 but more in the nature of a reliably helpful one4 ,,table ,,of ,,hues1 ,,tints1 ,,and ,,shades ,,of ,,colors4 ,,reds4 ,transparent ,red--,no4 #dj carmine4 ,french ,red--,indian red and vermilion glazed with carmine4 ,carnation ,red--,red lake1 #c parts2 white1 #a part4 ,wine ,color--,carmine1 #c parts2 ultramarine blue1 #c parts4 ,claret--,carmine and ultramarine blue1 or red and black4 ,imperial ,red--,yellow lake1 #a part2 solferino lake1 #e parts4 ,cherry ,red--,carmine1 #a part2 ,english vermilion1 #b parts4 ,maroon ,red--,lampblack1 #a part2 ,venetian red1 #h parts4 ,solid ,crimson--,english vermilion1 #a part2 carmine1 #b parts4 ,superlative ,vermilion--,english vermilion1 #c parts2 orange mineral1 #a part4 ,deep ,rose--,victoria lake1 #a part2 flake white1 #f parts4 ,brick ,red--,yellow ,ochre1 #b parts2 ,english vermilion1 #a part2 white1 #a part4 ,metropolitan ,red--,carmine and vermilion1 glazed with carmine4 ,a stunning and saucy panel color4 ,,yellows4 ,primrose--,add a dash of white to lemon yellow4 ,or1 according to ,standard ,dictionary1 #eh of white1 #bd of yellow1 and #ah of green4 ,it should be of a very pale yellow tint2 is fashionable and originally ,english1 you know4 ,maroon ,yellow--,carmine1 #c parts2 yellow1 #b parts4 ,rich ,yellow--,orange chrome1 #a part2 white1 #f parts4 ,buff--,white1 #b parts2 yellow ochre1 #a part4 ,oak--,yellow ochre1 #a part2 white1 #h parts4 ,jonquil ,yellow--,flake white and chrome yellow1 with a bit of carmine added4 ,sulphur ,yellow--,lemon chrome1 #a part2 white1 #a part4 ,amber ,yellow--,chrome yellow 7medium71 #h parts4 ,canary ,yellow--,white1 #f parts2 lemon chrome1 #a part4 ,naples ,yellow--,white1 #aej parts2 golden ochre1 #i parts2 orange chrome1 #a part4 ,straw ,color--,white1 #e parts2 lemon yellow1 #b parts2 vermilion1 a drop or two4 ,lemon ,color--,lemon yellow1 #b parts2 white1 #e parts4 ,cream ,color--,white1 #e parts2 red1 #a part2 yellow1 #b parts4 ,cream ,tint--,white1 #aej parts2 orange chrome1 #a part4 ,gold--,white and medium chrome yellow4 ,add a little vermilion and ,french yellow ochre4 ,pale ,orange--,orange chrome1 #a part2 white1 #e parts4 ,acorn ,yellow--,white and raw sienna1 equal parts4 ,,blues4 ,changeable ,blue--,prussian blue4 ,ocean ,blue--,white1 #ae parts2 ,prussian blue1 #a part2 raw sienna1 #b parts4 ,ultramarine ,blue--,three shades1 light1 dark1 and medium4 ,grass ,blue--,white1 #f parts2 emerald green1 #b parts2 ,prussian blue1 #a part4 ,azure ,blue--,white1 #ce parts2 ultramarine blue 7medium71 #a part4 ,cerulean ,blue--,white1 colored with ultramarine blue4 ,bird's-,egg ,blue--,add ultramarine blue to white until a tolerably intense blue is reached2 then give a dash of light chrome green4 ,cobalt ,blue--,a fine pale blue1 and a most beautiful panel color4 ,very permanent4 ,brunswick ,blue--,made in three shades4 ,popular in some sections4 ,,greens4 ,sage ,green--,white1 #fj parts2 light chrome green1 #b parts2 raw umber1 #a part4 ,bottle ,green--,dutch pink and ,prussian blue1 glazed with yellow lake2 or medium chrome green1 #e parts2 drop black1 #a part4 ,nile ,green1 otherwise ,body ,green--,milori green1 ,prussian blue1 and black1 mixed to the desired shade and glazed over with yellow lake4 ,tea ,green--,made of blue chrome green and raw umber4 ,a striking panel color for business wagons4 ,pea ,green--,white1 #e parts2 chrome green1 #a part4 ,willow ,green--,white1 #e parts2 verdigris1 #a part4 ,grass ,green--,yellow1 #c parts2 ,prussian blue1 #a part4 ,marine ,green--,white1 #cj parts2 chrome green1 #a part4 ,brilliant ,green--,paris green1 #d parts2 chrome green1 #a part4 ,bronze ,green--,chrome green1 #e parts2 burnt umber1 #a part2 black1 #a part4 ,scheele's ,green--,paris green4 ,milori ,green--,a fine panel color for business vehicles2 is rich in color and of good covering power4 ,olive ,green--,golden ochre1 #e parts2 coach black1 #a part4 ,quaker ,green--,chrome yellow1 #e parts2 ,prussian blue1 #b parts2 vermilion1 #a part4 ,the greens form a class of colors very extensively employed in the painting of all classes of vehicles4 ,there are two orders of green1 namely1 cold and warm4 ,in cold greens1 blue or black predominates2 the warm greens contain an excess of yellow4 ,as a class1 the greens contrast with reds and colors containing red1 and harmonize with colors having yellow or blue in their composition4 ,,browns4 ,olive ,brown--,burnt umber1 #c parts2 lemon yellow1 #a part4 ,bismarck ,brown--,dutch pink1 burnt umber1 and lake4 ,or1 with a mixture of burnt umber #b parts1 white lead #a part1 make a ground1 over which put a coating of burnt sienna1 and then glaze with carmine1 #a-a_/b parts2 crimson lake1 #a part2 gold bronze1 #a part4 ,an ,english vermilion makes a base over which the glazing makes a considerably lighter brown4 ,orange ,brown--,orange chrome1 #b parts2 burnt sienna1 #c parts4 ,coffee ,brown--,yellow ochre1 #b parts2 burnt sienna1 #a part2 burnt umber1 #e parts4 ,dark ,brown--,indian red1 #e parts2 ,prussian blue1 #a part4 ,amber ,brown--,burnt sienna1 #d parts2 medium chrome yellow1 #e parts2 burnt umber1 #h parts4 ,indian ,brown--,indian red1 #a part2 yellow ochre1 #a part2 lampblack1 #a part4 ,seal ,brown--,burnt umber1 #d parts2 golden ochre1 #a part4 ,tan ,brown--,yellow1 #b parts2 raw umber1 #a part2 burnt sienna1 #e parts4 ,japan ,brown--,black japan1 to which is added a little vermilion4 ,umbers--,a class of natural earths1 affording varying shades of brown1 the ,cypress mines yielding rich1 warm1 olive colors4 ,calcined1 this umber reaches a positive violet shade4 ,burnt umber used alone or in connection with red and black1 gives a very striking panel color for business vehicles4 ,vandyke ,brown--,a product of natural deposits of brown color4 ,vandyke brown is a warm color of a reddish hue and is permanent4 ,most of the ,vandyke browns with which the carriage painter is familiar are made1 however1 from black1 red1 and yellow4 ,burnt ,sienna--,a fine1 warm1 reddish brown1 if the sienna be of good quality4 ,a very close imitation of ,bismarck brown4 ,chestnut ,brown--,red1 #b parts2 chrome yellow1 #b parts2 black1 #a part4 ,chocolate ,color--,a little carmine added to burnt umber4 ,,miscellaneous4 ,london ,smoke--,red1 #a part2 umber 7burnt71 #b parts2 white1 #a part4 ,plum ,color--,white1 #b parts2 red1 #a part2 blue1 #a part4 ,salmon ,color--,white1 #e parts2 burnt umber1 #a part2 yellow1 #a part4 ,chamoline 7wet chamois skin7--,white1 #e parts2 raw sienna1 #c parts2 lemon chrome1 #a part4 ,cane ,color--,white and ochre shaded with black4 ,dove ,color--,medium chrome yellow1 #a part2 blue1 #a part2 white1 #d parts2 vermilion1 #b parts4 ,fawn ,color--,white and ochre with a bit of vermilion4 ,burgundy--,a bright lake given a small percentage of asphaltum4 ,silver ,color--,white1 indigo1 and black4 ,leather ,color--,burnt sienna1 #b parts2 burnt umber1 #a part2 a little white added4 ,lilac--,blue1 #a part2 carmine1 #d parts2 white1 #c parts4 ,plum ,color--,white1 #b parts2 blue1 #b parts2 red1 #a part4 ,maroon--,carmine1 #c parts2 yellow1 #b parts4 ,or crimson lake and burnt umber4 ,copper ,color--,yellow1 #b parts2 red1 #a part2 black1 #a part4 ,true ,lead ,color--,white1 #h parts2 blue1 #a part2 black1 #a part4 ,normal ,gray--,white1 black and purple2 or simply white and black4 ,pearl ,gray--,white1 black1 and blue4 ,french ,gray--,white1 tinted with ivory black1 the mixture warmed with a pinch of vermilion4 ,drab ,color--,burnt umber1 #a part2 white1 #i parts4 ,medium ,gray--,white1 #h parts2 black1 #b parts4 ,light ,gray--,white1 #i parts2 black1 #a part2 blue1 #a part4 ,wine ,color--,ultramarine blue1 #b parts2 carmine1 #c parts4 ,blue ,black--,ivory black1 #ae parts2 ,prussian blue1 #a part4 ,snuff ,color--,yellow1 #d parts2 ,vandyke brown1 #b parts4 ,peach ,blossom ,color--,white1 #h parts2 blue1 #a part2 red1 #a part2 yellow1 #a part4 ,lavender--,white1 #ae parts2 mauve lake1 #a part2 rose madder1 #a part4 ,,footnote3 ,a ,with apologies to ,mr4 ,w4 ,g4 ,scott and others who have published similar but more elaborate and scientific presentations4 ,,chapter ,v4 ,,the ,,application ,,of ,,colors ,,to ,,surfaces4--,,greens--,,blues--,,reds-- ,,yellows--,,browns--,,blacks--,,white4 ,the greens comprise a class of colors many of which are leaders in popularity as panel colors on heavy pleasure vehicles1 such as landaus1 broughams1 rockaways1 etc4 ,nearly all the greens are used as solid colors1 requiring no specially prepared ground work color4 ,the ease1 however1 with which solidity and density of color is obtained upon a surface is greatly overshadowed by the difficulty--the extreme difficulty1 perhaps ,i should say--of applying most of the fine carriage greens now fashionable4 ,such greens as olive1 ,quaker1 ,brewster1 and ,merrimac green1 individually and collectively favorites1 require very deft and painstaking manipulation in the cup and under the brush in order to insure workman-like results4 ,probably olive green manifests the most pronounced disposition to assert the strength of some one or more of its color constituents independently and to the detriment of the remaining ones4 ,to overcome this difficulty1 the color in the cup should be stirred frequently after having been mixed thoroughly when in preparation for the surface4 ,in applying greens to the surface--and this statement is intended to cover the entire list of greens used in carriage and wagon painting--cross brushing at the final conclusion of laying off the color may well be avoided4 ,the tendency of cross brushing at the ends of a panel is to show two or more different shades of the same green4 ,the rule holds good1 when using the greens1 to adhere to thorough methods of mixing1 to keep the color well stirred in the cup1 and to desist from cross brushing at the extremities of the panels in finishing up4 ,these characteristics so conspicuously developed as opportunity offers have prompted a majority of carriage painters and colorists in our best shops to use most of the greens employed on fine carriage surfaces in the capacity of flat color coats 7two coats in nearly all cases covering solid7 and then applying clear rubbing varnish1 thus doing away with the color-and-varnish coats altogether4 ,the greens which are used as glazing colors comprise ultramarine green1 verdigris1 and transparent bronze green4 ,,the ,,blues4 ,next to the greens in popularity as fine panel colors come the blues1 ultramarine blue ranking as the most widely used of the various varieties4 ,the elegance and aristocratic effects obtained by the employment of ultramarine blue are secured only by the development of a ground work free from imperfections4 ,as a matter of fact1 the successful use of almost every coach color1 whether used as a glazing color or otherwise1 is contingent upon the quality of the ground color and upon such a harmonious assimilation of the different coats as will promote the greatest elasticity and permanence4 ,of the ultramarine blue there are three shades1 light1 medium1 and dark4 ,most color manufacturers prepare and sell ground colors adapted to the different shades of the blue1 the ultramarine being invariably used as a color-and-varnish or glazing coat4 ,nevertheless1 it is often necessary1 even if not desirable1 to shop prepare the ground color for the ultramarine blues when wanted4 ,for the light shade of ultramarine blue1 ,prussian blue and a superior grade of white lead are so combined as to produce a blue of good depth and body1 unusual care being taken to have the blue and white thoroughly united and beaten into one indivisible pigment4 ,if keg lead be used in making the ground1 the oil should be first completely washed out of the pigment with benzine or turpentine1 and varnish1 instead of oil1 be employed as the color binder4 ,this practice provides for sure and reliable drying of the ground color4 ,the ground for the medium ultramarine blue may be made of the ingredients above stated1 the color being simply adjusted to a deeper shade of blue1 more blue and less white being used in the admixture4 ,in both the light and the medium1 the ground color should approximate the glaze color and enhance the richness of effect4 ,for the dark shade of ultramarine blue1 a coat of lampblack furnishes a most excellent and effective ground color4 ,probably the richest effect in blue is furnished by glazing ultramarine blue over a ground of very deep green4 ,transparent cobalt blue1 a glaze color always1 requires a ground of ,prussian blue and white4 ,body cobalt is used as a solid color1 and for a panel color on traps1 breaks1 and vehicles of that order it produces admirable and fetching effects4 ,the glaze colors are best used in a flowing medium of elastic rubbing varnish1 especially when body surfaces are being coated1 and the brushes adapted to applying such colors are the #a-a_/b-;inch and the #b-;inch badger flowing brush or a soft1 half-elastic bristle brush suited to the size of the panels being coated4 ,,reds1 ,,wines1 ,,and ,,other ,,colors ,,of ,,the ,,red ,,order4 ,for warmth and brilliancy of color effects1 carmine among a long list of gorgeous reds1 is without a rival4 ,carmine is a glaze color exclusively1 and the splendor of its radiance is governed entirely by the ground color4 ,carmine1 along with its near relatives of the red order1 has a decided tendency to fade1 flake1 and chip off4 ,the ground color1 therefore1 must1 in addition to being faultless in color density and surface features1 be possessed of great enduring qualities4 ,it may be accepted as a rule worthy of practice that the ground colors for the general order of reds should be mixed with a binder of varnish sufficiently strong to impart to them when dry at least a faint gloss--an egg-shell gloss1 if it please my community of readers4 ,a ground so prepared is fortified to counteract the fading and flaking properties of such of the reds as are used as glaze colors4 ,to secure a first-class job of light carmine1 bring the surface up level and smooth1 and then apply a coat of peach-blow color1 made of white and some one of the ordinary reds4 ,over this apply a coat of deep ,english vermilion1 using the vermilion stoutly charged with rubbing varnish4 ,polish this coat1 when dry1 with curled hair and apply a second coat of the vermilion1 adding a sufficiency of varnish to convert the mixture to the color-and-varnish class4 ,at the proper time this coat should1 preferably1 be rubbed lightly with pumice stone and water4 ,next apply a coat of clear rubbing varnish1 which in due time also demands rubbing with pulverized pumice stone and water4 ,then to rubbing varnish1 elastic or quick1 hard drying1 as the size of the surface may dictate1 add enough of ,no4 #dj carmine to fully stain the liquid1 say #c_/d of an ounce of carmine to one full pint of varnish 7many first-class painters use #a_/b oz4 carmine to #a pint of varnish71 and apply to the surface1 be it body or gear1 with a soft badger or bristle brush4 ,for a less expensive job1 omit the coat of clear rubbing varnish and apply the carmine directly to the vermilion4 ,a method easier to carry into execution in painting a carmine job consists in adding a little carmine to the last coat of vermilion color-and-varnish4 ,this coat is rubbed with curled hair2 then carmine is added to varnish1 as in the first method1 after which a small quantity of vermilion is put in to give the mixture opacity or covering power4 ,clouding and such other incidental imperfections to be considered in connection with the work of one not really an expert in the manipulation of glaze colors1 is thereby avoided4 ,for a darker carmine1 use a ground of flamingo red1 carmine red 7a solid color71 road-cart red1 ,kalliston red1 or permanent scarlet1 dark shade1 the latter color requiring a light vermilion ground4 ,in applying carmine to wheels1 it is advisable to flow the whole wheel at once1 instead of doing them in sections1 as by this practice a cleaner1 clearer1 and more satisfactory job is secured4 ,for the gear1 do the whole of one end of it before wiping up1 then the final end1 finishing with the reach and side bars1 if there be side bars4 ,to obtain the real purple and fine linen of carmine effects1 the color-and-varnish requires to be flowed on freely and quickly1 and promptly slicked up4 ,pottering and sectional patching up invites inferior results4 ,the vermilions1 of which there is at present quite a formidable list1 ranging from the glaring light shades to the glowing dark ones1 all bespeak carefully prepared and durable grounds1 if satisfactory wearing and appearing qualities are to be attained4 ,vermilions may properly1 it would seem1 be classed among the fugitive colors1 and their retention of purity of color is therefore dependent upon the grounds employed to support them4 ,as previously stated1 a peach-blow color forms a good ground for vermilion4 ,it should be made to dry with an egg-shell gloss so as to overcome the fading propensity of the vermilion4 ,then let the first coat of vermilion have a decided gloss4 ,the final coat of vermilion is placed as color-and-varnish4 ,linseed oil should not be used in vermilion1 as it darkens the color and destroys its brilliancy4 ,ditto japan4 ,the large class of modern reds known under such alluring titles as ,c4 ,p4 red1 flamingo red1 brilliant coach red1 ,ottoman red1 ,kalliston red1 etc41 are usually applied over ground colors specially supplied by the manufacturer4 ,with but few exceptions1 such reds are used in this way3 ,one coat of color1 one coat of color-and-varnish1 dead1 or lustreless1 coats being carefully avoided4 ,indian red in at least two distinct shades1 pale and deep1 and ,tuscan red in three shades are largely used for running parts and panel colors on certain fin de siecle pleasure vehicles1 and they are painted as solid colors1 one coat flat color and one coat color-and-varnish4 ,in wagon painting1 wine colors in half a dozen shades are used4 ,they also need the supporting strength of very stable grounds4 ,indian red and ,tuscan red1 of shades suited to the shades of the wine color afford excellent ground colors4 ,if ample time be at the command of the painter1 mix these grounds with a binder of raw linseed oil4 ,for hurried work1 use a binder of varnish4 ,among carriage painters generally1 the lakes have never been classed as strictly permanent pigments4 ,at the same time1 in the creed of modern carriage and wagon painting they are indispensable4 ,of those probably the best known in the vehicle paint shop1 may be mentioned maroon lake1 ,munich1 carriage part1 permanent scarlet1 scarlet1 red1 ,english rose lake1 purple lake1 carmine lake1 and crimson lake4 ,maroon lake is best glazed over a deep ,tuscan red ground2 ,munich lake over extra deep ,tuscan red or lampblack2 carriage part lake over the same ground as ,munich2 permanent scarlet over vermilion2 scarlet lake over light vermilion2 red lake over pale ,tuscan red2 ,english rose lake over extra deep ,tuscan red2 purple lake over a ground made of ,tuscan red and ,prussian blue4 ,carmine lake furnishes many of the gleaming and beautiful effects of ,no4 #dj carmine when used over such grounds as are best adapted to genuine carmine4 ,crimson lake is used over vermilion grounds and furnishes a color of great warmth and richness4 ,it is advisable1 when perfecting the ground for the lakes1 to add to the last coat of ground color some of the lake to be used over it1 as a mellowing1 toning ingredient4 ,the non-elastic quality of the lakes suggests the use of elastic rubbing varnish when preparing the lake color-and-varnish4 ,this will impart elasticity and adhesiveness4 ,,the ,,yellows4 ,among the yellows are many delicate shades which require strong basic color coats to support them properly4 ,in the painting of a yellow surface1 be it of the most delicate or the most powerful shade of yellow1 the initial coats of color may very correctly be white4 ,have the surface smooth and clean1 and if it be the running parts of the vehicle1 and the priming coat is already on1 mix the keg lead in1 say one-half raw linseed oil and one-half turpentine1 using a teaspoonful of coach japan to each pint of the paint4 ,apply this coat with an oval bristle brush4 ,when dry1 sand off lightly with ,no4 #a paper1 putty with white putty wherever necessary1 doing the work so smoothly as to require no sanding1 and then with a camel's-hair brush apply a second coat of the white containing a strong binder of oil and thinned to a free working consistency with turps4 ,over this ground most of the yellows can be brought to the proper depth and density of color with two coats of color and one coat of color-and-varnish4 ,this for the running parts4 ,upon body surfaces having a roughstuff base1 wash the keg white lead free of oil with benzine or turps1 adding a binder of rubbing varnish1 and apply two coats of the white with a two-inch camel's-hair brush1 polishing each coat with clean curled hair4 ,then apply the yellow1 using the final coat in the capacity of color-and-varnish4 ,there is economy of time1 labor1 and pigment in using a white ground for yellow4 ,moreover1 the natural bleaching propensity of the yellows is distinctly checked through the agency of a white ground4 ,all colors in light shades evince a natural tendency to darken as they fade and lose their original purity of tone4 ,the white ground operates to overcome this tendency1 to arrest this deepening process1 to hold the yellow to its true color2 and it does this by reason of the fact that it offers the yellow a white base instead of a positive1 assertive one1 to strike through4 ,in other words1 the yellow1 as it responds to the process of drying1 is influenced by the lighter color beneath1 the one counteracting the other4 ,that renowned ,french authority on coach painting1 ,m4 ,arlot1 is upon record as advising primary coats of white lead as a base for yellows4 ,the writer has personal knowledge of the value of white basic coats for the numerous family of colors in question1 and therefore strongly advises their employment4 ,primrose1 canary1 and sulphur yellow are among the most fashionable of the pale yellows and require careful working out under the brush4 ,with the yellows must be considered yellow lake4 ,this is used only as a glaze color4 ,put over the solid greens1 it gives to them depth and richness4 ,placed over ,brewster green1 for example1 it renders a particularly elegant effect4 ,put over many of the brilliant reds1 it imparts a fine and exquisite effect4 ,,the ,,browns4 ,in business vehicle painting1 the browns receive consideration4 ,vandyke brown1 a warm brown color inclining to a reddish hue1 can be used for one coat of color and one coat of color-and-varnish4 ,if desired1 a first1 or ground1 color can be made of drop black1 yellow1 and red4 ,a close imitation of this famous brown can1 in fact1 be made of the three colors just named4 ,vienna brown1 a justly and widely esteemed color for vehicle bodies1 is a warm1 rich brown and requires a ground color of deep1 ,indian red4 ,over this ground apply one coat of color and one of color-and-varnish4 ,this brown is obtainable in two shades1 light and deep4 ,london smoke1 a much used running part color1 is painted solid color--one coat color1 one coat color-and-varnish4 ,burnt ,italian sienna and burnt ,turkey umber are likewise painted solid colors4 ,as a whole1 the browns1 as colors1 are easily applied to the surface and may be classed as good wearing colors4 ,,blacks4 ,in carriage painting1 the black surface fairly reigns supreme4 ,at first thought1 the painting of a fine black surface would seem to involve a very common turn of trade craft4 ,it involves1 in the largest sense1 a high grade of workmanship1 rather than a common one1 this painting of the black surface4 ,coach black ground in japan1 in which state the carriage painter gets it1 should have a binder of varnish1 instead of oil1 and should be thinned with turps so as to spread freely under a camel's-hair brush and to flat out to a fine1 soft1 velvety texture4 ,easy working1 without brush marks1 is a paramount virtue1 regardless of the opacity or covering power of the black4 ,a high grade ivory black is less opaque1 and consequently covers less solidly1 coat for coat1 than does the cheaper1 but less lustrous1 black4 ,hence1 the covering power of a color can never be accepted as a safe guide to direct the thinning of said color4 ,to make the highest quality of black to cover as solidly at one coat as an inferior grade of black at one coat might1 would necessitate using the best black so thick as to invite a disastrous sweep of brush marks4 ,more and thinner coats of color1 minus brush marks1 are preferable to fewer and heavier coats with brush marks in plenty4 ,black color-and-varnish1 a popular coating up and surfacing material for vehicle bodies and running parts1 is best used upon all the lighter grade of bodies by tipping them so that the side panels at least present a flat1 upturned surface1 the device1 ,fig4 #i1 in ,chapter ,i4 of this work1 being used effectively for holding such bodies in position4 ,the half elastic brush1 flat and chisel pointed1 is the most available tool for flowing the color-and-varnish on bodies4 ,for applying the black color-and-varnish to running parts1 the camel's-hair flowing brush is an easy and fine working tool and is principally used for that purpose in many foremost carriage paint shops4 ,like all color-and-varnish1 the black variety should be furnished with a ground free from defects1 and should be used simply for the enrichment of that ground1 to give it depth1 density1 and an intense jet black color4 ,such an achievement is impossible through the agency of color coats and clear rubbing varnish coats1 pure and simple4 ,,white4 ,the application of white to a surface and the development of a solid white job thereby is certainly one of the highly skilled features of the trade4 ,the most fitting reference to white would seem to be best made by describing the method used in painting and finishing a vehicle surface in white4 ,first clean the wood thoroughly1 removing all stains1 discolorations1 etc4 ,then carefully brush on a coat of raw linseed oil4 ,seek to have a uniform film of the oil over all parts of the surface4 ,when the surface is ready to recoat1 make sure by a careful inspection of it that all parts are sufficiently well sandpapered4 ,then apply a coat of white keg lead mixed #c_/h oil to #e_/h turps1 with a teaspoonful of pale japan added to each quart of the mixture4 ,the second coat of white is best mixed with1 say about #c_/af of oil to #ac_/af of turps4 ,this quantity of oil suffices to give the white a stout binder without affecting the purity of the white4 ,puttying and whatever putty glazing is necessary should be done on the first coat of white4 ,make the putty of dry white lead mixed to the proper consistency in very pale rubbing varnish1 #a part2 gold size japan1 #b parts4 ,for stopping holes1 the putty needs to be a good bit stiffer than when used for the general run of disfigurements2 for glazing1 thin to the desired consistency with turps4 ,sandpaper lightly and then mix ,florence1 flake1 or cremnitz white to a consistency that will render the color free working under a half elastic1 soft bristle brush1 using turps for the thinner1 and hard drying finishing varnish for the binder4 ,apply two coats of this color1 taking due care to have the color laid smooth and free from brush marks4 ,then take the hard drying finishing varnish and add to it enough of the white to kill the yellowish amber color of the varnish1 and flow on a full1 free1 uniform coat4 ,when dry1 rub with pulverized pumice stone and water1 clean up thoroughly1 and apply a second coat of the color-and-varnish4 ,rub and clean up as before1 and apply a third coat4 ,this coat will probably suffice to furnish a solid and pure white surface1 fine and smooth1 and of becoming lustre4 ,if the job is to go with a full varnish gloss1 and striping or other ornamenting is desired1 it can be done on this finishing coat1 and pencil varnished4 ,in case gold1 silver1 aluminum1 or other leaf is used in ornamenting1 the finish should1 preferably1 be done in a simple gloss or flat1 as it will be found extremely difficult to successfully apply leaf over a finished surface of high lustre4 ,if the finish is to be gloss or flat1 give the last coat of varnish adequate time to dry hard1 say ten days at least1 and then first rub with pumice stone and water1 wash and dry up carefully1 after which rub with rotten stone and sweet oil1 using a piece of chamois skin for the rubbing pad4 ,in rubbing1 avoid heating the varnish1 otherwise a roughened1 shredded surface will result4 ,for cleaning up the oil and rotten stone1 dust wheat flour or pulverized slippery elm over the surface1 flick off with a soft duster1 and wipe dry with a clean piece of silk4 ,in the painting and finishing of a white surface1 the subjoined rules hold good3 ,avoid using the color too thick4 ,thinner coats and more of them are best4 ,after the first1 or priming1 coat1 use as sparingly of oil as possible4 ,oil produces yellowing of the white4 ,abstain from the use of zinc white or damar varnish altogether4 ,they are alike shifty and unreliable as applied to the processes of carriage and wagon painting4 ,care should be observed to keep the surface flawless and perfectly clean4 ,to this end1 clean apartments1 clean brushes1 chamois skins1 sponges1 etc41 may be classed as imperative necessities4 ,the ,florence1 flake1 or cremnitz white above recommended should be used in the painting of all first-class white surfaces4 ,ordinary white lead is advised only when the cheaper grade of white surfaces is desired4 ,if broad1 flat surfaces are to be painted and a strictly first-class job is demanded1 a roughstuff will be necessary4 ,formulas for roughstuff or white filler are as follows3 ,formula ,no4 #a4--;,dry white lead1 #b_/c2 whiting1 #a_/c4 ,liquids1 pale rubbing varnish1 #a_/c2 turpentine1 #b_/c2 gold size japan1 #a_/b gill4 ,formula ,no4 #b4--;,dry white lead1 #a part2 pulverized soapstone1 #b parts2 pulverized pumice stone1 #a part4 ,liquids1 rubbing varnish1 #a part2 turpentine1 #a part2 tablespoonful of gold size japan to each quart of the filler when mixed4 ,formula ,no4 #c4--;,dry white lead mixed to a thick paste in #a_/c pale rubbing varnish and #b_/c gold size japan4 ,reduce to a brushing consistency with turps4 ,apply one coat of either of the above fillers per day and regulate the number of coats to suit the condition of the surface4 ,to the final coat add a little lemon yellow as a guide in rubbing out4 ,a dash of pulverized pumice stone may also be given the 'stuff 7especially that made by the third formula7 to make it surface free and clear under the rubbing stone4 ,in rubbing out1 eternal vigilance and plenty of care and caution are factors of the utmost importance1 if scratching and disfiguring the surface would be avoided4 ,then over this rubbed surface apply flat coats of the white1 reinforced with a binder of hard drying varnish1 following with color-and-varnish and other finishing processes as above directed4 ,while roughstuff must continue to be recognized as a necessity in the development of white surfaces of certain grades1 sizes1 and forms1 the painter1 in so far as possible1 may well decide to discard its employment solely owing to a lack of durability as compared to the regulation method of building up with color and color-and-varnish coats to a solid and firmly-welded finish4 ,there is another method of painting white practiced by many first-class painters1 which was first published in ,varnish and written by that reliable and experienced authority1 ,mr4 ,j4 ,g4 ,cameron4 ,it consists of priming the wood with the best white lead1 mixed with as much oil as the wood will absorb1 and turpentine4 ,this is given five days in which to dry4 ,then white lead is made up to dry with a gloss1 and two coats of the mixture is given1 with an interval of one day between coats4 ,the surface is then puttied with a putty made of white keg lead1 dry white lead and whiting1 equal parts by bulk1 and japan4 ,the putty used for knifing in is made softer than that used for stopping holes and cavities4 ,the putty is given one day to harden4 ,then a filling composed of keg lead1 #a part2 whiting1 #a part2 flour of pumice stone1 #a_/e part2 made into a stiff glazing pigment with japan and a small percentage of turpentine1 is brushed over the surface1 a second workman following with a broad putty knife and skillfully removing the superfluous filler4 ,this glazing is intended only for panels and flat work generally4 ,permit this filling to dry forty-eight hours4 ,it is then rubbed lightly with pumice stone4 ,moldings and carved work are sandpapered4 ,next1 to #e lbs4 of white keg lead1 highest quality1 #a_/b pint of good wearing body varnish that dries quickly and reliably is added4 ,the mass is then thinned with turps and strained4 ,this dries to a little more than an egg-shell gloss4 ,five coats of this color are applied on five consecutive days1 no rubbing or sandpapering being done between coats4 ,this foundation of white is given a week1 to harden1 after which it is thoroughly rubbed down with about ,no4 #a-a_/b pulverized pumice stone4 ,it is then allowed to stand two days before being polished and cleaned up with flour of pumice stone4 ,a coat of high grade and practically colorless finishing varnish 7now procurable of the leading varnish makers7 is now flowed on and the work is complete4 ,the color for the five coats is made up at one time1 so that it dries and hardens equally and uniformly throughout4 ,mr4 ,cameron vouches for the durability1 fullness1 and solidity of a white surface painted by this method1 having employed it in painting hundreds of street cars1 in addition to a great many hearses1 delivery wagons1 etc4 ,it is a well-known practical fact that a first-class finishing varnish and white lead carefully mixed solidifies amazingly throughout4 ,and the one coat of very pale or colorless finishing varnish over all produces the effect of a high grade finish4 ,,chapter ,,vi4 ,,applying ,,rubbing ,,varnish--,,surfacing ,,varnish--,,care ,,of ,,the ,,finishing ,,room ,,washing ,,the ,,rubbed ,,surfaces--,,flowing ,,the ,,finishing ,,coat4 ,one well-known varnish maker has said that the marvelous thing about carriage varnish is that it must be one garment suited to all kinds of weather4 ,as a material destined to shine in the public eye1 its proper manipulation and treatment is manifestly of the first importance to the carriage painter4 ,no other material with which the painter has to do is so sensitive to the robust variety of influences constantly attacking it as varnish4 ,the virtues of a first-class varnish which add to its durability1 increase its brilliancy1 and in other ways enhance the beauty of a surface over which it is used are the ones that impart to it a peculiar sensitiveness characteristic of no other material4 ,briefly1 then1 we may sum up the task of applying and manipulating varnish upon a carriage surface as a delicate job4 ,a workman of fine notions1 intelligent1 painstaking and highly skilled in the handling of the proper tools1 is the only successful varnisher4 ,such a workman is required to get all that is true and fine and lasting and lovely out of the employment of varnish4 ,in the varnishing of a vehicle the first kind of varnish we are required to use is rubbing varnish4 ,the duty of putting on rubbing varnish is less difficult1 practically considered1 than that of flowing the finishing coat1 but rubbing varnish bespeaks deft and skillful handling4 ,the first coat of rubbing demands to be applied quite as precisely1 and with the same thoroughness as to details1 as would mark the application of any of the later coats4 ,in the application of the first and second rubbing coats to body surfaces1 the bodies1 when of a build to permit of the practice1 should be tipped so as to offer a flat1 upturned surface1 a device for holding the bodies in this position having been illustrated in ,chapter ,i4 ,fuller and finer rubbing coats may be flowed on when the bodies are tipped4 ,tipping of all the lighter forms of vehicle bodies is practiced in leading shops when applying the first and second rubbing coats4 ,the writer1 therefore1 advises observance of the practice in even the smallest of shops4 ,there is less chance for brushmarks and other defects manifesting themselves4 ,with the heavily flowed on rubbing coats1 the round1 full surface which distinguishes the product of the best varnish rooms is obtained at a less expenditure of time and labor1 than when the thinner coats are employed4 ,i would suggest the full1 heavy rubbing coat as the most effective aid in avoiding brushmarks and in drowning out the dust motes and flocculent matter to be noted as part and parcel of the skimpy brushed on coat of varnish4 ,the modern ethics of carriage painting affirms the excellence of heavy rubbing coats of varnish as the most enduring base for heavy finishing coats4 ,the final rubbing coat may best be applied with the vehicle body occupying its natural position or1 rather1 the position it is to occupy when the coat of finishing goes on4 ,this is the coat that is depended upon to reflect the outline and round out the fullness of the finishing varnish4 ,the necessity of its being perfect in all the respects that it is possible to make a rubbing coat of varnish1 is1 therefore1 apparent4 ,the fact that varnish goes on pretty nearly everything1 brightens it1 keeps it clean and cleanable1 covers it1 takes the wear1 prolongs its life1 and increases its beauty and usefulness1 furnishes the carriage painter with a substantial reason for insisting upon having his rubbing coats1 from first to last1 deftly placed and shrewdly balanced4 ,,the ,,surfacing ,,of ,,rubbing ,,varnish4 ,when a rubbing varnish has been given the full limit of time recommended by the manufacturer in which to harden1 surfacing should ensue4 ,to permit such varnish to remain unprotected from the atmospheric impurities common to the average paint shop may be accepted as an actual detriment to the durability of the surface4 ,the gums used in rubbing varnish and which unite to give it a surfacing property render the varnish when spread upon a surface peculiarly susceptible to the attacks of all forms of impurities4 ,hence the necessity of surfacing the rubbing coats as soon as they have been given adequate time to harden4 ,the supporting strength and ability of such coats are thereby promoted4 ,illustration3 ,,varnish ,,stand4 ,as used in some factory shops4 ,to surface varnish correctly and at the minimum outlay of time1 it is needful that a serviceable equipment of tools be furnished the workman4 ,this should consist of at least two good pails 7galvanized iron pails are probably the most economical71 half dozen good1 soft sponges1 a water tool1 and a few first-class chamois skins1 in addition to plenty of rubbing pads4 ,rubbing pads are often shop made from waste cuttings of broadcloth or felt1 the strips being rolled into cylindrical form or fastened around blocks of wood4 ,however1 the most effective rubbing pads are procurable direct from the manufacturers and come in the form of thick perforated pads1 running in thickness from #c_/h to #a inch1 and in size from #bc inches to #cd inches4 ,these perforated pads serve to free the surface from that part of the pulverized pumice stone which1 during the process of rubbing1 has become inert and a hindrance to the leveling efforts of the workman4 ,in surfacing1 pulverized pumice stone of the #j or #jj grade of fineness is best4 ,the water supply is an important factor in varnish surfacing1 soft water being a highly-valued essential4 ,a surface cleans up better with soft water than when the water used is hard4 ,if plenty of soft water is not forthcoming1 add a little soda to the water1 say a teaspoonful of soda to an ordinary pail of water4 ,this will reduce the harshness of the water4 ,the actual work of rubbing or surfacing varnish may be classed as an art4 ,the first class varnish rubber is really an accomplished mechanic4 ,before beginning to rub a surface1 first rinse it off with clean water4 ,this by way of a precaution4 ,then dip the rubbing pad first lightly into the water to moisten it1 and then into the pumice stone1 thus carrying it to the surface where with light pressured sweeps it may be spread over a certain part of the surface4 ,rub lightly at first1 gradually increasing the pressure until the necessary force is reached4 ,first rub the outside edges of a panel and the mouldings1 if any1 finishing up the central part last4 ,it will be found easier to get the center of a panel1 or of a given portion of a surface1 rubbed sufficiently than to get the outer edges of it done4 ,if a large surface is being rubbed1 first rub a certain space for a time and then shift to a new space1 thus avoiding the possibility of unduly heating the surface4 ,alternate between the two spaces until the desired reduction of the surface has been reached4 ,upon surfaces which admit of carrying the rubbing strokes to the extreme end of the panel1 the rubbing strokes being always directed lengthwise of the panel1 do not cross rub at the ends4 ,cross rubbing at panel ends is invariably shunned by first-class factory varnish rubbers1 and these specialists are deservedly classed as artists in their line4 ,for example1 upon piano box bodies the strokes are carried quite to the end of the panel1 with no cross brushing tolerated4 ,first coatings of varnish do not invite very close surfacing4 ,the second coat permits1 and should receive1 the solid and close surfacing4 ,the final rubbing coat should properly require only a moderate degree of surfacing to make it fit to hold out the finishing coat with becoming comeliness4 ,avoid using too much pumice stone1 too much water1 or too much pressure on the pad2 in a word1 avoid excesses4 ,pumice stone and water should not be allowed to dry upon the surface4 ,it is a hazardous practice4 ,have plenty of clean water at hand and wash the surface up tidily as fast as the rubbing proceeds4 ,adhere to uniformity and thoroughness in surfacing4 ,the surface rubbed more closely in some places than in others1 and not rubbed sufficiently thorough as to corners1 border spaces1 etc41 bears the unmistakable imprint of the bungler's rude hand4 ,probably this rule of uniformity and thoroughness is the most difficult for the beginner to acquire4 ,it really covers nearly the whole range of the art of fine surfacing4 ,when one has mastered the feat of rubbing a surface to the same uniform depth of film1 missing never a modest slip on molding1 around bolt head1 or other easily overlooked space1 he has earned the right to strive for the expert's rank4 ,illustration3 ,,varnish ,,stand ,,no4 #b4 ,standard #a_/b-;inch iron1 three-pronged and sharpened4 #bf to #bh inches high4 ,quickly made by any blacksmith4 ,top of stand #ajaj inches4 ,the surface once rubbed1 washing up must needs follow4 ,the workman cannot be too greatly impressed with the importance of this branch of the work4 ,thorough washing must necessarily accompany thorough rubbing2 otherwise1 the efforts of the rubber go for naught4 ,to insure clean washing of the surface1 clean tools must be maintained4 ,the chamois skins1 sponges1 wash brushes1 etc41 require storage in some dust-proof receptacle4 ,this may be in the form of a cupboard or small closet1 or a bag made of light rubber cloth and provided with a shirring string4 ,wash these articles often in soap and water1 rinsing carefully in clean water after applying and rubbing in the soap4 ,this method will aid to keep them clean4 ,with clean pails1 clean water1 and clean washing and drying tools1 the task of washing a surface preparatory to varnishing is deprived of many of its menacing features4 ,the final washing up should1 in every instance1 be performed with a pail1 brush1 chamois skin1 and sponge kept expressly for that purpose and used for no other4 ,always keep in store a sponge and chamois skin to be used especially for washing and drying out the inside of vehicle bodies4 ,another set1 separate and independent of the others1 should be devoted solely to washing and drying up vehicle running parts for the varnisher4 ,in cleaning up a carriage body for varnishing1 first wash out the inside surface1 tooling out all the corners1 etc41 with the water tool4 ,then apply plenty of water to the outside1 washing the sill and border of the under surface of the body fully as free and clean as the more exposed parts4 ,thoroughly tool around all bolt-heads or other parts which offer a lodgment for atoms of pumice stone4 ,after tooling about such surface fixtures1 follow immediately with a sponge well loaded with water1 thus flooding out the loosened accumulations of gritty matter4 ,the body being finally washed clean1 top1 bottom1 inside1 and out1 dry up carefully with the chamois skin1 and then at once set away in that sacred place1 the varnish room4 ,to summarize the features of surfacing varnish1 note3 ,first4 ,use roll or blocked broadcloth or felt rubbing pads4 ,second4 ,direct the rubbing strokes all in one direction1 and lengthwise of the panel4 ,third4 ,avoid excessive use of pumice stone or water1 and indulge in not too heavily applied pressure of the rubbing cloth4 ,moderate pressure1 uniformly sustained1 is the correct practice4 ,fourth4 ,maintain constantly1 and at all times1 a conspicuously clean washing up kit2 and in washing the surface do not stop short of having it unmistakably and shiningly clean4 ,thereby hangs the tale of fine varnishing made easy4 ,if jobs are rubbed out of varnish and allowed to stand over night before being varnished1 a final light rubbing should be given the surface just previous to applying the varnish4 ,a surface when rubbed and stood aside for a short time takes on a scum which1 if not removed1 is fatal to good varnish-room results4 ,this scum is said to be caused by the oxidation of the floating matter1 from the oxide contained in it and the oxygen in the atmosphere4 ,the scum acts in the nature of a deadly blight upon the varnish applied directly upon it1 begetting many of what are commonly known as the depravities of varnish4 ,rotten stone applied and rubbed under a piece of carriage head-lining broadcloth makes an excellent polish to remove all scum from the surface4 ,,flowing ,,the ,,finishing ,,coats4 ,to accomplish high grade finishing1 certain varnish room conditions must prevail4 ,the varnish room must have plenty of light1 ventilation1 warmth1 and dryness of atmosphere4 ,cleanliness must abound2--personal cleanliness1 room cleanliness1 and cleanliness of stock and tool equipment4 ,ventilation and light have already been alluded to4 ,to sweep the varnish room floor1 first profusely sprinkle with well dampened sawdust1 and beginning at one side sweep in a windrow4 ,do not use much water upon the varnish room floor1 unless it should chance to be a perfectly tight floor and fit to be mopped out occasionally4 ,then the mopping out should occur upon days when there is to be no varnishing done in the department4 ,a thermometer to register the heat and a hygrometer to register the humidity should be inseparable inmates of the varnish room4 ,a cupboard set in even with the wall or partition of the room should contain clean cups1 strainer1 dusters1 along with the brushes in their air-tight keepers4 ,maintain a uniform temperature of from #ge to #hj ,fahr4 ,insist upon the surfaces and the varnish to be applied to them being of the same degree of temperature4 ,in this way only will varnish work at its best4 ,remove the stopper from the varnish can a short time prior to beginning to varnish4 ,this allows for the escape of certain gases generated in the varnish can4 ,although the varnish maker may declare his varnishes do not need straining it is really the safer rule to strain all the finishing varnish before using4 ,a majority of finishers in our best shops persist in the practice4 ,patent strainers are now on the market adopted for this very purpose4 ,cheese cloth1 cut in squares and drawn over funnel-shaped tins1 serves as cheap and quickly arranged strainers4 ,be thorough and painstaking in dusting4 ,after the first dusting go over the surface with a piece of silk4 ,next1 give all spots rubbed through1 or which promise to show badly under the varnish1 a dash of color1 immediately slicking these color patches over with a small piece of cotton rag4 ,now varnish the inside of the body1 having previously1 of course1 rubbed or mossed off this part of the job1 as the desired quality of the finish may dictate1 and dusted it carefully4 ,the inside surface being finished1 again dust the outside surface4 ,then for the final dusting take a round or oval duster1 kept expressly for the purpose1 and1 moistening the hollow of the left hand with a little finishing varnish1 flick the point of the duster over this to furnish it with a dust attraction property1 after which proceed at once to dust carefully the surface to be varnished4 ,illustration3 ,,thermometer--,the varnish room watch dog4 ,the surface now being ready to finish1 remove the brushes from the keeper1 fill the varnish cup one-third full of the strained varnish1 and follow this modus operandi1 assuming1 for example1 the job to be of the piano box pattern3 ,with the #a-;inch badger hair brush lay the varnish along the bottom of the main panel1 then across both ends1 and lastly1 along the top1 taking in the seat riser while flowing the top edge4 ,then with the #b-a_/b-;inch brush flow1 not brush1 the varnish over the main surface space4 ,hold the brush1 in flowing1 rather flat4 ,keep it well charged with varnish1 and pass it lightly and with a steady stroke from one end of the panel to the other1 applying and laying off with horizontal strokes of the brush4 ,from the brush held and directed in this way the varnish flows full and rich upon the surface1 the distribution being more even and uniform1 and less cross brushing becoming1 therefore1 assured4 ,when the finishing brush is held at a steep angle1 or in such a way that the points of the bristles are forced to mainly do the work1 the varnish is whipped into motion to a harmful extent1 requiring thereby more manipulation with the brush to get it evenly placed1 and consequently destroying some of its natural fullness and brilliancy4 ,the chief aim of the carriage finisher is to so first flow his varnish that the minimum outlay of cross brushing and dressing up will suffice1 to the end that the varnish may be disturbed as little as possible1 thus securing that depth of lustre and mirror-like effects so greatly cherished by all first-class finishers4 ,in varnishing piano style bodies and surfaces of close kith and kin to such1 flow at least one side and an end before cross brushing and laying off4 ,the varnish1 by this method1 is given time to take on a bit of tack1 as it were1 and in cross brushing a less quantity is removed than would be the case if cross brushing were to follow directly upon completion of flowing the panel4 ,after cross brushing and laying off1 catch up the edges and all other places where the varnish is liable to start into a run or an overflow4 ,in varnishing surreys1 phaetons1 and jobs of that order1 and larger1 the varnisher should determine the amount of space he may flow before returning to cross brush1 by the working qualities of his varnish1 room temperature1 and the prevailing circumstance at the time of varnishing4 ,illustration3 ,,varnish ,,strainer4 ,published by permission of ,the ,carriage ,monthly4 ,after cross brushing1 go over the panel but once in laying off4 ,as before stated1 and as expert carriage finishers everywhere will assert1 the less brushing and disturbing of varnish1 once it is flowed on the surface1 the finer the body and brilliancy of the finish4 ,to become an expert body finisher the workman should possess varnish intelligence4 ,he should know how to keep cool2 be an absolute stranger to varnish fright1 never lacking for confidence or ability to successfully meet and master emergencies as they arise4 ,the art of varnishing cannot be acquired in a day1 or an hour1 or simply by a studious perusal of carefully worded directions4 ,these serve as a working draft1 but must be supplemented by long-continued practice1 and1 in case of carriage body finishing1 coupled with a natural aptitude for the work4 ,,varnishing ,,running ,,parts4 ,the running parts of a vehicle having rounded surfaces are more easily made to shine fine and mirror-like than are the body surfaces4 ,however1 the varnishing of running parts may rightfully be classed a highly skilled operation4 ,washing up and cleaning the running parts preparatory to varnishing is a difficult task4 ,around clips1 bolt heads1 axle ties1 etc41 pumice stone and dirt accumulations cling tenaciously1 and thorough tooling with the wash brush and plenty of water is needed to fit such parts for varnishing4 ,after washing1 and once dusting over the running parts1 touch with color all reaches of surface requiring it4 ,when color patches are dry take a second duster1 kept for this one dusting only1 flip it lightly over the varnish-moistened left palm1 and go over the surface carefully4 ,if a particularly fine job1 pass over the surface with the palms of the hands1 having previously given them a slight wetting with the finishing varnish4 ,this method illustrates the power of magnetic influence1 and catches up flotillas of dust motes which the duster would possibly disturb1 but not remove4 ,in finishing the gear begin at the front axle and proceed to flow the whole front end before wiping up4 ,this gives the varnish a chance to take its position on the surface1 and the wiping up serves to level out the inequalities and remove the surplus4 ,after the front1 the rear1 then the reach1 and last the side bars1 if any4 ,a brush should be kept solely to wipe up the underside of axles1 head blocks1 spring bars1 side bars1 etc4 ,in many factory shops the finishers wipe such parts with the palm of their hand4 ,the varnish drippings are thus caught by the hand and distributed in the form of a glaze to the parts in question4 ,in varnishing wheels1 which are always included in the term running parts1 slip the wheel upon the revolving jack and1 standing with the left side nearest the wheel and partly facing it1 begin by flowing the sides and face of the spokes1 reaching the brush well over to the back surface of the spokes4 ,then flow front of hub4 ,next the inside and face of the felloe4 ,now whirl the wheel so that its rear surface takes the place of the front4 ,catch up and close in with varnish all strips on the rear surface of spokes not flowed when the sides were done4 ,then flow rear of hub1 and lastly1 the back surface of felloe4 ,reverse position of wheel1 slick up all places needing it1 and set away on a second wheel jack1 giving the wheel a sharp spin to better hold the flowed-on varnish in place4 ,four wheel jacks are necessary to flow wheels properly4 ,then1 when the fourth jack is occupied1 the wheel first done1 having been given a good spinning and at least three half turns1 may be set away in the rack1 subject to no danger from runs or sags4 ,when applying rubbing varnish it is advisable to flow not more than six or eight spokes before wiping up4 ,about this proportion of surface for flowing and then wiping up should control in applying rubbing varnish to running parts4 ,,chapter ,,vii4 ,,depravities ,,of ,,varnish3 ,,graining ,,out--,,cracking--,,sweating--,,deadeni ng1 ,,etc4--,,pitting--,,enameling1 ,,etc4--,,seedy ,,or ,,specky--,,crawling--,,wrinkling1 ,,etc4--,,runs1 ,,sags1 ,,etc4--,,ridging1 ,,etc4--,,perishing--,,chipping--,,fire ,,checks--,,greening--,,blooming--,,blis ters--,,spotting1 ,,etc41 ,,etc4 ,,graining ,,out4 ,the peculiar grain showing a condition of the surface which manifests itself after the job is finished arises from certain incompetent practices observed along in the early stages of painting1 or from the use of wood not adapted to the needs of vehicle construction1 as1 for example1 sappy or unseasoned wood4 ,it is a principle of fine surfacing1 substantiated by experience1 that when a carriage body has been perfectly smoothed and leveled by the woodworker1 it should be given a few hours1 say four or five1 before priming4 ,this delay is to give the wood1 subjected to unusual pressure during the surfacing process1 an opportunity to expand and shape itself into a normal conformation4 ,upon high grade work it would be a good practice to first level thoroughly and set away in an unquestionably dry atmosphere for a few hours1 and then have the woodworker apply a second sandpapering4 ,then after another interval of a few hours1 prime thoroughly inside and out1 top and bottom2 in fact1 wherever moisture might possibly find an entrance4 ,graining out may come from priming too closely upon the completion of the woodworker's leveling process2 or it may come from the dry wood having been exposed1 after the surfacing process1 to a spell of damp weather4 ,the dry1 porous timber absorbs enough wetness to raise the grain to such an extent that nothing short of a resurfacing will restore it to its normal smooth and perfect condition again4 ,this wood1 with its erect fibres or grain fairly visible to the eye upon a casual examination1 if painted over and finished1 dries out in time1 and in doing so responds to the natural law of shrinkage4 ,shrinkage involves a process whereby the priming1 roughstuff1 color1 varnish1 etc41 apparently goes in while the grain of the wood goes out4 ,graining out is often due to a priming coat that is not given adequate time to dry hard and firm4 ,this soft layer of rather slow drying pigment1 if sealed from contact with the air prematurely1 is a powerful inducement to grain showing4 ,spongy1 porous roughstuff1 deficient in resinous matter and weak in its binding property1 is also often responsible for graining out4 ,good reliable priming1 lead and roughstuff coats1 allowed to dry thoroughly1 each and all of them1 arrest the graining out tendency4 ,improperly seasoned wood is a prolific producer of grained out surfaces4 ,moisture confined under a body of paint and varnish is bound to make its exit right speedily1 and this it does by voraciously sucking the paint and varnish material in and pushing the grain of the wood out4 ,,cracking4 ,it has been said that the natural destiny of varnish is to crack4 ,when a varnish has worn itself out1 lost its elasticity1 become brittle1 it will1 despite the best laid plans of men and science1 fissure and crack4 ,in so doing it simply responds to a natural law4 ,the cracking that occurs prior to this period of service is of supreme concern to the painter4 ,probably the greatest cause of varnish cracking--the cause that towers above all other causes--is developed by the hurried system of painting--forcing one coat over another not perfectly dry4 ,imperfectly dried rubbing coats1 or a lack of uniformity in the selection of the varnishes used1 often cause cracking4 ,for example1 a quick drying rubbing varnish1 or a hard drying finishing1 even1 is employed1 over which a slow drying1 elastic finishing is used4 ,antagonism between the varnish coats1 or between the varnish and color coats2 improperly adjusted foundation coats2 exposure to sudden atmospheric changes1 including excessive heat2 the action of ammonia2 poor material--all of these are underlying causes of varnish cracking4 ,imperfectly seasoned panels or moisture penetrating thin wood panels will tend to crack the varnish used over such surfaces4 ,the cracks in varnish due to a continued straining of the panels are termed force cracks4 ,illustration ,force cracks are usually found just over the steps on the carriage body1 running in long1 circular lines1 also on the panels under the seat riser1 and on the seat riser4 ,the vibration of light1 insecurely stiffened carriage bodies is generally a direct cause of premature cracking of varnish4 ,the accompanying cut of a buggy body shows the usual location and sweep of force cracks4 ,this class of surface fissures is very easily distinguished from those due to causes previously mentioned4 ,,sweating4 ,sweating is the taking on of a gloss after the varnish coat has been rubbed4 ,the principal cause of varnish sweating is rubbing it before it has sufficiently hardened4 ,varnish laid over a coat of color or of varnish that lacks somewhat of being dry is prone to sweat4 ,when a coat of varnish has been rubbed and allowed to stand for some time--over night1 say1--in a close paint or varnish room atmosphere1 it will take on a sort of a gloss or greasy scum which comes under the head of sweating4 ,it would be in the highest degree dangerous to permanent or brilliant results to flow a coat of varnish directly over a sweaty surface4 ,the sweat that overspreads a rubbed varnish surface by reason of the absorption of atmospheric impurities can be quickly removed by lightly rubbing with a little rotten stone and water4 ,the sweating out of a surface rubbed before it has adequately hardened can only be remedied by allowing the surface to become hard and then re-rubbing4 ,,deadening1 ,,sinking ,,in1 ,,etc4 ,this describes a varnish when it goes flat1 loses its lustre1 and refuses to shine in the public eye4 ,the causes of this trouble are1 briefly2 unseasoned timber1 imperfectly dried under coats1 such as1 for illustration1 a four-day rubbing varnish surfaced and finished over after permitting the rubbing only two days in which to dry4 ,porous under coats which absorb too great a percentage of the oil of the varnish cause deadening2 and porous under coats1 let us bear in mind1 produce by far the larger share of varnish deadening4 ,,pitting4 ,pitting transforms a film of varnish into an expanse of minute indentations or pits1 and simply represents in an aggravated form what is commonly known as pin-holing4 ,the depravity is caused by a lack of uniformity in atmospheric conditions during the drying process1 such as from warm to cold1 dry to moist2 mixing varnish of various grades2 varnishing over a sweaty surface or over imperfectly dried color or varnish coats1 or in an apartment having an excessively wet floor1 or during a day of unusual moisture4 ,pitting may also come from varnishing over a surface rubbed through to the under coats4 ,varnish charged with gaseous impurities1 or a varnish not sufficiently ripened1 is powerfully inclined to pit4 ,dirty varnish1 sometimes ditto4 ,soap or grease smears will cause pitting1 as will also too oily under coats4 ,draughts of cold air have been known to cause bad cases of pitting4 ,,enameling1 ,,silking1 ,,etc4 ,applied to a varnish surface when it assumes the appearance of enameled leather or silk4 ,varnish used upon a hot1 humid1 moist1 sticky day often goes silky or enamels4 ,dog day conditions usually invite enameling or silking4 ,varnish put on in a cold room is liable to enamel4 ,brushing varnish too long1 adding turpentine to it1 using an oil-saturated brush or mixing different makes or grades of varnish cause the depravities here mentioned4 ,,seedy ,,or ,,specky4 ,caused by want of thoroughness in cleaning and dusting a surface preparatory to varnishing4 ,likewise by the skinning over of a varnish1 the broken particles of the skin then working into the liquid and thence conveyed to the surface4 ,also by using an unripe varnish1 or a chilled varnish1 or by varnishing on a cold1 damp day in a room not properly heated4 ,the lousy or dirty varnish brush begets the seedy1 specky work4 ,it is a fruitful cause of such work1 in fact4 ,,crawling4 ,when a varnish1 after having been spread upon a surface1 contracts1 picks itself up into patches1 and otherwise vanishes from parts of the surface which should continue to reflect its lustre1 it is said to have crawled4 ,causes3 ,putting it over a color or varnish ground not quite dry2 using oil in the color-and-varnish1 or using oil in the color coat to give it a decided egg-shell gloss2 handling the work with greasy hands or washing it with water in the slightest degree soapy or fatty4 ,probably the egg-shell gloss1 however1 is the most prolific cause of varnish crawling4 ,to remedy this trouble wash the work with clean water1 dry off with the chamois skin1 and varnish immediately4 ,,wrinkling1 ,,crinkling1 ,,etc4 ,these are caused by putting on a too heavy coat of varnish1 or by not dressing it out and wiping it up properly2 also by using a varnish not sufficiently ripened4 ,a varnish which shows wrinkling or crinkling while standing in a warm room may be made to assume an aggravated form of the trouble by simply transferring the work to a cold apartment4 ,in the case of varnish wrinkling or crinkling1 methods of prevention are preferable to any system of cure4 ,,runs1 ,,sags1 ,,curtains1 ,,draperies1 ,,etc4 ,some of the causes which develop the depravities outlined in the foregoing paragraph are responsible for those at the head of this one4 ,other causes are3 ,lack of uniformity in the application of the varnish1 one brushful of the liquid being nicely worked out and the next one being the reverse1 or the varnish being applied heavier on one part of the surface than on another1 or too heavy a coat serving as the predominate feature throughout4 ,careless1 incomplete wiping up around mouldings1 bolt-heads1 nuts1 and fixtures of that order1 generates runs1 sags1 etc4 ,to reduce these deviltries1 first rub with water and pulverized pumice stone4 ,then pare off a few shavings from a bar of common house soap1 dip the rubbing pad freshly coated with pumice stone into the shreds of the alkaline compound1 and rub briskly over the offending deviltry4 ,after using the soap1 rinse off with clean water very thoroughly4 ,then rub lightly with rotten stone and wash thoroughly4 ,,ridging1 ,,roughing4 ,these terms are given to a surface that resembles a corrugated panel1 showing a ridgy1 furrowy expanse4 ,timidity or the spirit of the painter-afraid-of-his-varnish provokes this lamentable surface condition4 ,after the varnish has set past a certain tack and the brush is then drawn through it1 roughing and ridging occurs4 ,when one falls heir to this mishap1 take a soft badger-hair brush and1 procuring a small quantity of turpentine1 proceed to apply the fluid plentifully over the panel4 ,this will quickly soften the coat of varnish so that by wiping the brush carefully out1 the loosened varnish can be easily brushed off and the surface immediately revarnished4 ,,perishing1 ,,crumbling1 ,,rusting4 ,by this we mean a gradual loss of lustre1 the final result of which is a disruption of the surface ending in a complete destruction of the varnish4 ,washing with water heated beyond the tepid degree is an engaging bid for the disaster here noted4 ,ammonia fumes1 coal gas1 salt sea air1 soil of limestone localities1 etc41 cause varnish to perish and crumble away4 ,,chipping1 ,,flaking1 ,,peeling4 ,the separation of one varnish coat1 or certain parts of it1 from another1 or from a coat of color is known as chipping1 flaking1 or peeling4 ,causes3 ,moisture in the wood2 imperfectly dried under coats2 grease and smoke from the smithshop2 failure to maintain the proper elasticity between the successive color or varnish coats4 ,it is very probable that the most active and effective cause arises from the use of adulterated turpentine1 inferior japan1 and a poor1 low quality material generally4 ,,fire ,,checks4 ,these consist of a delicate tracery of almost invisible fissures radiating every which way4 ,the displeasing effects of fire checks are not fully disclosed until the finishing varnish has been laid4 ,an extra coat or two of rubbing varnish will usually suffice to conceal all traces of a moderate array of fire checks4 ,,greening4 ,this comes from the use of too many clear rubbing or finishing coats of varnish to a black surface4 ,successive coats of clear rubbing varnish1 capped with a heavy coat of finishing1 applied over a black japan ground1 affords a pronounced and1 in some respects1 enticing shade of green4 ,greening of a varnish surface is also effected by confining the freshly varnished work in a dark apartment while the drying is going on4 ,when the work is fit to remove from the varnish drying room1 in order to intensify the greening1 it may be stored in a dark room or repository for a time4 ,recently varnished surfaces held for a few weeks in dark apartments green rapidly4 ,prevention3 ,use black color-and-varnish over black color grounds4 ,add a dash of black color to each of the clear rubbing coats up to and including the final rubbing4 ,furnish the drying room with plenty of light on all sides1 and1 so far as possible1 insist vigorously upon the necessity of light1 airy carriage houses and repositories4 ,,blooming4 ,blooming is a whitish1 metallic-like film1 like unto the bloom on a plum or peach1 which obscures the brilliancy of the varnish4 ,it is variously known in the trade as going cloudy1 smoky1 or foggy4 ,varnish surfaces exposed to a moist atmosphere1 to smoke1 or to the fumes of the blacksmith shop are apt to bloom4 ,if the blooming is of recent origin1 a thorough washing and drying off with the shammy will generally restore the lustre of the varnish4 ,if of long standing and therefore of a virulent type1 the only effectual remedy is rubbing with pulverized pumice stone and water and re-varnishing4 ,,blisters4 ,the varnish surface1 dry or apparently so1 when afflicted with little eruptions1 after the fashion of pustules on the human cuticle1 is said to have blistered4 ,the disease is caused by moisture in the wood1 exposure to the intense rays of the sun during the early days of service1 or to the presence of oil or grease on the surface directly under the finishing coat or between any of the preceding coats of varnish or color4 ,soft under coats develop blisters1 their development through this medium being in this wise3 ,coats of lead1 heavy in body1 and perchance a bit fatty or gummy1 are applied to the surface4 ,such coats do not dry thoroughly4 ,oil in color coats tends to the same result4 ,they deceive the workman1 being apparently dry1 but not really1 when choked up under subsequent coatings4 ,a surface so builded is eventually put into service and submitted to the sunlight4 ,warmed by the heat1 these undried particles of color or lead quickly respond to the law of expansion4 ,the varnish1 supple and full of elasticity1 instead of cracking and splitting into fissures1 simply swells up with the paint4 ,fierce stove or steam heat causes blisters4 ,a varnish blister1 if not located upon a too prominent portion of the surface1 may be reduced to a surface fracture easily overlooked1 by puncturing with a needle and then pressing the rupture down with a wet sponge4 ,,spotting4 ,there are several forms of this ailment1 viz41 mud spotting1 soapy or dirty water spotting1 and the spotting caused by strong currents of air beating powerfully upon the varnish surface4 ,mud spotting is by far the most malignant type of the depravity herein mentioned4 ,an elastic high grade varnish is more susceptible to the poison contained in earthy accumulations than the hard drying or the low grade varnish4 ,accumulations of mud allowed to dry upon a freshly varnished surface spot the varnish through the action of the suction or capillary attraction of the dry mud extracting the oil from the varnish4 ,again1 the spotting may be due to actual saponification1 by the alkaline mud1 not only of the oil1 but of the gum constituent of the varnish as well4 ,city mud strongly charged with ammonia1 and the mud of lime districts1 is notoriously destructive to varnish lustre4 ,while it rarely happens that any sort of treatment short of rubbing off the surface and re-varnishing proves satisfactory1 the trouble may now and then be effaced1 temporarily1 at least1 by first rubbing the spots with a rag moistened with equal parts of linseed oil1 turpentine1 and alcohol1 and then immediately polishing with a soft piece of blotting paper4 ,soapy or dirty water spotting1 which may be distinguished by the usually correct circle outline1 is difficult1 if not impossible1 of effacement1 especially if allowed to long remain upon the surface1 as the potash and acid nature of the water takes a ready and sharp hold of the varnish4 ,a prompt washing off with clean soft water will sometimes prove a cure4 ,this failing1 rubbing off and re-varnishing must be resorted to4 ,the gases generated by an ordinary coal stove or blacksmith's forge1 if permitted for long to attack a varnish surface1 will effect a particularly grievous type of spotting4 ,this will manifest itself in the form of dull1 lustreless spots richly suffused with a film of greasiness4 ,the rubbing down and re-varnishing is the only reliable and sure cure for this depravity4 ,spotting caused by unusual or disturbing currents of air beating with moderate or fierce intensity upon a sensitive surface is met with in the shape and appearance of dull1 indistinctly defined spots1 irregular in form1 sometimes elongated1 frequently of conoidical outline4 ,the first indications of this variety of spotting should be met with a prompt washing off with clean water and a careful drying up under the chamois skin4 ,,chapter ,,viii4 ,,striping3 ,,the ,,purpose ,,of ,,striping--,,how ,,to ,,become ,a ,,striper--,,pencils ,,and ,,their ,,care--,,mixing ,,striping ,,colors--,,names ,,of ,,stripes--,,striping ,,designs1 ,,including ,,panels ,,and ,,corner-,,pieces--,,etc41 ,,etc4 ,the chief and essential purpose of striping is to impart a beautifying effect to the surface upon which it is used4 ,to accomplish this purpose it must be so perfectly and artistically executed that the colors employed in painting the surface are made to reflect their most charming harmonies and contrasts1 while the outlines of the surface itself are cast into more graceful relief4 ,the art of striping1 when it achieves this result1 may be said to have successfully performed its office2 and the expert exponent of this art1 it need scarcely be added1 is accounted an important member of every well-regulated paint shop family4 ,illustration3 ,,fig4 #a4 ,,fine ,,liner4 ,to be a really skilled striper1 the workman needs to be the possessor of a steady hand1 or1 in the words of another1 of hand magic1 of an accurate eye1 and plenty of color sense4 ,in point of fact1 it is highly necessary that the striper should be a good colorist2 one1 in short1 who is thoroughly conversant with the rules of color harmony and contrast4 ,illustration3 ,,fig4 #b4 ,,medium ,,fine ,,liner4 ,the first law with which the novice or learner of the art of striping or ornamenting is confronted is that of color and form4 ,this he must study patiently and persistently1 the while practicing with the pencil in order that the purely mechanical part of the art be well mastered4 ,grace1 freedom1 sure-handedness1 are indispensable factors1 as applied to the mechanical features of striping and ornamenting1 and these can be attained only through the agency of diligent practice1 combined with the help of an eye educated to act quickly and accurately4 ,there can be no arbitrary rules laid down to govern the art of striping in so far as it has reference to style4 ,style is but the fleeting fancy of the passing show1 and while it is here today it may be gone tomorrow4 ,hence1 the fashion in striping is indefinite and sufficiently elastic to adapt itself to local requirements without departing far from what may chance to be at the time generally accepted as the prevailing style4 ,for1 after all1 the striping must be subordinate to form1 color1 and surface1 and its lavish or meagre employment1 in plain or fancy design1 is controlled very largely thereby4 ,illustration3 ,,fig4 #c4 ,,heavy ,,or ,,medium ,,line4 ,,the ,,striper',s ,,outfit4 ,the pencil equipment is properly a matter of the first concern to the striper4 ,the last decade has witnessed the retirement1 in large part at least1 of the round pencils1 save when stripes are to be done in sizes exceeding #a_/h in4 ,the vividly sensational name of dagger or sword pencil has been applied to the pencil which has taken the place of the round liner4 ,practically all vehicle stripers use these pencils at present4 ,a single pencil1 if necessary1 can be made to draw a various assortment of lines1 running from the hair line to the round line1 or even heavier4 ,but1 all things considered1 the writer deems it best to have a pencil made to draw a certain line and no other4 ,this necessitates the ownership of a larger equipment of pencils1 but it also provides for uniformly good work more easily accomplished than can be expected when one pencil is made to do duty in drawing the variously sized lines called for in the average carriage and wagon shop4 ,in ,fig4 #a1 accompanying this chapter1 is shown a fine line sword pencil4 ,this draws a hair line when filled properly1 and cannot be made to exceed a fine line and do effective work4 ,fig4 #b is a medium fine line pencil1 and ,fig4 #c represents a pencil with which a fine line or a round line1 or any line varying between these two1 may be drawn4 ,the striper should be provided with at least four different sizes of pencils4 ,to make the sword pencil1 proceed as follows3 ,take the desired portion of hair from a large camel's-hair pencil of selected quality1 and draw to the proper bevel from one side of the flat portion of the hair4 ,then1 taking the hair carefully in the left hand1 with the thumb and forefinger of the right hand work a bit of trimmer's paste into the end that is inserted into the handle4 ,narrow strips of paper1 say #c_/d in4 in width1 and of the full length of the hair1 are cut and spread with a thin glazing of the paste1 and on these prepared strips1 about the center of them1 lay the hair1 keeping it perfectly straight4 ,next1 fold the uncovered portions of the paper over the hair4 ,the day following1 or at any time in the future1 the superfluous hair and paper may be trimmed from the embryo pencil and a handle attached4 ,a straight-grained piece of pine affords a good handle4 ,split in center of handle1 insert the hair in the split1 wrap tightly with stout linen thread1 and the pencil is ready for use4 ,in the making of the sword pencil there is often a superfluity of short hairs1 of which it is desirable to be well rid4 ,to remove them1 take the hair before it is greased1 and with the end that is to be bound with the thread held between the thumb and forefinger of the left hand1 pull the long hairs over to the right1 thus exposing the short and useless hairs and affording an easy removal of them4 ,this process of weeding out the naturally short hair develops the pencil of one length of stock excepting1 of course1 the desired taper of the tool4 ,while many supply houses now furnish sword pencils of all sizes and lengths1 the first-class stripers1 the chevaliers of the art1 prefer to make their own pencils1 and the writer heartily coincides with that preference1 the shop-made pencil usually having a poise and balance not possessed by the store-purchased article4 ,to those of my readers who accept the dictum that there is no royal road to the art of striping2 that the severe schooling in the busy arena of every-day practice is the culture that graduates the talented striper1 ,i would say1 learn to make your pencils4 ,your first attempt1 or your second1 and perhaps even your third1 may not result successfully1 but patience and a capacity for taking infinite pains will eventually1 if not shortly1 win4 ,it is best to make pencils in lots of #a_/b doz4 ,two or three out of the lot1 even after one becomes tolerably proficient in pencil making1 may prove defective4 ,the method of making the sword pencil1 as above advised1 has the advantage of being easily and quickly acquired1 and is therefore recommended to the learner as a feasible one to adopt4 ,with these sword1 or dagger1 pencils many of the ornamental striping designs which will accompany this and later chapters may be executed1 the extreme point of the pencil being used in describing all curves and fancy circles4 ,illustration3 ,,fig4 #d4 ,,round ,,pencil4 ,for ,stout ,line and ,round ,line4 ,illustration3 ,,fig4 #e4 ,,combination ,,lines ,,and ,,stripes4 ,illustration3 ,,hair ,,line ,illustration3 ,,fine ,,line ,illustration3 ,,stout ,,line ,illustration3 ,,round ,,line ,illustration3 ,,narrow ,,stripe ,illustration3 ,,heavy ,,stripe ,illustration3 ,,broad ,,stripe ,illustration3 ,,double ,,fine ,,line ,illustration3 ,,double ,,stout ,,line ,illustration3 ,,double ,,round ,,line ,illustration3 ,,double ,,round ,,line ,,fine ,,line ,,center ,illustration3 ,,narrow ,,stripe ,,parallel ,,fine ,,lines ,illustration3 ,,full ,,stripe ,illustration3 ,,divided ,,stripe ,illustration3 ,,divided ,,stripe ,,distance ,,fine ,,line ,illustration ,illustration ,to make a round fine line pencil suited to the execution of corner pieces and cut up striping generally1 take a camel's-hair round pencil of large size1 from which extract the desired quantity of hair4 ,then cut a small piece of cedar down to about #a_/h in4 diameter at one end and considerably smaller at the other4 ,in the smaller end insert a pin until it holds firmly4 ,then1 say1 #a_/d in4 from the wood1 clip the pin off4 ,now shave the stick off until it tapers perfectly down to the pin4 ,next take the desired quantity of hair1 and dipping one end of the brush into shellac1 lay aside for a few minutes to permit the shellac to harden4 ,then insert the pin and tapered point of the wood until the clear working length of the pencil measures at least #a-a_/b in4 from point of pin4 ,begin at the lower end of the hair and wind with strong thread up to within #a_/h in4 from point of pin4 ,the pin acts in the capacity of a stiffener to the pencil4 ,illustration ,illustration ,the durability and poise and elasticity of striping and lettering pencils depend very greatly upon the manner of caring for them4 ,the striper should provide himself with a dust-proof metal box in which to store his pencil equipment4 ,see that it is furnished with lock and key4 ,the local tinsmith will1 for a small consideration1 outfit such a box with a tin tray upon which the pencils may be carefully arranged4 ,a striping or lettering pencil should be immediately washed out in turps upon the conclusion of the work in hand4 ,care may well be invoked in washing1 to the end that all pigment accumulations are removed from the heel of the pencil4 ,wipe the pencil dry in soft cotton or flannel cloths and then grease thoroughly1 pressing the grease carefully into the heel of the tool4 ,a good grease for preserving pencils in winter is pure lard2 in summer1 lard and mutton tallow1 equal parts4 ,the writer personally vouches for the excellence of a mixture composed of mutton tallow1 #c parts2 sweet oil1 #a part4 ,this serves as a good all-round pencil grease1 suited to all extremes of temperature1 and one the painter will find useful in keeping his pencils in good order4 ,,mixing ,,striping ,,colors4 ,this comprises a difficult and skilled feature of the art of striping4 ,colors which are worked and controlled easily and dry reliably1 are important aids to good striping4 ,therefore1 in order to insure speed1 shapely lines1 and satisfactory color effects1 the striper will find it greatly to his advantage to closely and intelligently study the composition of pigments4 ,some colors have the defect of being short4 ,in other words1 they do not naturally work freely from the point of the pencil1 blotching and flowing out in patches4 ,it is not within the province of the painter to cure this ailment1 but it is possible for him to remedy it somewhat4 ,and how8 ,by abstaining from the use of oil altogether1 and depending solely upon a mixture of japan1 varnish1 and turpentine1 the proportions of these liquids being governed by the liquids in which the colors were ground4 ,oil colors in carriage painting are restricted to a narrow margin of use4 ,this specially applies to colors employed in striping1 as1 save in purely lead colors1 the oil has a bad habit of working to the surface of the pigment4 ,when1 to meet a certain requirement or emergency1 it is found necessary to use oil in the striping color1 it is advisable to also add a few drops of quick rubbing varnish as a means of holding the oil in place4 ,white1 black1 and some of the yellows are usually found under the head of short colors4 ,flake and cremnitz white are invariably designated as short colors4 ,if such colors are to be used for fine lining1 mix with a little rubbing varnish and tint the white slightly with drop black4 ,this furnishes a fairly free working white which shows no laps4 ,illustration ,black may best be described as a riotous1 wild-running color1 strongly in need of a sturdy steadying liquid4 ,in thinning black to a working consistency1 add1 say #a_/d rubbing varnish4 ,balanced with this proportion of rubbing varnish1 a finely-ground tube black usually works handsomely4 ,the writer would advise mixing all striping colors to the right consistency in the cups1 instead of using them on the palette in a thick paste and thinning down under the pencil as fast as used4 ,colors furnished with the right ingredients1 properly proportioned1 the whole being thoroughly united and incorporated1 constitute a fine working basis for effective striping4 ,illustration ,,names ,,of ,,stripes4 ,in all the foremost carriage and wagon centres the various styles of striping are designated by specific names4 ,this makes it an easy matter to give an order and have it accurately executed without confusion or unnecessary delay4 ,appended will be found the principal lines and stripes generally employed1 the medium lines and stripes only being omitted4 ,as1 for instance medium fine line1 medium heavy round line1 and medium stripe2 these being deemed irrelevant to the illustration in hand4 ,the first1 or hair1 line is the finest line used1 the fine line coming next1 the line thus gradually increasing in size until it reaches the broad stripe4 ,what is known as the medium fine line is simply the fine line broadened to the extent of about #a_/c increase in size4 ,the medium heavy round line is the round line with the width of hair line added to it1 while the medium stripe is the narrow stripe increased by the addition of a fine line width4 ,a pencil tracing exceeding #a_/h in4 is termed a stripe2 less than #a_/h in41 a line4 ,illustration ,as herewith shown the simple lines and stripes are seven in number1 and the combination lines and stripes are presented in eight examples4 ,in the cut of the divided stripe1 distance fine line1 the distance line is drawn nearer to the stripe than it is customary to allow4 ,while there is no arbitrary rule to govern the spacing of the distance line from the stripe1 it is usually drawn not less than #a_/d in4 from center line or stripe4 ,oftentimes1 too1 it is placed at a distance of scant #a_/h in41 as here shown4 ,illustration ,the accompanying striping designs adapted to traps1 drags1 stanhopes1 concords1 and pleasure vehicles generally 7used also on business vehicles7 consist of corner and center pieces4 ,their representation may suggest extensions or changes1 through the medium of which a wide variety of designs may be evolved4 ,to specify the colors in which each design is best illuminated would exceed the limits accorded this chapter4 ,the color of the panel determines the color of the design1 or should4 ,a pleasing contrast to the body color should be sought1 and in this achievement the workman's taste and art sense must be exercised in lieu of printed directions4 ,illustration3 ,,corner ,,designs4 ,the panel designs1 if placed on any dark surface1 may be placed in white and trimmed in green1 blue1 vermilion1 etc42 or they may be placed in carmine and tricked out in any of the many neatly contrasting colors4 ,the finest carmine effects are obtained by glazing orange or chrome yellow with carmine4 ,against the fashionable blue surfaces many of these designs present fetching effects if drawn in gold1 white1 or king's yellow4 ,against yellow grounds they may be effectively shown in two or three shades of red4 ,these suggestions apply also1 in the main1 to the corner pieces4 ,the three last designs on page #ahd may be laid in gold1 shaded with asphaltum1 high lighted with light yellow4 ,the fine lines can be done in any harmonizing color4 ,some of the small solid parts of these designs can be glazed with carmine and verdigris4 ,some of the designs may be executed in orange1 glazed with carmine and high lighted with chrome yellow4 ,or the broad portions may be done in some solid color and the fine lines in a slightly different shade of the same color4 ,on blue panels the simple fine line pieces may be done with lining bronze glazed with ultramarine blue2 or on green panels use chrome yellow and glaze with carmine4 ,illustration ,in fact1 there is an infinite variety of colors to be used in the development of the designs here presented1 and the still other designs which it is hoped they may suggest1 the controlling factor in the selection of colors being simply and at all times the color of the surface upon which the design is to be used4 ,in connection with this must exist the law of harmony and contrast1 without which any selected color scheme will prove ineffective4 ,illustration ,,chapter ,,ix4 ,,scrolling3 ,,relief ,,and ,,flat ,,scrolls--,,how ,,to ,,learn ,,scrolling--,,scrolls ,,done ,,in ,,gold1 ,,aluminum1 ,,and ,,in ,,colors--,,examples ,,of ,,relief ,,and ,,flat ,,scrolls4 ,scroll painting is a feature of the trade deserving of more than a passing notice2 and while it has been permitted to languish in a state of disuse for a decade or more1 as compared to its former popularity1 there are evidences abroad which point directly to the generous employment of the art of scrolling in wagon painting ere long4 ,perhaps we shall never again observe the return of the fine old ,roman scroll1 bold and imperial1 once so common1 but a modification of this noblest ,roman of them all1 or1 rather1 a combination of this form of scroll and some other forms requiring less space for attractive display1 may be expected4 ,indeed1 the modification is already domiciled in the esteem of business vehicle users1 being commonly known under the title of composite scroll4 ,illustration3 ,,scroller',s ,,line ,,of ,,beauty4 ,the full ,roman scroll1 defined as an imitation of carved work in relief1 which ,raphael and other great masters have so magnificently executed1 is of large and shapely proportions1 and with its fine sweeps1 graceful curves1 beautiful examples of leafing1 and endless variety of twists and turns1 cannot be confined to a restricted space4 ,it is pre-eminently a scroll of stately style1 and amid dwarfish surroundings or when reduced to less than its natural size1 its identity is lost and its character as one of the earliest forms of ornamentation1 completely destroyed4 ,hence the modification above referred to4 ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,in learning the art of scrolling1 as in learning the art of striping1 it is distinctly fortunate to remember that there is no royal road--no mystic method by which one can master the art under the soothing influence of a mid-summer night's dream4 ,the acquirement of the art1 as the past masters of the school of ornamental painting understood and practiced it1 is the result of patient1 arduous practice4 ,for this purpose1 a good-sized blackboard is in every way the most desirable surface upon which to work4 ,the beginner should under no circumstances confine his efforts to learn scrolling to a pad of paper and a lead pencil4 ,as an eminent instructor of the art once declared3 ,work with a lead pencil on a #bd paper1 and the chances are that your scrolls will be of the #bd order4 ,working upon the blackboard with a chalk crayon gives the learner a freedom of reach and a valiant command of the pencil attained in no other way4 ,the easy1 free-hand work1 although it may be lacking in certain highly desirable features of gracefulness1 compels the favorable attention of the critic to an extent of which the copy plate design1 mathematically precise in general execution1 may fall lamentably short4 ,there is a sort of an indefinable naturalness about the original1 free-hand scroll quite foreign to the ornament drawn to rule and square measurements4 ,it possesses a quality that elicits admiration1 just as madam's tea gown1 ,that floats away where it properly may1 ,and clings where it ought to cling1 is looked upon as a dainty creation1 wondrous fair to see4 ,illustration3 ,,fig4 #d4 ,the blackboard and chalk crayon exercise is valuable in imparting to the learner a natural and unstudied twist of the wrist1 together with a whole arm movement that most assuredly must be at the command of the scroll workman4 ,only by such exercise can the quick1 artistic hand be acquired along with an eye trained to correct proportions4 ,illustration3 ,,fig4 #e4 ,hogarth's line of beauty can be more expeditiously mastered under the stimulus of blackboard practice than is possible through the aid of most other mediums4 ,make the figures big and reaching1 in sweeps backward and forward1 up1 down1 and in a variety of outlines4 ,this practice will be hard and irksome at first1 and1 unless one is naturally gifted in this particular line of work1 the results accomplished may appear crude and awkward even after weeks of patiently applied toil4 ,but in the realms of art few things to speak in the noble lingo of the ,bowery1 are dead easy4 ,therefore1 blackboard work should be studiously adhered to1 the work of eminent exponents of ornamental painting studied1 as the mariner studies the ocean chart1 and advantage taken of all the other aids promotive of a rare degree of skill4 ,the scroll painter able to discard pounce pattern and tape line measurements is licensed to impart a charm and novelty1 a grace and variety1 to his work1 not effected otherwise4 ,the spiral may be termed the basis of scroll work4 ,intersecting the spiral are the leaves and stems1 which1 shaded1 lighted1 and high-lighted1 give form and color to the relief scroll4 ,illustration3 ,,figs4 #f ,,and #g4 ,illustration3 ,,fig4 #h4 ,the learner1 having become sufficiently proficient to outline fairly good scrolls with the crayon1 should procure some large sheets of paper--manilla paper will do--and paint them in some dark color and then proceed to draw the scrolls with the pencil4 ,illustration3 ,,fig4 #i4 ,in the matter of pencils1 different kinds and sizes will be needed4 ,for laying on the scroll1 a black sable hair pencil1 the hair set in metal1 running in size from ,no4 #d to ,no4 #h1 according to the size of the scroll1 and #a-a_/b inches long1 is an effective and pleasingly durable tool4 ,for shading purposes a shorter and softer hair pencil is best2 say a camel's-hair pencil #c_/d inch in length4 ,however1 a variety of pencils1 both sable and camel's-hair1 and of the various sizes1 will be found essential in doing the large and small ornaments which the accompanying examples may suggest4 ,necessary adjuncts to the pencil equipment are1 the palette1 palette cups1 and mahl-stick4 ,an oval palette1 made thin and smooth1 of mahogany1 walnut1 or even ash1 polished nicely on a shellac base1 has for long been popular1 and in point of excellence remains unexcelled4 ,make the mahl-stick of cedar preferably2 work it out round and smooth and tip it with a small ball of cotton enclosed in a patch of chamois skin4 ,taking the accompanying illustrated section of a ,roman scroll 7see ,fig4 #a7 as a working draft1 begin by allowing the point of the pencil to touch the surface and then with a confident1 easy sweep twist the pencil around so as to form1 say1 the first spiral or volute4 ,next do the stems and offshoots attached to this volute4 ,practice to do each spiral1 and the stems putting out therefrom1 with a single1 and at most two1 strokes of the pencil4 ,the first principle of fine scrolling consists in getting easy1 graceful sweeps1 suggestive1 perhaps1 ,i may be allowed to say1 of the poetry of pencil motion4 ,the tracery of a stilted1 cramped pencil sweep is fatal to the balance and grace of a scroll4 ,in practice the student will probably choose gold bronze as the most desirable substitute for gold leaf in working out his gold-finished scroll4 ,the figure1 without its shading1 affords a flat scroll of fantastic contour1 as a draft of ,fig4 #a1 devoid of the shades1 will quickly prove4 ,illustration3 ,,fig4 #aj4 ,illustration ,the shading of the scroll must be done in the same free1 off-hand style that must necessarily mark the evolution of the general figure of the ornament4 ,if1 as above intimated1 the scroll is done in imitation of or in the real gold leaf1 the shading is best done with asphaltum1 this pigment offering the only true shadow1 authorities contend1 of gold4 ,mix the asphaltum with good coach japan and turpentine1 half and half4 ,reference to ,fig4 #a1 and to the other accompanying illustrations1 will indicate more accurately than printed directions the parts of a scroll requiring shades4 ,the inadequacy of written instructions teaching the particular portions of the ornament to be high-lighted must be apparent to the reader4 ,broadly speaking1 where the strongest light strikes there high lights should be4 ,for a really practical insight of this phase of the work the student should study examples of finished scrolls done in the highest style of the art4 ,the gold scroll shaded with asphaltum invites high-lighting with white or cream color4 ,illustration ,in the execution of relief scrolls it is needful to observe3 #a4--;,all ornaments must have a reason--a useful thing done in a graceful way4 #b4--;,every line should be boldly1 clearly1 and elegantly drawn4 #c4--;,harmony of design1 balance of proportions1 sympathetic formation of the various parts1 demand vigilant maintenance4 #d4--,originality of design1 with every part having an intimate relationship1 an indivisible connection with every other part1 is indispensable4 ,in the execution of a relief scroll1 or any style of scroll for that matter1 it is a factor of the first importance that the surface be smooth and thoroughly dry4 ,illustration ,a great deal of business vehicle scrolling is necessarily done upon the color-and-varnish coat or upon clear rubbing varnish4 ,to prevent the gold leaf 7in case gold is used7 from adhering to the varnish coat1 various expedients have been resorted to1 among which the whiting pounce figures as the most effective and the easiest applied4 ,other recipes include rubbing the surface with a thin solution of starch and water1 or glazing it with the white of an egg1 or washing it with whiting and water1 or applying a thin film of potato starch upon it4 ,good gilding size is very essential in the art of scrolling4 ,the light and easy whirls of the pencil cannot be done with a size unsuited for the purpose4 ,moreover1 shop requirements have to be met1 and they may impose a limit of two hours in which the size must dry today1 and tomorrow that limit may be extended to four hours or even longer1 and perhaps--although in these days of ocean racers and ,black ,diamond flyers this may be a remote possibility--the size will be expected to hold over night1 after its application1 before being gilded4 ,illustration ,illustration ,quick size4--,gold size japan1 #e parts2 fat oil1 #a part4 ,with a dash of japan ground chrome yellow1 this size will dry to safely leaf over in #a_/b hour4 ,medium quick size4--,gold size japan1 #d parts2 fat oil1 #b parts4 ,four-hour size4--,gold size japan and fat oil1 in proportions of #b_/c japan to #a_/c oil4 ,over-night size4--,fat oil with a few drops of gold size japan added4 ,the slow drying size works better and affords a more satisfactory job of gilding than does the quicker mixture1 the gold invariably taking a fine burnish over the slow1 fat oil size4 ,the best obtainable fat oil is made by confining boiled linseed oil in a bottle and exposing for a long time to the sun4 ,to paint relief scrolls in colors is1 in some respects1 more difficult than doing them in gold or aluminum leaf1 and while the radiant combinations of pigments furnish striking effects1 there is lacking in the painted scroll a richness1 an elegance1 an aristocratic display1 that constitute distinctive attributes of the gilded scroll4 ,the color of the surface upon which the scroll is to be painted should1 of course1 govern the color in which the scroll is to be laid4 ,for example3 ,if the ground be a light canary color1 first fill the outlines of the scroll with a pale shade of brown4 ,then deepen the brown fully three shades1 and begin the shading of the scroll1 blending the deeper color into the lighter so that a gradual melting away from dark to light is the result4 ,next deepen the brown a shade or two and place the darkest shades1 blending them carefully into the lighter ones1 but taking care not to extend the blending into the parts previously blended4 ,next take a little black and run a rather fine line of the color as a shadow to the scroll1 the shadow usually being placed to the right of the scroll and at the bottom4 ,this shadow line1 to be properly developed1 should increase and diminish as the curves and twists are defined4 ,a thin1 fine glaze of asphaltum is then placed inside the black to shade and modulate it4 ,some lights of medium chrome yellow are next thrown in1 and the high lights following are but a shade or two removed from white4 ,to lend piquancy and a bit of warmth to the scroll1 a few touches of vermilion1 flicking the spirals here and there but invariably well removed from the lower edge of the pattern1 are added4 ,instructions1 however carefully they may be worded1 are of but comparatively meagre helpfulness to the novice in painting scrolls in colors4 ,correctly colored illustrations of scrolls done by such masters as ,weber1 ,kuenzel and ,redmond1 should be diligently studied4 ,illustration ,the harmony of colors is the controlling factor in the art scheme of a color-wrought scroll4 ,once perfectly familiar with this1 the ambitious student should encounter no insurmountable hindrances to success as a scroll worker in colors4 ,referring to the relief scrolls which illustrate the text of this chapter1 we would call attention to ,fig4 #a4 ,if this be executed in gold it may1 as previously suggested1 be shaded with asphaltum1 or asphaltum and yellow lake can be used1 and the high lights done in a light tone of ,naples yellow4 ,perhaps the workman may wish to impart to the deepest shading a look of remoteness4 ,this can be done by giving the dark shades a thin wash of some transparent glazing color1 as1 say1 carmine1 purple1 and crimson lake1 or ultramarine blue of the different shades4 ,in ,fig4 #b we have a panel design composed in small part of the original ,roman scroll and in large part of the more modern style4 ,lay this scroll in gold1 and then apply a coat of clear rubbing varnish over the ornament before shading1 high-lighting1 etc4 ,a scroll of this pattern1 cast in somewhat delicate outlines1 must be very carefully shaded1 and if the shading be done over the rubbing varnish1 the tendency to cloud and blur will be overcome4 ,in shading1 care should be taken to preserve the form and outlines of the design1 and this can best be done by making the shade color decidedly semi-transparent4 ,to high-light this scroll1 cream1 orange1 canary chrome1 or pure white may be used to advantage4 ,an ornament of this style looks very catchy and handsome done in aluminum leaf4 ,it is strikingly neat on almost any dark ground1 with the single exception1 perhaps1 of black2 and it is especially pleasing against the numerous yellows so popular nowadays4 ,used on the pale yellow grounds1 however1 it is seen to the best advantage with portions of the design glazed with a wash of verdigris1 ultramarine blue1 or carmine4 ,the fine line is then done in orange or ,tuscan red4 ,fig4 #c is a rather showy design1 of easy form1 having for a small space none of the heavy appearance of the ,roman scroll4 ,this scroll is intended for the panel of a business wagon4 ,if done in gold1 the directions for its execution have already been advanced4 ,the broad line striping environing the scroll gives an admirable effect if done in aluminum4 ,the distance fine line can be drawn in the high-lighting color used on the scroll1 or it affords an illuminating effect done in orange and glazed with carmine4 ,the size of the panel should govern the size of the broad stripe here shown4 ,it may run from #c_/h inch to #e_/h inch4 ,fig4 #d illustrates a corner ornament for a large business vehicle or omnibus panel4 ,it can be laid in gold and shaded and lighted as per directions above4 ,if upon a deep yellow1 orange1 or buff ground1 it can be done to the charm of a rich effect by casting it in aluminum1 shading with gold1 and picking out with dainty flicks of black4 ,fig4 #e looks effective on the ends of small panels4 ,on yellow or creamy grounds the fine lines may be drawn in orange glazed with carmine1 and the ornaments in aluminum4 ,shade with burnt umber and burnt sienna1 and the shade side of the shading splash lightly with deep blue and the high-light borders with light blue4 ,on dark grounds the fine lines may be done in orange1 carmine1 blue1 aluminum1 etc41 and the relief ornaments in gold4 ,figs4 #f and #g1 ornaments for panel ends1 and #h and #i1 corner ornaments1 all light up a surface radiantly placed in gold or aluminum1 or they render a pleasing effect done in colors4 ,ornaments of the order of ,figs4 #g1 #h1 and #i display a dashing appearance done in three or four shades of green against pure white1 gold color1 light sulphur yellow1 ,naples yellow1 or canary yellow grounds1 black shadings being used to touch off the correct effect4 ,such ornaments1 to be sure1 when painted in colors should properly be made to respond closely to the laws of harmony and contrast4 ,too glaring colors or tints used upon goodly sized surfaces are violently detrimental to artistic decorative effects4 ,fig4 #aj is chiefly of the flat ornament style1 the center shell only being thrown in relief4 ,this corner piece is done in gold with the shell shaded and lighted1 or1 as is frequently the case1 the shell may be done in aluminum1 and washed out with the proper relief colors4 ,illustration ,,flat ,,scrolls4 ,the flat scroll is distinguished from the relief scroll in that it is lacking in all forms of relief ornamentation4 ,the flat scroll is vastly more simple in its working out2 hence many workmen essay the flat scroll who under no circumstances would attempt to execute a relief design4 ,the flat scroll is almost invariably first placed upon the surface through the medium of the pounce pattern1 and it is then filled in4 ,the design of the flat scroll once laid out on paper1 the painter used to manipulating a lettering or striping pencil can readily fill in the outlines4 ,the designing of the flat scroll can best be done upon manilla paper1 the tracings being executed with a lead pencil4 ,then lay the paper over a double thickness of1 say1 railway car plush and pick out the lines with a small awl4 ,on wagon work the flat scroll put on by means of stencils is not often seen4 ,in the railway car paint shop the flat scroll is usually stenciled on4 ,some decidedly captivating examples of flat scroll work are to be observed upon many business vehicles in the larger towns and cities4 ,many of these scrolls are laid in plain gold or aluminum1 in a variety of colors1 as well as in colors and gold1 and very often aluminum4 ,frequently the heaviest parts1 leaves1 etc41 are edged with some richly adorning color1 and quite as often the veining of the leaves is traced into prominence4 ,the accompanying eight illustrations of flat scrolls1 corner1 end1 and center panel patterns1 will1 it is hoped1 afford at least a helpful working idea of the possibilities of the flat scroll style of vehicle ornamentation4 ,,chapter ,x4 ,,lettering3 ,,wagon ,,lettering ,,as ,,distinguished ,,from ,,sign ,,writing--,,points ,,on ,,learning ,,the ,,art--,,laying ,,out1 ,,spacing1 ,,outlining--,,shading--,,punctuation--, ,alphabets3 ,,roman--,,modified ,,block--,,ornamental--,,grecian4 ,,designs ,,for ,,business ,,wagon ,,panels1 ,,etc4 ,of late years the art of sign writing1 or1 in the speech of the shop1 lettering1 has come to be so generally regarded as particularly distinct and apart from the other branches of painting1 having a literature rich and diversified in its resources1 that1 at first thought1 it would seem perfectly feasible and proper to omit from these chapters any attempt to deal with the subject4 ,nevertheless1 upon further consideration the writer has preferred to accept the art1 for the present at least1 as an indivisible part of the carriage and wagon painter's shop practice2 and while a thorough exposition of modern sign writing would necessarily trespass immoderately upon the space allotted to the numerous and vitally essential phases of carriage and wagon painting1 and cannot1 therefore1 be entered into1 to ignore the branch altogether might fairly be branded as too palpable an oversight to merit excuse4 ,happily1 however1 the art of sign writing has been so extensively treated upon in numerous books devoted specially to the subject1 and in hundreds of exhaustive magazine articles1 that it becomes necessary in this chapter to touch only upon the salient features of the work as they directly concern and apply to the interests of the carriage and wagon painter4 ,illustration3 ,,roman ,,alphabet4 ,not later than fifteen years ago the standard styles of the wagon letterer consisted of about five alphabets4 ,the modern sign writer and letterer1 encouraged and directed by the forces of recent business development1 has to a large extent demolished this standard1 substituting therefor what is generally accepted as up-to-date sign writing--a style that readily admits of the employment of whatever form or style of letter will best and most vividly advertise the business it is intended to herald4 ,complaints have been sounded in widely read publications to the effect that it was at one time the wagon letterer's good fortune to possess an occupation and a name above that of the sign writer4 ,his work1 we are told1 could be quickly distinguished from the ordinary letterer or sign painter by its boldness and the care given to details4 ,these days have gone by1 and we find the well-known and approved style of the wagon letterer prostituted to the idiosyncrasies of house and sign painters4 ,illustration3 ,,roman ,,numerals4 ,such complaints1 we are free to say1 are in the main exaggerated4 ,the wagon letterer has not been1 nor is he in any present danger of being1 ,othello-like1 without an occupation4 ,moreover1 despite the adoption by the wagon letterers of those styles which most completely respond to the dictates of modern business1 there still remain certain marked characteristics of the vehicle letterer's work which distinguish it from the efforts of the most finished sign writer4 ,not that the work of the wagon letterer differs conspicuously from that of the expert general sign writer--the field of up-to-date sign work having merged the two branches into close relationship--but the difference is manifest1 as before said1 in characteristics most plainly unmistakable4 ,naturally1 this variation should occur4 ,a sign that would appear legible and clean cut upon a building might1 if transferred to the panel of a more or less rapidly moving vehicle1 prove unreadable and hopelessly indistinct4 ,a sign attached to a building or other stationary object admits of study from the various points of the compass1 from near by or afar off4 ,it is not a fleeting show as in case of the vehicle sign1 subject to laws of propulsion which vary to meet existing business exigencies4 ,illustration3 ,,modified ,,block ,,alphabet4 ,perspective effects1 heights1 widths1 thickness of lines1 etc41 because of the usually generous sweep of space at command1 as secured by the sign writer1 do not come within the scope of the wagon letterer's activity1 save in rare instances4 ,ordinarily wagon spaces to be lettered are of dwarfed dimensions and quite commonly cast in irregular outlines4 ,in wagon lettering1 whenever possible1 the extended letter frequently has the preference4 ,an able and widely observant critic says it might almost be said that the customary speed of a vehicle can be measured by the degree of elongation which the letterer gives to his work1 the lightning express car representing the ultimatum in one direction1 while the mammoth furniture van1 with its high art panels1 is characteristic of the other4 ,the chief distinguishing feature of wagon lettering1 as contrasted with the average results of sign writing1 is found in the wider variety of elegant color effects to be remarked of the first named4 ,the wagon letterer essays glazing with many of the beautiful transparent pigments1 and in this wise brings forth charming combinations in color seldom attempted by the sign writer4 ,the wagon letterer's work is done1 as a rule1 with quick drying colors or size1 and almost invariably is varnished over4 ,surface smoothness is therefore with him a matter of the first importance4 ,the art of the wagon letterer is composed of many difficulties1 each of which must be surmounted ere the learner can hope to stand among the select few and quaff the foam from the beaker of success4 ,however1 let me say that a thorough mastery of the art is worth all the toil1 patient study1 diligent practice1 and applied energy the aspirant may choose to expend4 ,to achieve proficiency in this branch of painting1 it is advisable to practice outlining letters with a chalk crayon1 or1 preferably1 pipe clay on a goodly sized blackboard4 ,all lines1 straight or curved1 should be drawn in free hand1 and the practice ought1 properly1 to be regularly continued until the workman acquires a reliable degree of precision4 ,ease1 freedom1 and a masterly command of the hand1 coupled with a fairly unerring accuracy of the eye1 are justly indispensable accomplishments in sign writing or wagon lettering4 ,absence of mechanical aids will render free hand and eye work more assured4 ,many admittedly first-class sign writers practice marking out with rule1 compass1 and line every letter which they produce1 insisting upon mechanical accuracy in laying out as the only correct means of developing style4 ,such workmen1 unfortunately1 were probably indifferent1 in apprenticeship days1 to the advantages to be derived from free hand drawing1 and being strangers to them they find themselves greatly handicapped thereby4 ,illustration3 ,,modified ,,block ,,numerals4 ,the free-hand and rule-rivalling-eye mechanic goes to his space to be lettered and after a swift1 accurate study of the limitations and contour of that space1 as a basis for the letter construction1 including style1 height1 thickness1 etc41 he snaps the necessary top and bottom lines and proceeds to rapidly1 but lightly1 sketch out his letters4 ,fairly marvelous examples of this manner of mechanics are to be encountered in sign and wagon establishments4 ,such men are rarely ever in search of a job4 ,the job is mostly in sharp search of them4 ,such skill and facility in execution of lay outs is not gained in a day4 ,an eminent vehicle letterer once told the writer that he was glad to have acquired the 'knack' of accurate free hand and eye work after years of practice4 ,at present there are boundless fields of originality awaiting the sign writer and vehicle letterer4 ,imitation of the styles of expert letterers may with the beginner lead up to nobler examples of the art--for has not the sage whispered that genius knows only the right of conquest8--but to the apprentice1 fired with the sacred spark of ambition1 copying will not long suffice4 ,the acknowledged best examples of sign writing and wagon lettering should serve as the beginner's model1 rather than the work of any single practitioner of the art4 ,the fact that the work of every letterer has a certain1 positive individuality of style furnishes the best possible reason why the learner should strive to avoid copying continuously the various alphabets of any individual expert to the exclusion of all others4 ,,laying ,,out1 ,,spacing1 ,,outlining1 ,,and ,,balancing of a job of wagon lettering are factors of chief concern4 ,the artistic and really beautiful example of lettering is brought forth only when praiseworthy skill is exercised in executing the operations named4 ,individuality of workmanship is based upon the style of laying out4 ,a workman practiced in handling a lettering or striping pencil can very soon master the difficulties of painting a letter after it is outlined4 ,the job accurately and artistically laid out1 even if lettered in a manner not strictly up to the standard1 will far more effectively fulfill its mission as a work of art than will the one properly penciled but improperly designed4 ,the key1 then1 to fine wagon lettering may be embraced in the work of laying out4 ,to present rules by which the workman may at all times and closely abide in preparing a contemplated design for letter painting would be impracticable because the laying out1 with its attendant features1 must conform to the size1 form1 and general condition of the surface4 ,in laying out1 the best exponents of the art are agreed that it is advisable to employ as few lines as possible4 ,the fewer lines1 the more grace1 freedom1 and easy poise of the letters4 ,at the beginning of his career the letterer will probably need the aid of four lines1 two for the top limbs and two for the bottom limbs of the letters4 ,as he gains in skill and experience the two inside lines may be dispensed with4 ,then with the ever present dividers in hand the space so lined out may be touched off until the necessary divisions to accommodate the letters desired in the line are spaced4 ,generally speaking1 all letters1 except ,w1 ,m1 ,j1 and ,i1 have equal spaces1 one square1 for example4 ,m and ,w require a bit more space1 ,i and ,j a bit less4 ,there is to be remarked a considerable variation in the space between letters1 some of the letters being full in form and some open4 ,in the use of ,l1 ,f1 ,j1 ,a1 ,v1 ,w1 ,t1 ,y1 only half the space given to the other letters is allowable1 and in the placing of ,v and ,l less than half is permissible1 one letter being advanced well into the space allowed the other4 ,the letter ,i is in some respects a difficult letter to space correctly4 ,when it chances to be cast between two letters occupying full squares each it will require more than the usual space1 otherwise1 being a needle-like letter1 it will be elbowed out of easy location4 ,illustration3 ,,ornamental ,,alphabet ,,no4 #a4 ,illustration3 ,,ornamental ,,alphabet ,,no4 #b4 ,the vehicle letterer1 daily practicing his art1 will frequently find himself confronted with words or combinations of words to which rules of spacing1 however carefully they may be laid down1 do not apply4 ,in such cases hard and fast rules of spacing cannot be successfully observed4 ,spacing to suit individual requirements must then obtain4 ,here a letter may be moved from its nearest neighbor a little more than its ordinarily allotted space would permit2 there a letter is placed closer to its neighbor than the rules usually allow4 ,the position of several letters may be disturbed in order that the word or words may display a correctly spaced appearance4 ,vehicle letterers invariably devote one-half of a letter space to separate capital letters of names4 ,this spacing furnishes the capitals with plenty of prominence and makes plain and distinct the whole name4 ,usually the half of a letter space is placed between words4 ,this half1 however1 may vary somewhat as the size and general conformation of the surface may indicate4 ,illustration3 ,,grecian ,,alphabet4 ,in outlining letters many of our best vehicle letterers advise using no inside lines1 the extreme outer lines only being employed4 ,this method of outlining precludes the possibility of becoming confused on account of a multiplicity of lines1 the spacing may be more accurately judged1 and enlarged proficiency in free hand work is attained4 ,especially in the first draft of a letter design is the use of the outside lines only to be commended4 ,the balance of a letter or a series of letters is that effect which gives legibility and artistic proportions to the design4 ,a top-heavy appearance is a fatal defect in a letter4 ,to properly balance a letter is to so proportion it that it will immediately give the effect of being able1 if cut out of thick board1 to stand upon its base solid1 secure1 and in no danger of toppling over4 ,for a clearer illustration of the significance of balancing letters1 invert some of the accompanying examples of ,x1 ,s1 ,z1 etc4 ,the base of the letter ,s1 if made the same size as the apex1 would throw the letter sadly out of balance4 ,in spacing and outlining a letter design1 the matter of shading should be considered1 and a needed allowance made therefor if shading is to be done4 ,,shading4 ,many sign writers contend that shading a letter is nothing more or less than making an artificial representation of a raised letter1 and consequently requires a fine light shade upon the top and left side of the letter1 and a dark one upon the bottom and right side4 ,formerly1 vehicle letterers did not admit the propriety of this way of shading1 insisting that the shades should be on the right side and bottom4 ,only in case of sunk-bottom vehicles were the shades cast on the top and right side4 ,it was considered deplorably out of form to throw a shade to the left of the letter4 ,but the swift tide of up-to-date letter work has left its impress upon the style of shading in vogue1 and it is now remarked as admissible to cast the shades at any desired angle and upon any desired side of the letters4 ,nevertheless1 it is the leading custom among vehicle letterers to cast the shading on the right side and at the bottom of the letters4 ,expert exponents of the art aver that indiscriminate shading of letters robs their work of its individuality4 ,illustration ,properly1 the shade of a letter as it is generally understood may be defined as that letter's thickness or depth4 ,however1 that which is strictly and correctly the shade of a letter is the cast shadow and it belongs to the side opposite the thickness of the letter4 ,the cast shadow usually consists of a thin wash or glazing of the ground color1 and excepting its use upon light colored grounds1 it is not extensively employed4 ,the wagon letterer resorts generously to letter shading1 using single1 double1 and treble shades1 as the requirements of his business suggest4 ,in this work1 skill as a colorist of the first order is demanded1 a large amount of shading being executed by the manipulation of glazing colors4 ,in double or treble shading it should be remembered that the darkest shade invariably belongs nearest the letter4 ,moreover1 the letter1 and not the shade1 should display the most prominent color4 ,in respect to letters laid in gold1 silver1 or aluminum1 it is advisable to make the shade touch the leaf4 ,letters done in pigment are frequently given a free shade which consists in permitting a small space of the surface color to separate the letter and the shade4 ,the close shade describes the shade that is allowed to join the letter4 ,a shade looks ungainly and ill proportioned if made wider than the bars of the letter1 excepting1 of course1 the treatment of the bottom shades1 which are often made a little heavier than the perpendicular ones4 ,this heavier bottom shading is based upon the assumption that the sun casts a heavier shade to the bottom in proportion to the angle of light4 ,while the shading is generally cast against the letter at an angle of forty-five degrees1 it is necessarily inclined more nearly to a perpendicular when the bottom of the letter is more heavily shaded than the sides4 ,some alphabets do not admit of shading1 and others require very little1 as compared to still others4 ,a portion of some letters in certain styles of alphabets would present a choked up and inharmonious appearance if tricked out in a shade of uniform weight4 ,thus1 ,b1 ,k1 ,g1 ,n1 ,s have body angles which do not admit of so heavy a shade as perpendicular or bottom letters4 ,in shading it should be a paramount rule to closely study the tone of the ground1 to the end that the most natural shadow be chosen1 one that is in strict harmony with the colors of both the lettering and the groundwork4 ,harmonious and effective color schemes have greatly to do with fine results in the art of wagon lettering4 ,illustration ,gold lettering on black and white grounds may be effectively shaded with almost any color but that of the yellow order4 ,a well-known authority advises the use of the richest and most permanent tones of red1 green1 blue1 and umber shades in shading gold letters placed on colored grounds4 ,reds1 especially the intense and most brilliant reds1 are warm1 advancing colors for shading gold letters4 ,imagine1 if you please1 a more strikingly handsome combination than a gold letter shaded with red cast against a ground of some one of the fashionable greens4 ,or reverse the style1 and put the gold letter upon a ground of carmine glazed over flamingo red1 shading with green4 ,blue1 as a shade1 produces a cool1 distant effect4 ,black letters may be usually shaded with any of the primary or secondary colors4 ,in shading it should be borne in mind that complementary colors cannot always be tastefully combined4 ,as1 for instance1 yellow and orange would not look fetching to any extent when shaded with blue1 although regarded as complementary4 ,the learner should apply himself studiously to the study of happy and harmonious color effects in the matter of shading4 ,,punctuation4 ,a staid old axiom has it that art and education are twin sisters1 but the examples of punctuation as seen in wagon lettering often met with suggest the inference that the vehicle letterer is not slow1 at times1 to offer a startling contradiction to the axiom4 ,the sense of construction and meaning can be quickly and effectually destroyed in a piece of lettering by a bit of bad punctuation4 ,the simple misplacing of a comma1 period1 or apostrophe1--about the only punctuation marks deemed necessary at present to bring out the full meaning and make symmetrical a job of vehicle lettering--often results in disfiguring an otherwise really meritorious piece of work4 ,the late ,mr4 ,geo4 ,w4 ,w4 ,houghton has defined the object of punctuation1 to so divide written or printed sentences that the meaning may be made more visibly clear4 ,illustration ,in vehicle lettering as now practiced the more striking and illuminative words and phrases are set forth in separate lines1 each line1 as a rule1 carrying a different size and a different style of letter4 ,this system of vividly illuminating and emphasizing vehicle lettering has reduced the need of punctuation to the minimum2 but it renders the necessity of a wise and judicious use of punctuation marks none the less imperative4 ,in no way that we are aware of can the information which a line of lettering is intended to convey be so clearly perverted as through the medium of a flagrant error in punctuation4 ,a sweep of lettering done according to the most approved standard of letter form and construction1 but improperly punctuated1 is at best only a distorted and deformed example of workmanship4 ,the advertising pages of the big magazines offer fine advantages for the accumulation of reliable pointers upon the accepted practice of modern newspaper and magazine punctuation4 ,to such sources the reader is invited to go if he would profit by the examples set forth by acknowledged masters of the art of punctuation4 ,,alphabets4 ,the ,roman alphabet is easily the most beautiful and engaging of all the alphabets used by the wagon letterer4 ,it is an alphabet of impressively graceful lines1 curves flowing easy rather than exact1 with nothing about it to suggest a lack of freedom or easy repose4 ,the ,roman letter1 as conceived by the modern school of ,american sign writers and letterers1 is at once the most picturesque and the most difficult to execute of any style known4 ,it is a letter of severe requirements1 enforcing in its proper execution a very facile and skilled manipulation of all the aids at the command of the workman4 ,inferior quality of work cannot be concealed in the ,roman letter4 ,every curve of its noble form must be brought out and fully rounded if the letter is to be what its name implies4 ,accompanying this chapter is a ,roman alphabet1 and while there are a number of styles dignified under the title of ,roman they are all formed on the same general principle4 ,the ,roman alphabet is deservedly held in high esteem by vehicle letterers and sign writers the country over4 ,it is most commonly adapted to the needs of wagon lettering1 especially4 ,it is easily read and can be greatly extended1 if necessary1 without injury to its bold and legible characteristics4 ,the distinctive features of the individual letters contained in the ,roman alphabet are briefly summarized as follows3 ,illustration ,illustration ,a has its cross bar drawn at two-fifths of its height4 ,properly it should be wider than the ,h or ,n4 ,the center bar of ,b belongs above the center of the letter4 ,c is not drawn in a perfect circle4 ,abrupt curves should be avoided and the exact lines of the dividers discarded4 ,d requires care in execution1 its large sweeping curve being a difficult one to control4 ,e goes a bit wider than its height1 with bar above center4 ,f is frequently drawn a trifle narrower than ,e4 ,remarks made concerning ,c apply to ,g4 ,keep cross bar of ,h above the center4 ,its width should be about equal to its height4 ,i is very easy to make and needs no description4 ,j is a little narrower than the other letters4 ,k is entitled to about the same space as ,h4 ,the cut shows where the angles of the letter meet4 ,l and ,m occupy considerably more space than other letters4 ,n requires the same space as ,h4 ,o is a little wider than ,c4 ,the necessity for this increased width will become immediately plain to one who will first make ,c and then undertake to confine ,o in the same circle4 ,the proportion of ,p is shown in the alphabet4 ,q1 along with ,o1 needs easy1 sweeping curves to best display its form4 ,make the appendage clean cut and bold4 ,it has been said that a wagon letterer's standard as an artist is determined by the quality of his ,roman ,r's4 ,be that as it may1 ,r is rightfully regarded as a difficult letter to execute4 ,the cross bar usually goes in at the center of the letter4 ,the tail of the letter constitutes the difficult point to control4 ,s is a handsome letter1 withal a difficult one to execute properly4 ,to ascertain the correctness of one's ,s1 invert the letter as drawn4 ,inverted the letter will be top-heavy but it should not be built on awkward lines4 ,t has the same height as width4 ,it should not be narrowed beyond the proportion here indicated1 as one often observes it in sign work4 ,n and ,v may be passed without comment4 ,w1 practically composed of two ,v's1 is distinguished as the widest letter of the alphabet4 ,x occupies about the usual space and its upper part should be smaller than the nether4 ,y is best known as a wide letter and like the ,t1 has a shape that tends to break the regularity of spacing and leads the workman oftentimes to ruin the appearance of the letter through the process of contraction4 ,z is ordinarily classed as one of the easy letters of the alphabet to make4 ,the modified block alphabet herewith shown is executed by many ,eastern wagon letterers1 and it may be said to be drawn upon pleasing and easy lines4 ,in display lines the modified block presents a glowingly fine appearance1 forcible1 prominent1 and plain enough for him who runs to read4 ,the ornamental alphabets set forth in alphabets ,no4 #a and ,no4 #b require no extended comment4 ,they may be varied somewhat to meet certain needs and necessities4 ,the letters composing ,no4 #b have limbs projecting above and below the regulation lines1 and therein lies the chief beauty4 ,by the kind permission of ,mr4 ,chas4 ,b4 ,sherron1 editor of ,varnish1 the writer is pleased to illustrate a ,grecian alphabet of decidedly unique attractions4 ,wagon letterers have come to regard this alphabet with much favor1 and1 if properly executed1 it gives very striking effects4 ,the embellishments admit of innumerable changes and modifications4 ,in point of fact1 the variations that are possible with this design are only limited by the talent of the workman4 ,the letters may be shaded quite as handily as other styles4 ,done in gold against any dark ground they furnish beautiful and rich effects4 ,accompanying these alphabets are a few designs for business vehicle panels in which examples of present day lettering are reflected from variously ornamented grounds4 ,from a study of them the apprentice may perhaps find a suggestion that will lead him to originate more pretentious examples4 ,there are many unexplored fields of beauty in the domain of ornamental wagon lettering1 bear in mind4 ,,chapter ,,xi4 ,,monograms--,,antiquity ,,of ,,the ,,monogram--,,how ,,to ,,design ,,and ,,paint ,,the ,,monogram--,,tools ,,needed--,,leading ,,colors ,,employed--,,some ,,engaging ,,combinations--,,illustrations1 ,,etc4 ,the designing and painting of monograms is an accomplishment which the carriage painter should zealously strive to acquire4 ,years ago the crest1 coat-of-arms1 and other elaborate forms of ornamentation accompanied the monogram in its mission as a panel decoration4 ,gradually1 in response to the dictates of the vehicle-using public1 and encouraged1 no doubt1 by the stern mandates of competition1 the use of the lavishly wrought style of panel ornament has given way largely to the monogram4 ,despite the apparent tendency toward plain effects in the matter of pleasure vehicle ornamentation the fact remains unassailed that a well executed monogram cast upon the panels of a vehicle imparts a color effect1 and breaks the monotony of a finish1 to a very satisfying extent4 ,as my lamented friend ,manchester was wont to say3 ,that little patch of color warms up the entire job1 relieving that sense of sameness that one feels when contemplating a carriage4 ,no matter how nicely it is finished1 there seems to be something lacking if the ornament is omitted4 ,that little color spot is like an oasis in a desert--a resting place1 as it were1 for the eye4 ,most certain it is that the dull uniformity1 the eye offending lack of variety1 in the painting of a carriage panel is often relieved by the simple addition of a monogram4 ,the monogram is not of recent origin4 ,away back in those alluring days of ,greek heroes and ,egyptian divinities the monogram existed4 ,indeed1 early in the fourth century1 as ancient history informs us1 monograms were used to identify the pomp of power4 ,in ,france the monogram was early employed in the capacity of a signature and inscribed upon seals and coins4 ,in point of fact1 the use and purpose of the monogram was clearly established when the world was yet young4 ,illustration ,the word monogram is said to be derived from two modest little ,greek words1 monos1 alone1 only1 and gramma1 letter4 ,authorities differ considerably in defining the word monogram4 ,a modern authority refers to it in this wise3 ,in the true monogram two of its letters1 or all1 for that matter1 should have some portion in common4 ,again it is said to consist of characters or ciphers composed of two or more letters interwoven1 being an abbreviation of a name4 ,still another authority contends that the monogram is a device formed by the assemblage of two or more letters so as to form a single character4 ,probably the three definitions here quoted determine the limits and significance of the monogram as we wish to know it today4 ,if the monogram is formed of but two letters it is denominated a simple monogram4 ,composed of all the letters of a name it is classified as a complete monogram4 ,it is not the writer's purpose to inveigh against the elaborate and complicated monogram1 which1 in some respects1 at least1 partakes freely of the mystifying characteristics of an oriental newspaper advertisement1 but he does wish to emphasize the value of a monogram devoted to the use of vehicular adornment made sufficiently plain and simple to be easily read by one not used to deciphering hieroglyphics4 ,handsome is that handsome does1 runs the quaint old axiom1 and1 generally speaking1 the clean cut1 unencumbered1 legible monogram1 serves its office as a handsome ornament when it offers to the observer a tale soon told4 ,illustration ,illustration ,the designing and painting of monograms constitutes an art mastered1 save in exceptional instances1 only after long continued study and practice4 ,some of our best monogram makers do not ascribe their success to talent1 but1 rather1 to hard work and practice4 ,works on monograms furnish plenty of examples of the different styles 7which consist1 principally1 of the ,florentine1 script1 and block17 for the guidance of the beginner4 ,with such examples before him the work of making monograms may be begun4 ,mr4 ,w4 ,a4 ,thompson1 probably one of the most skillful monogram designers in the country1 advises the student to begin practice with a slate and pencil for a time at least1 as the lines can be more readily erased than from paper4 ,as some proficiency is gained the slate may be discarded in favor of the writing pad1 pencil and eraser4 ,the compass and dividers are not advised as aids to be constantly relied upon4 ,the general practice should be to let these aids severely alone4 ,free-hand drawing produces1 as a rule1 the most symmetrical and graceful monogram4 ,study of proportion and balance should early engage the thought of the learner4 ,curves on one side of a monogram1 for instance1 should be followed when possible by similar ones on the opposite side4 ,also1 as a rule1 the base should be a little sturdier than the apex4 ,it would prove futile to attempt to append any set of rules to govern the designing of a monogram4 ,the principle that would obtain in the laying out of one design would probably fail of being a principle at all in the drawing of the second one4 ,this by virtue of the law of variation which rules in this as in all other arts4 ,the letter delected from its true course1 7its standing alone not being here considered17 either one way or the other1 should1 as a matter of balance1 be matched by a letter swung in an opposite direction4 ,if it were possible at all times to use only those letters which admit of an exquisite arrangement1 the problem of balance and proportion would invite an easy solution4 ,but such1 unfortunately1 is not the case4 ,hence1 the charm and beauty of the monogram must necessarily be governed at times by the individual letters of which it is composed instead of by their arrangement en masse4 ,the perfectly symmetrical monogram is not always possible under the masterful touch of the most dashing originator of monogram architecture4 ,illustration3 ,o4 ,d4 ,t4 ,illustration3 ,w4 ,h4 ,d4 ,illustration3 ,m4 ,w4 ,,co4 ,in designing a monogram for a carriage the size and formation of the panel upon which the ornament is intended to be used must be reckoned with4 ,any other details of general construction1 as applied to the vehicle1 require consideration in order that the design may have an especial adaptation to its surroundings4 ,the style of the design ought1 properly1 to be in strict harmony with the style of the vehicle1 just as in color the design should harmonize with the colors employed in painting the carriage4 ,in preparing the design for a surface two methods are given for the transference of the design from the paper to the surface4 ,the design being drawn on the paper1 and all interlacings clearly denoted by extra emphasized black lines1 chalk or whiting is rubbed on the back of the paper1 after which it is placed upon the panel and held carefully in position while the lines of the design are gone over with a hard pencil4 ,by the second method the design1 after being drawn1 is perforated along its lines with a needle4 ,it is then laid upon the panel and with a pounce of whiting1 in case of a dark ground1 and charcoal1 in case of a light one1 the small dots outlining the design are left upon the surface4 ,illustration3 ,l4 ,j4 ,f4 ,illustration3 ,m4 ,c4 ,h4 ,illustration3 ,c4 ,h4 ,b4 ,occasionally the workman will wish to paint the monogram upon paper in such a way that it can be used as a transfer ornament4 ,this plan is recommended when monograms are called for upon vehicles so constantly used that they cannot be taken from service long enough to admit of painting the monograms in the usual way4 ,take first grade lithograph paper and upon one side apply successive coatings of mucilage until a firm gloss is established4 ,then outline and paint the monogram upon the gloss side of the paper1 using colors and effects that would be appropriate if the painting were being executed upon the panel direct4 ,the unused portion of the paper is now cut off and moistened and the monogram1 face down1 is pressed solidly upon it and maintained in that position until dry4 ,the monogram is now1 both back and face1 perfectly sealed between the mucilage clad paper4 ,the paper at the back of the ornament is next dampened little by little until it is sufficiently saturated to permit being lifted easily4 ,this process completes and finishes the shop prepared transfer monogram1 and if deftly prepared it should render satisfactory results4 ,to perform good work in painting monograms due attention must be given the tools4 ,these should consist of mahl stick1 palette1 palette cups1 a small palette knife1 pounce bags1 small bottles containing japan1 turpentine1 etc41 and a complete assortment of pencils4 ,the pencils should be red sable hair1 set in metal1 and outfitted with cedar handles4 ,the hair had best not exceed #a_/d inch in length1 and in size the pencils may run from knitting-needle bulk to what pencil makers call ,no4 #b4 ,as a rule1 a pencil somewhat smaller than the ,no4 #a pencil of commerce will be needed4 ,in the way of pigments the workman should provide himself with an array of the best tube colors4 ,a finely prepared color is a great aid to the workman--an aid1 let me say1 too rarely appreciated4 ,the most popular monogram colors are various shades of greens1 and reds having close relationship to vermilion and carmine4 ,in addition1 such pigments as silver or flake white1 drop black1 ultramarine blue1 verdigris1 burnt umber1 burnt sienna1 orange chrome1 ,indian red1 chrome yellow and ,tuscan red are used4 ,illustration3 ,o4 ,d4 ,t4 ,illustration3 ,g4 ,w4 ,b4 ,illustration3 ,a4 ,m4 ,n4 ,the initial of the surname1 invariably to be made more prominent than the letters of the ,christian name1 will submit to strong color effects without offending the visual sense4 ,perhaps it may be timely here to say that1 after recognizing the fact that the striping of the running parts rigidly govern the color or colors of the monogram1 there are no arbitrary laws to restrict the color schemes employed4 ,in this as in other branches of ornamental painting the harmony by analogy and the harmony by contrast are recognized and adhered to4 ,the monogram painted in relief is an illustration of harmony by analogy4 ,such a monogram represents the employment of a single color and its blended tints and shades4 ,harmony by contrast consists of painting each letter of the monogram a different1 but complementary1 color4 ,the relief monogram is best done by first laying the design in a medium shade of the selected color4 ,then the shades proper of the monogram are cast in with the dark shades of the color1 and the light ones with tints of the color4 ,the vital principle involved in shading is1 in the words of an authority1 to shade the under parts of the letter or object lapping it and the opposite side on which the light falls--the shade of the overlapped letter would naturally fall on the underlapped letter1 giving the former a raised appearance4 ,it has been said that the striping should govern the color or colors of the monogram1 as for example3 ,if the gear be striped with carmine the predominating color of the monogram should be carmine2 if with orange1 then orange2 if with green1 then green1 etc4 ,granting this1 it may also be conceded that the style and general conformation of the monogram should in no small degree compel color effects especially adapted to it4 ,the symmetrical monogram calls for a precisely balanced color scheme1 while the clumsy and uncouth one1 made so from necessity--and what an inexorable task-master necessity is6--needs a color adjustment that seeks to balance the light parts with the heavy ones1 and the heavy with the light4 ,gold and aluminum have of late been largely used in connection with colors and no departure from the correct color principles has thus far been remarked1 vehicle users being especially delighted1 as well they may be1 with the innovation4 ,a practice that has seemed to please the public immensely permits laying the entire monogram with gold or aluminum1 as the painter may elect1 and then glazing the first letter1 say1 with ultramarine blue1 the next with verdigris1 and still the next with carmine4 ,illustration3 ,l4 ,v4 ,r4 ,illustration3 ,g4 ,f4 ,l4 ,illustration3 ,a4 ,l4 ,if done in gold or aluminum apply a coat of rubbing varnish over the leaf before shading and washing with the transparent colors4 ,thus will the varnish check the subsequent coatings from striking in and tarnishing the brilliancy of the leaf4 ,in the case of gold being used1 follow the varnish with shadings of asphaltum diluted with varnish4 ,the dark shades may be produced by recoating with the asphaltum until the desired shade is reached4 ,once the asphaltum is quite dry1 proceed to coat those parts of the monogram desired to be in colors with such glazing colors as carmine1 ultramarine1 or cobalt blue1 verdigris1 etc4 ,the shades of asphaltum are reflected through these transparent colors to the measure of a beautiful appearance1 and the sum total of effects thus produced are particularly rich and brilliant4 ,the letters of a monogram painted vermilion glazed with carmine1 and the carmine then being shaded with asphaltum and high lighted with pale canary color afford a splendid effect4 ,in executing the script monogram the workman will agree with us that carmine and vermilion mixtures produce the finest color effects4 ,in fact1 all lean bodied letters show at their best when done in some of the gorgeous reds now popular4 ,a very fetching monogram1 as to color1 is made by laying the design in vermilion and then glazing part of it with carmine4 ,or1 if the striping suggests green for the color1 lay the design in a shade of green to harmonize nicely with the striping1 and glaze a portion of it with verdigris4 ,heavy bodied letters such as are combined in some of the monograms accompanying this chapter show admirably with the upper halves done in vermilion and the nether parts put in ,indian red1 or1 preferably1 flamingo red4 ,the vermilion should be given a light wash of carmine1 and the letters then outlined with deep orange4 ,in some of the large cities where the trappings and the suits of fashion are ever in the foreground one may see the monogram having one of its letters tricked out in all the finery of a graded shade4 ,the manner of shading consists of beginning at the top of the letter with the palest shade of a certain color1 and then gradually deepening the shade as the painting descends until1 when the base of the letter is reached1 the very deepest and darkest shade of the color is developed4 ,as for example1 the striping indicates the employment of green as one of the prominent colors in the monogram4 ,begin at the top of the letter with the very palest shade of green then continuing with the various gradations down to the deepest shade4 ,a graded shade is most successfully accomplished with color containing a binder of raw linseed oil to give the pigment a free working property4 ,a short stiff pencil1 lightly1 very lightly1 tipped with color works most effectively in blending each shade into the next4 ,reds and blues respond splendidly to the attractions of the graded shade4 ,the high lights are justly important features of a monogram4 ,many monogramists contend that a high light is almost invariably improved by the addition of a bit of the color of the letter being executed4 ,as1 for instance1 the letter is painted medium shade of green1 and the high light goes white4 ,to the white add a dash of the green1 and note the restful1 pleasing effect secured thereby4 ,illustration3 ,c4 ,h4 ,b4 ,illustration3 ,t4 ,b4 ,illustration3 ,l4 ,g4 ,high lighting1 however1 as it applies to nearly all styles of monograms is not suited to the delicate features of the script monogram4 ,the high lighting of the script ornament should consist in merely flicking those parts needing a relief touch with a color that will denote a slant of light from above4 ,the provision that permits the striping colors used upon a vehicle to govern1 with but few exceptions1 the predominating color or colors of the monogram renders a presentation of the color scheme adapted to the accompanying designs superfluous4 ,therefore1 it only remains for the writer to advise his readers to learn how to design and paint monograms4 ,it is a buoyant and fascinating art4 ,,chapter ,,xii4 ,,painting ,,the ,,business ,,wagon3 ,,considered ,,as ,a ,,work ,,of ,,art ,,and ,,as ,,an ,,advertising ,,medium--,,various ,,practical ,,processes ,,given--,,popular ,,color ,,combinations ,,employed--,,painting ,,canvas ,,tops1 ,,etc4 ,only a prophet of much temerity would attempt to bound the possibilities of business wagon painting4 ,it may be allowable to define it as a limitless art1 resourceful1 restive1 responsive to an admirable degree to the ever-varying side-lights of technical skill4 ,all that art can be anywhere the broad surface of the modern business vehicle invitingly offers to display4 ,the time when the main requirement of a business wagon was symmetry and strength of structure has gone by4 ,the merchant1 the man of business1 has found it to possess a value beyond its mere capacity as a carrier of merchandise4 ,its worth as an advertising medium1 as an agency through which business stability and enterprise may be widely heralded1 has been fully learned4 ,thus the evolution of the present elaborately painted and decorated business wagon has come about4 ,is it not stating the truth too strongly to say that the average business man is now quite as exacting and peremptory about the style and appearance of his business wagon as he is of his much prized pleasure vehicle4 ,he aims to have his painter achieve a distinct individuality in the painting of his 7the business man's7 vehicles1 so that so-and-so's delivery wagons are readily distinguished from all others met with along the highways and by-ways4 ,to this end he not only seeks to have his vehicles so painted and decorated that unsurpassed advertising effects are commanded1 but he also makes careful selection of a combination of colors1 and strictly adheres to that combination throughout the list of his business vehicle equipment4 ,this manifestation of exclusiveness on the part of business men has created a spirit of rivalry that has greatly redounded to the painter's benefit in that more beautiful and dashing color effects are now in vastly greater demand than formerly4 ,and the gratifying aspect of the case is that these original and artistic styles of painting the business vehicle bid fair to continue in popularity4 ,it furnishes the wagon painter1 and most especially the apprentice in the wagon paint shop1 an incentive to excel in this branch of painting4 ,the reader may here note1 perhaps1 an inclination to separate wagon painting1 which we have in preceding chapters treated as an inclusive feature of vehicle painting in its broad interpretation1 from other branches of the painting art4 ,necessarily1 in the small provincial jobbing paint shop it is all grist that comes to the hopper2 consequently carriage and wagon painting are judiciously included under one head4 ,in the city establishment1 however1 an abrupt division is made1 and we find business wagon painting practiced as a specialty--reduced to a fine art4 ,many argumentative discussions have been conducted by specialists in the two branches to prove the superior skill required in one branch as against the other1 and a wide diversity of opinion remains prevalent as to which side has the best of the controversy4 ,certain it is1 at any rate1 that the exactions of fine wagon painting are at present very pronounced4 ,granting that elegant general effects take precedence over all other features of wagon painting1 the fact remains that the quality of the surface must be carefully looked after4 ,it is seldom needful to obtain as fine and satiny a surface as is required on the panel of the jaunty brougham or the luxurious landau1 the color scheme employed1 united with dignified and artistic ornamentation1 being depended upon as the irresistable attraction4 ,however1 this statement is not intended to belittle the importance of the surfacing system4 ,upon the finest class of business wagons it is a common experience to observe surfaces which in point of smoothness and general excellence are second only to those observable upon heavy pleasure carriages of the finest class4 ,the wagon painter is confronted by many difficulties concerning which the carriage painter pure and simple1 knows little4 ,he must know well how to build beautiful and durable surfaces4 ,he should be a first-class colorist1 understanding all the features of color mixing and fully conversant with the laws of harmony and contrast4 ,he will likewise find it necessary to be an unexcelled master of the varnish brush1 a skilled striper1 wagon letterer1 and decorative painter of established ability4 ,the chief disadvantage under which the wagon painter labors is presented to him through the agency of the many lead-weighted colors which he is usually compelled to employ4 ,many of the light colors extensively used in wagon painting at this time contain keg lead1 or lead of another form1 as the main ingredient4 ,in doing jobs with light colors containing much lead1 roughstuff is not generally used1 the lead medium being relied upon to furnish a sufficiently smooth1 compact1 and close-textured surface2 and naturally1 therefore1 this surface is freely flexible and elastic4 ,amid the stress and strife of competition and swift processes1 these coats are often crowded on so fast that reliable drying is not assured1 and then to lend additional uncertainty to the outcome of the work1 rather quick and fairly unelastic varnish coats are employed1 so that at the completion of the work a thread of weakness gleams through the whole paint and varnish structure4 ,surface building fallacies of this nature the wagon painter is forced to contend with1 and his ability to surmount them is repeatedly shackled by rigid contrary decisions coming from the business office4 ,by this token1 then1 it is plain beyond the need of further demonstration1 that wagon painting is an art that bespeaks for its successful practice technical knowledge and skill of a high order4 ,its varied phases1 none of which are uninteresting and most of which are really fascinating1 invite study1 and the cultivation of talents1 both artistic and mechanical1 not required in any other recognized branch of painting4 ,probably the ,,painting ,,of ,a ,,full-,,paneled ,,top ,,business ,,wagon offers more difficulties than any other style of wagon4 ,the workman first proceeds to clean off all the grease smears1 and then takes full care to get the job thoroughly sandpapered4 ,then prime job throughout1 running parts and body inside and out1 top1 bottom1 etc4 ,if the job is to be painted in dark colors use the priming formula ,no4 #a1 given in ,chapter ,,iii4 of this series1 and if light colors are desired prime with white 7keg7 lead thinned to working consistency with raw linseed oil1 tempered as to drying with a teaspoonful of japan to each pint of the primer4 ,if no time limit intervenes omit the japan4 ,the running parts1 in due time1 are next given careful sandpapering1 and then rub lead1 as fully detailed in ,chapter ,,iii41 is applied4 ,the body receives sandpapering and a lead coat adapted to the final color1 mixed1 if the job is to go roughstuffed1 with #c_/h oil to #e_/h turpentine1 half and half4 ,apply to inside as well as outside of body and top1 then when these applied mixtures are dry1 putty1 using as mixture ingredients dry white lead1 #c parts2 keg lead1 #a part2 and rubbing varnish and japan1 equal parts4 ,for the running parts1 if to be painted in light colors1 use the next coat of pigment mixed to a brushing consistency with a trifle less than #c_/h oil and a corresponding increase over #e_/h turpentine4 ,thus gradually reduce the percentage of oil as the final color is approached4 ,in case dark colors are to prevail1 apply over the red lead a coat of lead pigment carrying a firm binder of oil1 say one-sixteenth4 ,upon the body1 if it is to be painted in dark colors1 next apply four coats of roughstuff1 choosing from among the formulas given in ,chapter ,,iii4 one suited to the time allowance to be reckoned with4 ,if light colors are to be used1 and stuff coats tabooed1 all the open1 coarse-grained sweeps of the surface require an application of knifing lead 7again refer to ,chapter ,,iii47 put on with a bristle brush and then pressed into the minute wood orifices with a broad blade putty knife4 ,then in the next coat of pigment1 colored fittingly to meet the final color1 reduce the oil to the proportion of one-fourth oil to three-fourths turpentine4 ,in the next coat which will have practically a full percentage of the desired color the quantity of oil used1 as compared to that contained in the preceding coat1 should be cut in twain4 ,the next reduction should bring the pigment down to possessing simply a good binder of oil4 ,then1 in easy procession1 follow the final color coat1 color-and-varnish1 if the system permits it1 clear rubbing1 and finishing4 ,on large top paneled jobs1 however1 when strictly high class results are desired1 it will be quite necessary1 regardless of the colors employed1 to employ roughstuff as the body surfacing agent4 ,the surface is brought up to the roughstuff stage as above advised1 and then1 in case of a white job1 resort is had to the white roughstuff1 formulas for mixing which will be found in ,chapter ,v4 of this work4 ,the colors used over the stuff coats are either japan ground or washed with benzine to free them as much as possible of the oil carried4 ,,the ,,cheaper ,,class ,,wagon is painted by various processes in all of which the several knifing-in pigments are esteemed factors4 ,a moderate cost method affording very neat surface results upon small paneled bodies1 ribbed ones1 etc41 is executed by first giving the body a coat of some ,p4 ,w4 ,f41 the filler being applied freely and at the proper time removed and the surface dried and cleaned up nicely with clean rags4 ,the chamfers on ribbed bodies are gone over with the filler4 ,the day following1 the surface is given an application of knifing-in lead1 the chamfers getting the same treatment as the flat surface4 ,this knifing-in lead receives a very clean and smooth knifing1 the labor of sandpapering being thus reduced to the minimum4 ,this coat having dried1 the nail holes and other indentations are next puttied4 ,sandpapering1 first with ,no4 #a_/b paper1 lastly with ,no4 #j1 follows4 ,this is made to suffice for a base to color upon1 if a light color is desired4 ,if a dark color is wished1 a coat of lead1 colored to a full slate color and mixed to dry dead or gloss free1 is put on with a camel's-hair brush4 ,this effectually dresses over and obliterates surface irregularities which might command attention upon dark surfaces1 whereas upon light colored ones1 built with a strong percentage of lead1 they would pass unheeded4 ,the running parts get a primer consisting of lead1 #b parts2 yellow ochre1 #a part2 floated in raw linseed oil4 ,the outer or more exposed parts are next draw-puttied with the regulation knifing lead1 this to be followed in due course with regular carriage putty1 being smoothly placed in nail holes and other cavities4 ,sandpapering next ensues and this1 in turn1 is followed with a gloss-lacking lead coat in which the final color is well represented4 ,perhaps a still cheaper system1 as practiced in a factory shop1 may be wanted4 ,if so1 prime job throughout1 body and gear1 with a pigment strongly colored with the color to be used in painting the vehicle4 ,this primer1 for its liquid ingredients1 should have raw linseed oil1 #c_/d2 turpentine1 #a_/d2 japan1 #a teaspoonful to each quart of the mixture4 ,stand the work aside in a warm room for at least #dh hours4 ,then thoroughly sandpaper with ,no4 #a paper1 after which putty holes1 etc4 ,now take the body surface and give it a coat of knifing lead made of dry white lead1 #e_/h2 keg lead1 #a_/d2 finely ground roughstuff filler1 #a_/h2 rubbing varnish1 #a_/b2 japan1 #a_/d2 turpentine1 #a_/d2 color this lead to meet final color4 ,exercise great care in cleaning off all surplus lead so that a very light polish with ,no4 #a_/b sandpaper will suffice to insure adequate surface smoothness4 ,this knifing lead will require thirty-six hours in which to dry reliably4 ,then reduce the consistency of quick rubbing varnish somewhat with turpentine1 and apply a coat to the surface4 ,with clean linen cloths wipe off the surface immediately4 ,this varnish coat serves to act as a stopper and sealer-up of the knifing lead and putty1 in addition to holding forth the subsequent color and varnish coats becomingly4 ,one day after putting on this varnish coat rub the surface lightly with ,no4 #j sandpaper to flick off dirt atoms1 etc41 dust carefully1 and lay the first coat of color1 a strong binder of varnish being used in both the first and second coats of color4 ,from this out1 color1 ornament1 and finish in the usual way4 ,the running parts are draw-puttied on the priming coat1 puttied1 sandpapered in good shape1 colored1 and from thence out carried rapidly to a finish4 ,this method affords a pretty acceptable finish1 especially if tricked out with a neat turn of ornamentation and a fine show of varnish4 ,again the practice is observed in some establishments of painting the running parts as just described and doing the body as follows3 ,after priming as usual1 a coat of roughstuff mixed of lead and filler1 equal parts by weight1 and rubbing varnish and japan1 equal parts1 thinning to an easy brushing consistency with turpentine1 is applied4 ,after giving this coat twenty-four hours to dry1 sandpaper with ,no4 #a_/b paper to clear off lumpy substances1 etc4 ,clean off surface carefully and draw-putty with a mixture composed of dry white lead1 #b_/c2 keg lead #a-a_/c2 liquids1 rubbing varnish #b_/c2 japan1 #a_/c4 ,this coat can be worked over in ten hours if necessary4 ,then apply two coats of roughstuff mixed as above suggested1 the two coats being applied in one day if the limitations of time so demand4 ,if it is wished to avoid the use of a guide coat1 and at the same time enjoy whatever advantages are afforded by such a coat1 give the last coat of roughstuff a strong dash of yellow ochre4 ,,painting ,,heavy ,,trucks ,,and ,,farm ,,wagons4 ,at present this class of vehicles is painted in a way differing considerably from that practiced formerly4 ,then durability was the chiefly considered virtue4 ,now that fickle and flighty feature of painting is an attainment no more earnestly worked for than is a high degree of excellence in color effects4 ,for trucks1 while a wide range of colors are popular1 radiant reds and yellows are apparently in the greatest favor4 ,the wheels of such vehicles are best given a coat of raw linseed oil before the tires are set4 ,the remaining running parts and the body parts are likewise coated with oil before the irons are fitted1 whenever it is possible so to do4 ,it is then easier to clean off grease daubs and finger marks left by the athletic blacksmith and his coy young assistant4 ,moreover1 there is a saving of time gained by this method4 ,the next coat should be a half-oil1 half-turpentine lead coat tinted or shaded stoutly with the color to be used in painting the vehicle1 unless the color is to be a yellow1 in which case a pure white will be an entirely correct ground4 ,if a better job is desired apply an extra coat of lead and an additional coat of rubbing varnish4 ,beautiful canary yellows are now seen on a great number of city truck running parts4 ,these yellows can be purchased of the manufacturers ready for use1 barring a simple thinning down with turps and the addition of a little varnish for a binder4 ,upon the first coat of lead1 puttying should occur4 ,if red or some equally positive color is to be used1 color putty accordingly4 ,if yellow1 let the putty go white4 ,sandpaper and smooth surface down finely upon the first1 and1 if used1 the second coat of lead4 ,in using light colors1 the mechanic will find it needful to keep clean hands1 as the slightest smear makes a disfigurement not easily remedied4 ,for first-class1 solid jobs of canary or other delicate yellow1 two coats of the flat color1 and one coat of color-and-varnish will quite surely be required4 ,the varnish coats when used clear should be very pale1 in fact1 colorless4 ,happily1 it is now a comparatively easy matter to obtain varnishes specially adapted to light1 sensitive yellow and white surfaces4 ,many of my readers located in the provincial jobbing paint shop will have more or less of farm wagon painting to do4 ,as a possible means of aiding them somewhat in getting the job ready for the color stage of the process1 it may be said that when the job arrives at the paint shop1 the first and most important thing is to prepare the surface for the first coat of oil and pigment4 ,when possible it is advisable1 as in case of heavy trucks1 to coat the job1 prior to fitting the irons with raw linseed oil4 ,if anything1 the average country blacksmith is given to a more lavish surface adornment of soot smears1 valve oil chromos1 and scorched quarter-sections than his city brother of hammer and tongs4 ,such surface defacements are all violent enemies of durability4 ,their sleek and clean removal is therefore imperative4 ,to banish the oil and grease and soot smears1 saturate a cloth in benzine and lightly wash the surface4 ,this fluid will loosen and quickly remove1 with the aid of a clean cloth for a final drying up1 all the greasy substances4 ,the scorched patches require a very thorough cleaning out1 a piece of glass nicely answering1 usually1 for slicking off the carved wood4 ,when the parts are freed from the burnt particles1 touch them lightly with raw linseed oil1 wipe dry with a bit of cloth1 subsequently touching the places with shellac4 ,the priming coat1 or first pigment coat1 rather1 should be controlled by whatever color the job is to be painted4 ,putty on this coat4 ,then a lead coat still more heavily fortified with the final color is in order4 ,a coat of color-and-varnish should suffice for a suitable base to stripe and finish upon1 save in case an extra color coat and an extra varnish coat will be needed4 ,farm wagon bodies may get priming1 a coat of knifing lead1 a very smooth sandpapering on this coat1 then a coat of color1 one of color-and-varnish1 then finishing varnish4 ,if a little better surface is wished1 a coat of clear rubbing varnish1 surfaced closely1 will give the desired result4 ,dark rich browns for the bodies harmonize effectively with almost any of the popular yellows for running parts4 ,indian red1 five parts2 ,prussian blue1 one part2 with a dash of yellow to tone the mixture1 give a beautiful brown4 ,chocolate1 maroon1 and wine color1 also furnish strikingly handsome results for farm wagon bodies1 when shown over running parts attired in gay coats of yellow4 ,,colors ,,for ,,business ,,wagons4 ,as already suggested1 a wide variety of colors of striking brilliancy are being used in painting business wagons4 ,perhaps the prevailing colors may be referred to as the various shades of yellow1 reds1 and greens4 ,chocolates1 maroons1 browns1 and rich shades of blue are also extensively employed4 ,many light delivery wagons are painted solidly throughout1 body and running parts1 with some one of the beautiful shades of canary yellow4 ,the lettering and ornamental work upon the body may be done in aluminum leaf1 the shadings and striping being placed in green or blue4 ,a full-paneled top business wagon may be painted in this way and the color effects will be handsome4 ,the main body panel1 lower and front panel1 rich wine color2 center panel1 moldings and other spaces1 medium carmine2 inside edge of moldings go black1 striping white4 ,letter in gold and shade in blue1 light and dark4 ,running parts1 carmine2 striped #a_/d inch black line1 and fine line of white4 ,or the body panels may be done in deep ultramarine blue1 moldings black1 with letters in gold and ornaments and striping in gold and white4 ,running parts1 light ultramarine blue striped two round lines of white1 five-sixteenths of an inch apart4 ,again the main panel of body may go sage green or a fine cream yellow4 ,if sage green1 paint lower panels merrimac green2 running parts still lighter shade of green4 ,lettering done in fine gold outline1 striping and ornamenting done in gold4 ,in case main panel is done in cream yellow1 throw lower panels in carmine4 ,letter in gold4 ,running parts go a lighter tint of cream1 and stripe black to correspond with black moldings on body4 ,the fine line should be carmine4 ,if desired1 paint body and running parts carmine1 letter in gold or aluminum1 and stripe with vermilion4 ,moldings on body1 black4 ,another combination shows the upper panel black1 lower panels and running parts1 cherry red2 or upper panel black1 lower panels amber brown1 or deep green1 with belt panel olive green2 running parts1 a trifle lighter green4 ,the upper and lower body panel1 in case of a three-panel job1 may go ,indian red1 center panel white2 running parts ,indian or ,tuscan red4 ,letters and striping done in gold and white4 ,a popular style of painting the ribbed body wagon is to paint body panels dark1 rich green2 chambers1 black2 running parts1 vermilion4 ,panels of body striped primrose or orange yellow2 running parts1 black4 ,however1 to mention in detail a very small part of the charming color schemes which are sought and displayed in painting the modern business vehicle would reach beyond the alloted limit of this chapter4 ,suffice it to say that the painter has a richly blossoming and variegated field of colors from which to select those combinations sanctioned by the esteemed and appropriate standard of the colorist's art4 ,,painting ,,canvas ,,and ,,cloth ,,tops4 ,formula ,no4 #a4--,use of white vitriol one-quarter lb4 in three quarts of soft water1 adding whiting until a good spreading consistency is reached4 ,prime outside of top and curtains4 ,this leaves the material nicely flexible and coats the texture up so dense and full that a couple of coats of paint are saved4 ,then with an elastic paint coat and finish in the usual way4 ,formula ,no4 #b4--;,coat the canvas1 barring curtains1 with rye flour paste1 inside and out4 ,permit this paste to dry thoroughly4 ,with ,no4 #a_/b sandpaper polish cloth lightly to knock off nibs1 etc4 ,then coat with white lead paint mixed with one-third raw linseed oil and two-thirds coach japan1 the mixture cut a little with turpentine4 ,next coat reduce the oil to a trifle less than one-quarter oil to one-half japan1 one-quarter rubbing varnish1 the remainder1 turpentine4 ,next give coat white color-and-varnish4 ,rub this coat lightly with water and pumice stone 7pulverized71 letter1 ornament1 and finish with a durable finishing varnish4 ,formula ,no4 #c4--,size with hot glue water1 using two coats twenty-four hours apart4 ,then apply coat of keg white lead mixed two-thirds raw linseed oil1 the remaining one-third being japan and turpentine1 equal parts4 ,after five days apply coat of lead containing three-eighths oil1 two-eighths japan1 three-eighths turpentine4 ,then apply white color-and-varnish4 ,rub lightly1 letter1 and finish4 ,this is not adopted to a limited time allowance4 ,formula ,no4 #d4--,sponge with water top and side panels or curtains2 permit to partly dry and then coat with lead and oil coloring strongly in the direction the final color is to be4 ,reduce the quantity of oil in the next coat1 and in lettering use enough oil in the colors employed to give the requisite elasticity4 ,to paint on enameled drill1 mix the pigment with raw linseed oil and gold size japan1 equal parts1 and thin to the proper consistency with turpentine4 ,in judging the quantity of oil used1 a close determination of the percentage of oil contained in the lead should be made1 otherwise an excessive quantity of oil is apt to be used4 ,the wagon painter frequently has to letter on canvas1 duck1 or some other material of similar texture not dressed in the raiment of paint4 ,to do this successfully various expedients are resorted to4 ,some workmen practice moistening the cloth with water and then putting on the letters in paint having plenty of oil in it4 ,others draw the cloth tight and firm and size it with a solution of starch and water4 ,proportions1 #c_/d water2 #a_/d starch4 ,allow this size to dry considerably before beginning to letter4 ,mix the lettering pigment to a paste form in elastic rubbing varnish and thin with turpentine4 ,still others make a size of cooked starch and glue water1 and sponge the parts that are to be lettered4 ,after the letters have been placed1 if the cloth should prove to be stiff and inelastic1 sponge with moderately warm water1 in this way abstracting the surplus size4 ,,chapter ,,xiii4 ,,vehicle ,,repainting3 ,,how ,,the ,,various ,,classes ,,of ,,work ,,are ,,done--,,matching ,,colors--,,burning ,,off ,,paint--,,materials ,,used ,,in ,,painting--,,treatment ,,of ,,tops ,,and ,,dashes--,,washing ,,finished ,,work--,,schedule ,,of ,,prices1 ,,etc4 ,the re-varnishing1 re-painting1 etc41 of vehicles constitutes an important source of revenue for the carriage and wagon painter4 ,many first-class paint shops connected with high grade carriage manufacturing establishments do a heavy business in re-painting vehicles4 ,the writer has in mind a firm of carriage builders located not far from the office of ,,the ,,western ,,painter1 which employs a force of from sixty to eighty painters4 ,in addition to painting and finishing the manufactured output of the establishment1 consisting1 it may be said1 of anything in the carriage line from a tiny road buggy to a dashing four-in-hand coach1 the force is yearly credited with from #cj1jjj to #dj1jjj worth of re-painting1 etc4 ,from this it will be assumed that vehicle repainting1 rightly directed1 affords substantial profits4 ,were it otherwise the firm in question would not make it a part of their business4 ,,touch-,,up-,,and-,,varnish4 ,the touch-up-and-varnish job is supposed to reach the paint shop showing but few evidences of grim-visaged service4 ,the fact that it doesn't uniformly do so furnishes the painter with about as much difficulty in satisfactorily handling this class of work as he encounters in doing those classes which have a more troublesome look to them4 ,the best profits to be gleaned from this class of work are realized when the room space will admit of locating the job in a position where it can be handily worked at without much unhanging1 and where plenty of light may be secured4 ,a simple removal of the shafts1 wheels1 and1 if necessary1 top1 together with such interior furnishings as carpet1 cushion storm apron1 etc41 will1 in a majority of cases1 suffice to clear the way for active work upon the job1 provided sufficient room space is at command4 ,the unhanging of some of these touch ups is sometimes an expensive item1 especially when rusty bolts are to be taken out and replaced4 ,therefore1 the least possible unhanging should be practiced4 ,once the necessary parts are removed1 proceed to clean off the grease smears1 wiping axle arms bright1 and looking well to the fifth wheel4 ,benzine is a good1 quick liquid agent for loosening grease1 etc4 ,if top is left upon the job 7and it should be in most cases1 when possible71 dust out the lining carefully1 clean outside well1 then clean out the body interior1 after which give the outside body surface a light pumice flour and water rub as the most effective means of ridding it of possible greasy patches1 dirt nibs1 etc4 ,a close1 hard rubbing should be avoided1 as upon a majority of surfaces it is prone to disclose checks and fissures1 minute or otherwise1 which a single coat of varnish will only serve to bring out more clearly1 rather than to conceal4 ,the body rubbed and washed thoroughly1 the running parts are given a careful rinsing and drying off with the chamois skin4 ,,touching ,,up4 ,matching colors preparatory to touching up is probably the most difficult process related to this class of work4 ,to match colors successfully one must have a correct eye for colors4 ,to distinguish between closely related tints1 shades1 hues1 and tones1 in an accurate and conclusive way1 brings into play talents1 or a gift--call it what you please--not vouchsafed to the average mortal4 ,this is one important feature of the trade that practice does not make perfect4 ,the colorist does not acquire his skill by practice merely4 ,if the fading of colors tended in one general way and to something like a uniform degree1 the successful matching of colors might be controlled in due time by all painters interested in experimental work4 ,chemistry and other scientific aids to color-making have wrought mysterious and1 to the practical man1 undemonstrable factors in carriage colors4 ,as a result1 colors fade in all the varying degrees imaginable1 and are subject to so many influences that their control1 as a rule1 is quite beyond the skill and practical knowledge of the painter4 ,many of the colors1 notably the radiant reds lately so fashionable1 are naturally so fugitive that unless extraordinary care is exercised in preparing the groundwork1 they quickly fade2 and1 their original identity once lost1 it is a feat beyond the ability of the most masterful colorist or color matcher to restore4 ,to a less extent1 perhaps1 other colors operate in the same way4 ,the question1 therefore1 presents itself3--,is not the best way to match colors to prevent their fading1 so far as prevention can be made to apply8 ,one's doctor will affirm that a mound of prevention is worth a mountain of cure4 ,it is not expected to make this prevention so sweeping and effectual as to merit the title of a cure-all4 ,but preventive measures1 diligently practiced1 will lessen the fading evil1 and thus reduce the work of matching colors to the minimum4 ,the mixing of colors1 as already alluded to in these chapters1 should1 so far as it is within the power of enlightened paint shop knowledge1 be made an exact process4 ,carelessness and guess work are not to be tolerated4 ,exact measurements of all the ingredients which go into a batch of color or paint are necessary4 ,then a firm insistence upon hardy1 durable grounds1 regardless of the hurrying shouts of the populace1 is in order4 ,a fugitive red1 or any other fugitive color1 as a matter of fact1 is given a support that will add to its permanency1 by adjusting the ground color with such a strong binder of varnish that the color has a live look to it--an approach to a faint egg-shell gloss1 let us say4 ,the retention of the final color's original purity and strength is in this way made more permanent4 ,in color matching1 however1 which1 despite our best efforts1 must continue to be a part of paint shop practice1 it is best to take over to the mixing bench a certain part of the work to be touched up1 and1 touching a few inches of space with varnish so that it can be seen what the spots and what the color as a whole will look like under a fresh coat of varnish1 proceed to gauge the matching color to it4 ,it is a principle adhered to by many skilled workmen in the matching of colors that the touch-up color should contain sufficient varnish to cause it to dry with a stout gloss4 ,a color furnished with a strong varnish gloss will reflect more light than it will absorb1 and vice versa4 ,and the color which in process of drying absorbs more light than it reflects1 will1 as a rule1 when varnished over1 be a different color 7or a different shade1 hue1 or tint of that color7 than it looked to be in the mixing pot or on the surface after it had simply dried free from tack4 ,an absorption of light has effected a chemical or other change in it1 and what was judged as a close match proves a wide departure from it4 ,even with the counteracting agency of varnish1 a color is pretty sure to dry out lighter than it appears in the mixing cup1 so that close calculation and the exercise of the colorist's art in a fine way is needed to get the desired match4 ,the touch-up color having been satisfactorily prepared and tested1 the felloes and all places on the job worn bare to the wood being1 in the meantime1 touched with lead and oil1 the work of touching first the body and then the running parts is carried along4 ,then the dressing of the top1 side curtains1 and1 if need be1 the dash1 ensues4 ,the interior of the body is next varnished1 then the outside surface is flowed1 and1 finally1 the running parts4 ,coming next to the touch-up-and-varnish job1 and by many painters regarded as belonging to the same class1 is the job that gets one coat of color1 striping1 and one coat of varnish4 ,this job offers an opportunity for deception of which the paint shop graduates in the school of intellectual villainy are quick to take advantage4 ,they solemnly assure the prospective customer that they will paint his vehicle for1 say1 #f1 the price asked ordinarily for the color and one coat varnish job4 ,the stranger1 caught by the price and the alluring prospect of getting the job painted1 responds to the hold up until the dishonesty of the thing is revealed1 as it is sure to be1 by the exacting needs of service4 ,the color1 stripe1 and varnish job calls for no little dexterity in many cases1 in placing the color directly over a hard1 flinty surface of paint and varnish and making it stay for a reasonable term of service4 ,the surface once cleaned1 as per directions in the preceding case1 the body is given a light rub with water and pumice stone flour1 and the gear is treated to a smart smoothing off with fine sandpaper4 ,these fine1 and1 to the naked eye1 almost invisible scratches and furrows1 suffice to afford a foothold1 a gripping place1 for the color4 ,these hard1 adamantine surfaces over which quick colors are often necessarily placed may be classed as prolific sources of color flaking and chipping4 ,in addition to the sandpapering as a means of promoting durability1 the use of a strong binder of varnish in the color is advised4 ,the one coat color1 stripe1 and varnish job is quickly done and should afford a good profit4 ,the color1 color-and-varnish1 stripe1 and finish job simply means a coat of color-and-varnish applied over the color after it has been placed as just described4 ,then a mossing or rubbing with hair to the extent of knocking of the gloss of the color-and-varnish1 striping1 and finishing1 the body surface1 of course1 to get a rather light rub with water and pumice stone1 both before applying the color and after applying the color-and-varnish4 ,should the body surface show signs of being fissured and cracked somewhat1 it were better to forego the rubbing with pumice stone and water1 substituting therefor a dressing down with ,no4 #a_/b sandpaper4 ,this provides against moisture getting into the checks and causing trouble4 ,following in the wake of the above class of work come the jobs that are afflicted with all sorts and conditions of surface ailments2 jobs that ought properly to be burned off if the owners could be convinced of the economy of the process4 ,one way of treating a body surface threaded with fissures consists of taking a two-inch scraper1 such as car painters use1 made of a file cranked over at both ends so as to give two cutting blades1 and scraping the varnish completely off down to the undercoatings of color and paint4 ,follow the scraping with a quick rubbing with lump pumice stone or a fine grade of brick and water1 avoiding even a close approach to the wood4 ,in most cases the cracks will1 by this process1 be pretty cleanly removed2 when they are not entirely slicked off the remaining vestiges are1 as a rule1 so faintly traced as to give no further trouble when bridged over by the coats of lead1 color1 and varnish4 ,the rubbing once completed1 the surface is given time to dry out thoroughly2 then sanding with ,no4 #j ensues1 this1 in turn1 giving way to a coat of facing lead mixed to dry without gloss1 the lead being colored to a decided slate shade with lampblack4 ,apply with a camel's-hair brush4 ,sandpaper this coat with ,no4 #a_/b paper2 then apply color1 and finish out as previously advised in these chapters4 ,if a different plan of filling up is preferred1 cut down the surface with ,no4 #b sandpaper1 and first apply a lead coat mixed of #a_/c raw linseed oil to #b_/c turpentine4 ,in #dh hours give a coat of roughstuff made of keg lead and filler1 equal parts by weight1 thinned to a stiff paste with rubbing varnish and japan1 half and half1 and then reduced to a free brushing consistency with turpentine4 ,first puttying should be done on the lead coat1 and the second one on the first filler coat4 ,a couple more of roughstuff coats will suffice to give the needed body of rubbing pigment4 ,thus the old flinty foundation is furnished with the requisite elasticity through the medium of the oil lead coat4 ,the roughstuff foundation is made to dry hard and firm1 like unto the condition of the old foundation itself1 and in this way an affinity between the old and the new is established4 ,another foundation is quickly builded by taking any good roughstuff filler and reducing it to a spreading consistency with shellac1 the first coat1 however1 being made a bit thinner in body than the succeeding coats1 so that it will more readily penetrate the cracks4 ,three coats of this preparation usually suffices to yield the necessary foundation free from fissures or other blemishes4 ,the roughstuff filler and shellac make a compound remarkably quick setting2 hence1 it must be worked very quickly if smoothness of application would be achieved4 ,again1 it is the practice in some quarters to sandpaper the old surface down as close as possible1 giving a stout coat of lead mixed with #a_/d oil to #c_/d turpentine1 and when this coat has dried for a couple of days1 putty all the deep cavities1 following1 the day after1 with a glazing of putty over the surface1 the glazing being done with a broad putty knife1 and the putty being worked out to a uniform film and as smooth as possible4 ,in respect to the running parts1 all flaky1 shelly patches of surface should be scraped4 ,all torn and shredded places require smoothing down nicely with scraper and sandpaper4 ,the old remaining paint should be perfectly solid and secure4 ,the parts cleaned and scoured to the bare wood had best be given a lead coat containing1 as one of its liquid ingredients1 at least #a_/c linseed oil4 ,the second coat1 applied1 like the first1 with a camel's-hair brush1 may contain merely a binder of oil1 avoidance of gloss being a strictly observed rule4 ,then putty deep holes and indentations1 following this with draw puttying all parts in need of such treatment4 ,upon this lead coat1 or a second one if the owner is not averse to paying for it1 the finish is reached in the usual way1 as advised in a former chapter4 ,in painting over these cracked1 flaky1 and insecure foundations1 the first principle to be observed is to get the shaky1 shelly material completely removed1 leaving nothing but the firm and securely fastened pigment4 ,the second one is to secure as thorough an amalgamation of the old and new materials as practical paint-shop knowledge and skill will insure4 ,,burning ,,off ,,paint4 ,however good the crack-filling formulas may be1 they are at best only expedients of temporary value4 ,burning off the paint1 thus getting a sure foundation from the wood itself1 is effective and free from those injurious effects which are so often characteristic of paint removing preparations1 etc4 ,as in the past affirmed by the writer1 with the old more or less shaky foundation1 concerning the exact nature of which no man knoweth1 fairly and cleanly removed1 the painter is enabled to work from the foundation coat to the finish with the bright light of knowledge concerning the preparation and application of the materials used1 drying1 action1 etc41 flashing through his mind4 ,this is why burning off is so much more satisfactory1 usually1 to the painter4 ,in the lingo of the street1 he knows where he is at1 and the measure of security afforded him4 ,to do first-class paint burning--and the other kind is not to be considered in these chapters--the workman must be provided with a strictly reliable and good-working lamp1 burning gasoline or naphtha4 ,to be maintained in a condition to render satisfactory results1 the flues and mechanism require thorough cleaning and inspection before the lamp is laid away after use4 ,no unused fluid should be allowed to remain in the reservoir of the lamp when it is not in use1 as the vapor arising therefrom will very shortly deposit a film of sticky substance on the surface of the flues that will prevent a smooth and even flame when the lamp is again put into use4 ,and eventually1 if the flues are permitted to become more or less choked up in this way1 the lamp will refuse to work at all4 ,explosions and accidents of many kinds are possible with the lamp that is allowed to clog and gum up4 ,the burning lamp should be kept in a clean place1 and show a clean1 bright surface1 both interior and exterior4 ,a couple of putty knives1 one narrow and one broad blade1 a good1 serviceable glove or mitten provided with a wrist and half-arm sleeve1 and a leather apron reaching well up to the workman's chest1 belong to the burner's kit1 and should be kept in close company with the lamp4 ,the operation of burning consists in simply directing the flame upon the surface long enough to soften up the pigment and permit of its easy removal with the knife4 ,in a way1 burning off is a misnomer4 ,to literally burn the paint off1 as the apprentice might possibly construe the term if not otherwise enlightened1 would result in charring the wood to a harmful extent4 ,begin burning at a part of the surface which will allow the softened paint to be thrown off over a portion of the surface still coated with paint4 ,as the knife is usually handled with the right hand it is best to begin burning on the left side of the panel4 ,thus the softened paint is thrown to the right and across the unburned portion of the surface4 ,it is a wise rule to remember1 in connection with this work1 that a job burned right is in a fair way to be painted right4 ,if through an accident or otherwise the surface should get scorched in places1 a complete scraping out of the burned wood fibres will be necessary4 ,then with equal parts of raw linseed oil and turpentine touch just the charred patches4 ,after a solid block sandpapering1 the surface may be taken in hand and conducted to a finish in the usual way4 ,,table ,,of ,,materials ,,used ,,in ,,painting ,,vehicles4 ,for a landau3-- ,,body4 ,priming #b quarts ,lead #a-a_/b ,putty #c_/d to #a-a_/b lbs4 ,sandpaper #aj sheets ,roughstuff 7four coats7 #a gallon ,guide coat #c_/d quart ,color 7per coat7 #a pint ,color-and-varnish 7#b coats7 #a-a_/b quarts ,clear rubbing 7#a coat7 #a-a_/b pints ,coat of finishing #a-c_/d ,,running ,,parts4 ,priming #a-a_/h quarts ,rub lead #a-a_/d ,lead coat #a ,putty #a_/b lb4 ,sandpaper #ab sheets ,color #a pint ,color-and-varnish 7per coat7 #a-a_/b pints ,clear rubbing #a-a_/b ,coat finishing #a quart ,in the case of a ,berlin coach1 perhaps the quantity of each item of material should be increased over the above to the extent of #a_/d for the body surface4 ,running parts require the same quantity4 ,the body of a six-passenger rockaway will need1 approximately1 #a_/h less material than the body of the landau or coach4 ,the body of the coupe-rockaway #a_/d less4 ,running parts consume about the same quantity as the heavier vehicles here named4 ,the quantity of varnish named for the above vehicles provides for toe-boards1 checks1 steps1 bottoms1 etc4 ,for buggies of the various styles3 ,,body4 ,priming #e_/h pint ,lead #a_/b ,putty #a_/d lb4 ,sandpaper #f sheets ,roughstuff 7#d coats7 #a quart ,color 7#b coats7 #a pint ,lampblack 7for bottoms7 #a_/b ,color-and-varnish #e_/h ,clear rubbing 7#b coats7 #a ,finishing varnish #b_/c ,varnish in color and filler #a ,,running ,,parts4 ,priming #a pint ,lead 7#b coats7 #a-c_/d ,putty #c_/h lb4 ,sandpaper #ab sheets ,color #a pint ,color-and-varnish #a-a_/d ,clear rubbing #a-a_/d ,coat of finishing #a-a_/b ,such light pleasure vehicles as surreys1 cabriolets1 etc41 require an increase in the quantity of each item of material over that accorded to the buggies and phaetons of about one-half4 ,the above tables may be of benefit to some of my readers who desire a practical basis upon which to estimate the cost of the material to be used upon a certain vehicle4 ,labor is said by competent authorities to represent #ge per cent of the cost of painting a vehicle4 ,with the cost of material at hand--a computation made comparatively easy by the aid of the tables here set forth--and with #ge per cent of the whole cost credited to the labor item1 a very close estimate upon general vehicle painting can be made4 ,guess work in gauging the price of a job of vehicle painting paves the way to an unprofitable business venture2 more surely in these days of uproarious competition than in times past4 ,careful estimates1 which include cost of labor1 material1 shop rent1 wear and tear of tools1 and such other incidental features of business which may properly be taken note of in an estimate1 have come to be imperative necessities in carriage and wagon painting4 ,verily1 it is true that it is not all of painting to paint--estimating should be included therein4 ,,tops ,,and ,,dashes4 ,the proper care and treatment of carriage tops and dashes forms one of the significant features of the re-painting business4 ,about every class of citizens who have to do with carriages--the trimmer1 harness-maker1 livery man1 blacksmith1 hack-driver1 and jockey--regularly come forward bubbling over with advice and formulas for the preservation of tops2 but usually the paint shop is resorted to as the ,court of ,appeal4 ,the aim of the painter should be to impart to the top and dash a finish which will correspond to that given the other parts of the vehicle1 at the same time furnishing the leather or rubber a preservative agent that will provide reasonable durability4 ,in every jobbing paint shop a space should be set apart for the safe and clean storage of tops and dashes2 also cushions1 carpets1 and other interior furnishings4 ,in the space selected for the purpose a rack made to conform to the size of the space may be erected4 ,build it to consist of two tiers1 with a half-story tier above for the holding of cushions1 carpets1 etc4 ,if the space is large enough1 make the rack1 say1 #ab feet long1 #aj feet high1 and #d feet wide4 ,the two first tiers will hold six buggy tops4 ,the rack is made of #a-;inch and #b-;inch stuff1 hemlock1 say1 and need not cost to exceed #a4ej4 ,tops that are regularly calashed will require only half space4 ,under no circumstances should a top be calashed and stored away in the shop unless it has been used and subject to such treatment4 ,the top 7and the dash also1 when removed71 upon removal should be cleaned thoroughly before being set away4 ,if the top joints need a coating of lead it should be given them prior to placing them in the rack or permanent storage place4 ,it is bad policy to defer painting and finishing such parts until it is nearly time to hang off the other parts of the vehicle4 ,a uniform quality of finish cannot in this way be secured4 ,the irons on tops1 if chipped1 rusted1 etc41 require lead1 often a facing with putty1 color1 color-and-varnish1 a light rub with pumice stone flour and water1 and finishing with a good hard drying varnish4 ,a few days before the vehicle is finished the top belonging to it may be taken in hand1 the lining carefully dusted out1 and the leather or rubber sponged off and dried over with a chamois skin4 ,the further treatment may depend upon the material of which the top is composed4 ,a great many vehicle owners1 livery men in particular1 prefer to have leather tops--except the badly worn ones--go without a dressing of any kind1 a simple washing with castile soap and soft water being thought to amply suffice4 ,hand-buffed leather tops in good condition1 in the writer's estimation1 require no dressing2 the machine-buffed ones1 however1 are benefited by a thin1 evenly-applied coat of some strictly reliable enamel top dressing4 ,and it is pertinent here to say that even the best of dressings1 those which long usage has sanctioned as of established value1 are of such a nature that they are beneficial only when applied sparingly4 ,a dressing1 to be genuinely useful to the carriage painter1 should preserve the enamel of a top1 strengthen the leather or rubber1 and enable it to retain its natural flexibility for the longest possible period4 ,if1 then1 the top be rubber or machine-buffed leather1 apply dressing1 not forgetting the side curtains4 ,if a leather top and the owner wishes it to be given some preparation other than the regulation enamel top dressing of commerce1 the following formulas may be used1 the two first being particularly beneficial to the leather4 ,formula ,no4 #a4--,neatsfoot oil1 #a pint1 beef suet1 #a_/h lb4 ,melt the oil and suet together4 ,then add a tablespoonful of melted beeswax1 mixing the ingredients carefully1 and confining in an air-tight vessel4 ,the beeswax has a cooling property greatly to be desired in a leather preservative4 ,formula ,no4 #b4--;,darken neatsfoot oil with a drop black4 ,apply sparingly and rub out well with soft rags4 ,this formula does not give the brilliancy of finish that an enamel dressing does1 but it gives to the leather a softness and pliability not obtained otherwise4 ,formula ,no4 #c4--;,adapted for either rubber or leather4 ,of finishing varnish1 #a quart2 beeswax1 #a oz2 drop black1 sufficient to color mixture properly4 ,thin to a brushing consistency with the turpentine4 ,the worth and reliability of ,no4 #c is vouched for by a jobbing shop painter of twenty-five years' experience4 ,formula ,no4 #d4--,this provides for the use of boiled linseed oil stained with drop black thinned with turpentine4 ,apply this preparation with a brush1 rubbing it out well and uniformly4 ,set aside for #cj minutes2 then with clean soft rags1 rub the mixture off1 polishing until a clean cloth shows no stain when rubbed over the leather4 ,places which show cracks and hard service will need a second coating with the mixture4 ,the leather is not thickened with this mixture1 has no unusual attraction for dust and dirt1 and will remain soft and flexible4 ,fine grained leather dashes1 fenders1 etc41 which do not look worn or rusty1 appearing only soiled and somewhat smeary1 may be gone over with a cloth saturated lightly with kerosene oil1 and then polished with soft woolen rags4 ,the commoner grades may be given patent enamel dressing1 or1 if preferred1 a thin coat of drop black rubbed off immediately with soft rags and then flowed with a first-class finishing varnish4 ,if much worn1 they may be greatly freshened up and renewed if treated with some of the formulas given herewith4 ,,marking ,,and ,,methods ,,of ,,identifying ,,vehicles ,,and ,,their ,,parts4 ,the jobbing paint shop requires and should be given a system of marking and tabulating all work taken in1 so that when the finish is reached and hanging off occurs1 valuable time need not be wasted in searching for mislaid and unidentified parts1 such as cushions1 carpets1 storm aprons1 and the like4 ,unless each part is carefully marked with a properly filled out tag attached to said part1 and an itemized entry made in the receiving book fitted with printed forms1 a filled out form being given the vehicle owner and a duplicate copy retained by the painter1 confusion worse confounded may be expected to occasionally occur4 ,the following is a blank form which the writer several years ago published and1 having seen it in use in the painting business1 he can cheerfully endorse its merits as a practical working form3 ---------------------------------------- ---------------------- ,,received ,,from ,,by ---------------------------------------- ---------------------- ,,day ,,month ,,date ,,received ,,on ,,to ,,be ,,finished ,,on ---------------------------------------- ---------------------- ,,articles ,,left ,,with ,,remarks ---------------------------------------- ---------------------- ,,washing ,,finished ,,work4 ,the duty of the painter does not end with the hanging off of the finished vehicle4 ,he has still one other important mission to perform1 namely1 proffering advice to the vehicle owner upon the preservation of carriage surfaces4 ,such advice may be directed along the following lines3-- ,carriages require storage in apartments free from dampness1 furnished with plenty of light1 invited if possible1 from all sides1 and entirely removed from the stable and its attendant emanations of ammoniacal gases4 ,ammonia1 make the vehicle user understand1 is a deadly enemy to colors and varnish4 ,brick walls may also correctly be classed as paint and varnish enemies causing loss of lustre and general deterioration4 ,a newly-varnished vehicle surface is greatly benefited1 once the varnish is sufficiently hard to permit it1 by frequent washings with clean cold water4 ,premature water baths1 however1 are to be avoided1 save when made absolutely necessary by reason of mud spotting or other accidents of that order4 ,the suggestion one hears occasionally offered to the effect that a surface may be safely rinsed with water three days after being finished is not founded upon practical paint-shop or varnish-making philosophy1 so long as it is made to apply to a high-grade elastic varnish4 ,such a varnish may be1 to a mere finger touch1 quite dry1 but in reality only the outer film is partially dry1 and putting it into service or submitting it to a cold water bath are each in their turn risky experiments4 ,the fact that an elastic varnish has reached the free-from-dust drying stage should not be taken as a trustworthy indication that the time for washing has arrived4 ,there is no question concerning the benefit of a cold water rinsing to a varnish surface that has well hardened as to its outer film4 ,frequent washings will then improve its lustre and durability4 ,it must always be taken into consideration that in the case of first-class painting1 assimilation of the various varnish coats ensues1 and a fair measure of time is therefore necessary after the application of the finishing coat ere the washing can be safely given4 ,in washing a varnish surface1 gaseous impurities which so readily accumulate1 are removed4 ,varnish1 when at a certain temperature1 is susceptible of contraction when any colder body is brought in contact with it4 ,this is the controlling principle of varnish washing4 ,the contraction of a not properly hardened varnish1 after cold water is applied to it1 causes the liquid gas of the varnish to escape through the medium of evaporation4 ,drying1 according to the natural laws of drying1 a varnish retains those elements which add to its brilliancy and elastic properties4 ,when forced to dry by virtue of premature cold water flooding1 unfavorable results may be expected to follow4 ,washing a newly-varnished vehicle should never occur under the bright glare of the sun4 ,plenty of water flooded gently upon the surface with a soft sponge is a necessity in the washing process4 ,dirt accumulations1 if any1 are softened and carried from the surface under the volume of water4 ,after a careful sponging1 the surface may be dried off nicely with a clean lint-free chamois skin4 ,if a hose be used1 it should be adroitly wielded1 and the stream so gauged that no harm can come to the surface from the water pressure4 ,the hose in the hands of an incompetent coachman is the cause of a great many accidents to freshly laid varnish4 ,caution the washer against wetting the inside of the carriage body4 ,glue joints1 etc41 do not strongly resist the attacks of water4 ,under no circumstances permit water to dry on the surface4 ,stains more or less pronounced are almost sure to follow4 ,hot water1 soapy water1 or water not strictly clean should not be allowed to come in contact with a surface of varnish4 ,do not allow mud to dry upon the surface4 ,wash it immediately upon its return to the carriage house after being run in the mud4 ,,schedule ,,of ,,prices ,,for ,,re-,,painting4 ,the prices here given are presented in the nature of a working plan for the benefit of painters located in the smaller towns and villages of the country4 ,the schedule is subject to revision or correction in localities where the prevailing grade of work does not warrant the adoption of the prices herein set forth4 ,touch-up and varnish buggy or phaeton 7dress top if necessary7 #e4ej ,rubbing bodies of above jobs1 give coat of color throughout bodies and gears1 stripe and finish #g4jj ,extra coat of varnish to above jobs #b4jj ,burning paint off body of phaeton or buggy1 surfacing gears with lead and re-painting throughout #ae4jj ,burning paint from gear #c4jj ,touch-up and varnish surrey #g4jj ,extra coat of varnish for above job #c4jj ,extra coat of varnish for body #a4ej ,painting surrey throughout #ad4jj ,burning paint off entire job and re-painting #bj4jj ,touch-up and varnish cabriolet #aj4jj ,extra coat of varnish for above job #d4jj ,extra coat of varnish for body #b4jj ,painting cabriolet first-class throughout #bc4jj ,burning paint off body #c4jj ,burning paint off job entire and painting #cj4jj ,touch-up and varnish a four or six passenger rockaway #bj4jj ,additional coat of varnish for above job #aj4jj ,surfacing upon the old paint structure and re-painting #dj4jj ,burning off body and re-painting job #ej4jj ,touch-up and varnish brougham or landau #be4jj ,surfacing and painting over the old paint structure #dh4jj ,burning paint off body1 re-painting1 and finishing throughout #fj4jj ,touch-up and varnish ,berlin coach #cj4jj ,surfacing and painting upon the old paint #ee4jj ,burning paint off body1 re-painting and finishing entire #gj4jj ,painting and finishing hearse #de4jj ,burning paint off body1 re-painting1 and finishing job entire #ee4jj ,touch-up and varnish hearse #bj4jj ,platform wagons3 surfacing and painting upon old paint structure #ab4jj ,color1 color-and-varnish1 stripe1 and finish #aj4jj ,varnish light business wagon #f4jj ,painting light express or business wagon without top #aj4jj to #ab4jj ,painting top light express or business wagon #b4jj ,painting heavy express or business wagon #ab4jj to #ae4jj ,painting top heavy express or business wagon #c4jj ,lettering on vehicles1 per foot1 plain paint 4#ae to 4#bj ,lettering1 per foot1 shaded 4#bj to 4#be ,lettering1 per foot1 shaded and ornamented 4#ce to 4#dj ,lettering1 per foot1 plain gold 4#de to 4#ej ,lettering1 per foot1 shaded 4#fj to 4#gj ,lettering1 ornamented gold 4#hj1 4#ij1 and #a4jj ,,chapter ,,xiv4 ,a ,,study ,,of ,,materials3 ,,white ,,lead1 ,,its ,,purity1 ,,etc4--,,quality ,,of ,,colors ,,in ,,general--,,adulteration ,,practically ,,considered--,,purity ,,of ,,raw ,,linseed ,,oil--,,turpentine--,,testing ,,coach ,,japan--,,varnish4 ,the name of a thing should not be accepted for all there is to the thing itself4 ,the carriage painter has very pronounced reasons for bearing this fact in mind when engaged in studying and passing judgment upon the materials he finds it needful to use in his business4 ,probably the most important pigment which finds its way into the carriage and wagon paint shop is white lead4 ,this pigment has afforded a theme for increasing discussion1 its qualities and adaptability having been extensively canvassed4 ,numerous substitutes have been introduced during the past two decades1 but white lead still retains its pre-eminent popularity4 ,lead compounds and various adulterated brands have given the painter plenty of trouble1 and caused him to devote more attention to the quality of his white lead stock than formerly4 ,because of its soft1 pliable1 grain-filling property1 its established elasticity1 density1 body1 fine working quality1 and its merits as a reliable drying pigment1 white lead is the filling up and foundation material par excellence4 ,the purity of lead deserves the carriage painter's first consideration4 ,it has been practically determined that a pure lead1 endowed with all the virtues which should distinguish pure lead1 when mixed and used in combination with other pigments or colors1 holds its quality better and is less susceptible of change than a compound or adulterated lead4 ,moreover1 pure white lead1 with its soft1 fine1 elastic texture1 has a natural adhesiveness1 a surface-filling and leveling-up property1 which the impure lead carrying a percentage of gritty1 flinty ingredients does not possess4 ,the pure lead works out under the brush more pleasantly and with less brushing than the compound1 and it dries with greater uniformity1 etc4 ,at the same time it is well to remember that a strictly pure lead may have a number of features in its make-up decidedly objectionable to the carriage painter4 ,it may be imperfectly washed1 or it may be too coarsely ground1 etc4 ,in his study of white lead1 then1 the painter will find it a matter of value to determine the adaptability of the lead to the requirements of his business4 ,after convincing himself of the purity of the lead1 it remains for him to test for fineness of grinding4 ,a lead ground fine--impalpably fine1 if it please my readers--lightens the labor of sandpapering1 strikes into the wood fibres stoutly1 and covers the maximum surface space4 ,it has good coloring and covering power when mixed with colors to form tints1 and for other important parts which a white lead plays in vehicle painting it is especially adapted4 ,nor should a carriage lead be ground in too large a percentage of oil4 ,for coats between priming and color but comparatively little oil is needed1 and washing out with benzine or turpentine entails an unnecessary amount of labor4 ,hence1 it should be insisted upon that carriage painters' lead be ground moderately stiff in oil1 so that protracted washing-out may be avoided on the one hand1 and extended mixing and breaking-up operations shunned on the other4 ,a practical and1 at the same time1 a conclusive test of fineness is furnished by taking two pieces of plate glass #hh inches in size1 setting them securely in blocks of wood1 and then smearing a couple of small flakes of the lead1 rubbing the pieces of glass together4 ,continue rubbing with a firm1 even pressure until a uniform distribution of the pigment and a thorough impact is established4 ,the glasses should then disclose the nature of the grinding4 ,to learn the drying power of the lead1 take the palette knife and slick a small quantity over the glass and set aside1 noting the time consumed in drying4 ,a lead ground in the proper proportion of oil for carriage work should1 as taken from the keg and smeared in a thin film over the glass1 dry in twelve hours so that the finger may be passed over it without sticking4 ,what has here been said in reference to chemical purity or strictly pure as a necessity in the white lead product does not apply to all the pigments so useful to the vehicle painter4 ,for reasons here shown lead extenders and lead compounds should be emphatically objected to4 ,a disavowal of their worth as carriage painting pigments1 however1 in no wise lessens the significance of the fact1 as already pointed out1 that a strictly pure lead is very often an expensive1 if1 indeed1 it be not a worthless1 lead to buy4 ,chemically pure is not invariably an accurate gauge of quality4 ,a chemically pure lead that has not fineness to recommend it lacks an essentially vital quality4 ,in respect to the pigments and colors following in the wake of white lead it has been made plain on many a hard-fought field of experiment that the color consumer1 the practical painter1 the workman far removed from the analytic gentleman of the laboratories1 is chiefly concerned in getting a pigment or color adapted to his needs more completely than any other available one4 ,it may not be chemically pure as the chemists would construe the term2 but if it responds satisfactorily to a practical test1 it is then serving the painter's practical need4 ,as declared by the writer1 in an article published some time ago1 a color or pigment may be pure in the sense that it is not adulterated1 and still fall short of being chemically pure4 ,it is the duty of the consumer to avoid buying1 under the label 'strictly pure1' an adulterated color4 ,the real color contained in such a product is then costing him considerably more than would a color in a state of purity4 ,the chemist and the practical painter do not agree oftentimes upon what may be called adulterants4 ,once upon a time1 as the fairy books say1 at a painters' convention the chemist employed to make an analysis of chrome yellow stated in substance that practically everything outside of the chromate of lead should be classed as an adulterant or as a matter out of place4 ,the practical painter who has looked up the subject of chrome yellow manufacture could tell the chemist in this case that he has signally failed to take into consideration the necessary constituents of the different shades of chrome yellow4 ,as1 for example1 acetate and nitrate of lead1 bichromate of potash and bichromate of soda1 sulphate of soda1 etc41 are constituents of a pure chromate of lead4 ,and our friend1 the chemist1 would tell us that a chromate of lead composed of some of the above ingredients is not a chemically pure article4 ,what the carriage painter1 the consumer1 will find it of value to ask himself is this3 ,does a given pigment or color suit the requirements of my business8 ,if in doubt as to the utility of the given pigment or color1 then an immediate practical test should be resorted to4 ,it is not the purpose of the writer to belittle the position or the usefulness of the chemist4 ,the value of a chemical analysis in the detection of adulteration and in explaining how a color is made is cheerfully acknowledged2 but after the chemist's deduction must follow the practical test4 ,in conducting a practical test the foremost aim of the painter should be to consider the color or pigment to be tested in relation to the object for which it is intended4 ,shade1 brilliancy1 working property1 durability1 etc41 are entitled to a careful and chief consideration in a test for quality4 ,and a test for quality1 if conducted painstakingly and thoroughly1 will disclose the real value of the material to the consumer4 ,when extenders are added to a pigment for the sole purpose of enriching the manufacturer at the expense of the consumer1 the practice becomes adulteration1 pure and simple4 ,if1 however1 such extenders are used to1 and actually do1 increase a pigment's usefulness1 fortifying it in a way and to an extent that it needs to be fortified1 the painter will not attempt to question its commercial value4 ,the study of the pigments which the vehicle painter calls to his uses is a feature of business deserving the most rigid attention4 ,carried on watchfully and with a vigilant regard for details1 it cannot well fail to increase paint shop profits4 ,,liquid ,,materials4 ,in the consumption of liquid materials the vehicle painter has no use for extenders4 ,unfortunately1 however1 the thrifty and shifty sons of adulteration1 after the manner of ,marco ,bozzaris1 in the ,fourth ,reader1 are struggling1 tooth and nail1 to adulterate linseed oil and the turpentine product in a way to defy detection4 ,what the cathode ray is to a certain branch of science1 pure raw linseed oil is to carriage and wagon painting4 ,back in a somewhat indefinite period of the past1 linseed oil pre-empted the chief claim in the domain of paint and varnish1 and its right to a royal office in that domain has never yet been successfully disputed1 notwithstanding the fact that a flood of substitutes and counterfeits have been turned loose upon the market4 ,in the language of another1 ,raw linseed oil is the king of the paint realm4 ,there are lots of usurpers in the field but they are short lived4 ,the true homage of the brotherhood of the brush continues to be paid to the old stand-by4 ,it is the gold of the paint shop currency4 ,in the basic stage of carriage and wagon painting1 pure raw linseed oil is conceded to be the life of the pigment4 ,impure or adulterated linseed oil--the spurious1 fraudulent article1 if you please--has more to do with the premature decay of paint and varnish than one at first thought might concede4 ,during the process of painting there are numerous complications which1 by the harsh reality of scientific analysis1 could be directly traced to the insidious effects of an adulterated brand of oil4 ,investigations conducted by competent experts have shown that the self-assertiveness of adulterated oil is determined1 not so much by apparent unfavorable effects upon the under coats1 but rather from its resistless attack upon the lustre and durability of the finishing varnish4 ,some of the oils used to adulterate linseed oil are pronounced by such authorities as ,hurst and ,terry to be good driers1 although1 as in the case of rosin oil1 they may seemingly dry good upon the surface only to soften up later on4 ,and provided these adulterant oils are not good driers1 the people engaged in floating them along the avenues of trade have simply to add a certain proportion of drying japan to ,o4 ,k4 them in this respect4 ,the vehicle painter's practice of using raw linseed oil insures him somewhat against oil adulteration1 as it is much more difficult to adulterate the raw linseed product than the boiled and have the fraud go undetected4 ,a raw linseed oil when fresh and new is of a bright yellowish-green color1 and as it grows older it becomes paler in color and perhaps a little brighter4 ,when spread on a surface in a thin film and exposed to a pure dry air it will harden quite solidly in from forty-five to fifty hours4 ,it ranks as reliable drying oil1 promptly solidifying when acted upon by peroxide of hydrogen or by subnitrate of mercury4 ,a non-drying oil refuses to show a change of this kind4 ,combining powerfully with oxygen1 it offers1 when dry1 a stronger resinous character than any other oil4 ,probably the chief adulterants of linseed oil should be listed as rosin1 mineral1 and fish oil2 cottonseed oil being looked upon with less favor than formerly1 while hempseed oil1 owing to its pronounced tendency to change color1 is not much in evidence at present4 ,rosin oil is strictly an unreliable drier4 ,it toughens the working property of paint and is deficient in all the essentials which should distinguish a good paint oil4 ,its low flash point1 as indicated by ,hurst1--#cjj to #ccj ,f4--together with its strong rosin odor when heated1 would appear to make it an easily-detected adulterant4 ,deodorizing processes have of late served to fortify this oil1 and fish oil as well1 against detection by the sense of smell4 ,fish oil1 chiefly the product of the menhaden fishing industry flourishing so vigorously along the ,atlantic coast1 has naturally an offensively fishy odor1 particularly when heated4 ,its main recommendations as a linseed oil adulterant are tersely summed up by ,terry as follows3 ,the rapidity with which it oxidizes1 and its good body1 render it not unsuitable as a vehicle for paint4 ,the low cost of mineral oils1 including coal oil and petroleum1 has caused them to become highly regarded as linseed oil adulterating mediums4 ,mineral oils more unfavorably affect the drying property of paint than its working and spreading property4 ,cottonseed oil belongs to the non-drying class of oils1 but since recent processes have made possible the elimination of the pronounced acrid taste1 its presence in linseed oil by the sense of taste is not easy to expose4 ,hempseed oil is a mean tasting1 mean smelling1 but good drying oil1 and only because of its rapid color changes1 wearing finally to a dull brown1 is its employment in linseed oil restricted to narrow limits4 ,in testing for linseed oil adulteration1 ammonia is often effectively used1 equal parts of the ammonia and oil being employed4 ,cottonseed oil under the ammonia treatment shows an opaque brown4 ,when it is present in linseed oil the liquid goes to an opaque yellow4 ,fish oil under the effects of ammonia goes white4 ,rosin oil will disclose its presence in linseed oil if confined in a bottle1 with alcohol added in the proportion of five parts of alcohol to one part of oil1 and smartly shaken1 the alcohol afterwards being poured off4 ,a clear sugar-of-lead solution is added to the oil1 and should rosin oil be an ingredient a cloudy precipitate will manifest itself4 ,a practical and simple test often used in the carriage paint shop consists in taking a couple of test tubes and putting a quantity of linseed oil of known purity in one tube and a quantity of suspected oil in the other1 then immersing the tubes in warm water for1 say1 #a_/d of an hour1 and immediately upon removal from the water pouring the pure oil into the tube of suspected oil4 ,if any impurity exists1 different colors will form in layers4 ,and it may be here proper to say1 in passing1 that in making tests and comparisons of materials1 an article of established purity and quality should be used as a standard4 ,some time ago a well-known paint firm issued a card giving some easy and practical tests for the detection of linseed oil adulterants1 and knowing their value to the vehicle painter1 the writer herewith appends three tests3 ,no #a4--,shake equal parts of oil and strong nitric acid in a small white glass vial or bottle1 and allow to stand from fifteen minutes to two hours4 ,,upper ,,lower ,,stratum ,,stratum ,pure ,muddy ,almost ,linseed oil olive green colorless ,presence of ,decided deep ,deep red or ,fish oil red brown cherry color ,no4 #b4--,shake with concentrated solution of potash or soda1 and then add warm water and shake again4 ,allow to stand half an hour1 and if any petroleum 7paraffine oil7 is present it will separate from the soap4 ,no4 #c4--,put samples of oil in tubes and place them in a freezing mixture 7#b parts ice or snow1 #a part salt74 ,if the oils solidify at #j or #aj to #ac ,f41 then cottonseed oil is probably present4 7,pure linseed oil solidifies at #ag ,f47 ,the hydrometer should be among the possessions of every well-regulated paint shop4 ,it is an inexpensive little instrument1 and for testing turpentine it is unsurpassed1 while for the detection of cottonseed and mineral oil in linseed oil it is a quick and active agent4 ,first test a brand of linseed oil of absolute purity2 and such an oil1 bear in mind1 should not vary #a_/b degree from #bj to #fj ,fahr4 ,in the case of a #bj addition of mineral oil to linseed oil 7the same temperature being maintained in testing both the pure and the suspected samples7 the specific gravity will be #a-a_/b less than the pure oil4 ,a #be addition of cottonseed oil will be #a lower4 ,fish oil being of about1 if not quite1 the same specific gravity as pure linseed oil1 the adulterator can beat the hydrometer4 ,pure raw linseed oil is so essentially a part of durable carriage and wagon painting that especial attention should constantly be directed to the oil supply4 ,in respect to his purchases of turpentine the painter should be likewise cautious and investigating4 ,the adulteration of turpentine with headlight oil1 or a lower grade of kerosene1 and with #aab fire test oil has been1 and continues to be1 actively carried on4 ,this #aab fire test oil1 as employed in small southern distilleries not shadowed by inspectors1 shows a list of ingredients closely corresponding to1 heavy paraffine oil #a_/c2 kerosene1 #a_/c2 light oil1 #a_/c4 ,thus a gravity is provided which registers about the same as pure turpentine and is therefore very difficult to detect4 ,the naval authorities practice--and it is said1 successfully--the old-time test of dropping the suspected turps on a piece of white paper alongside of a pure brand of turps and watching the result4 ,the turps containing the #aab fire test oil will leave1 upon evaporation1 a faint but decided greasy stain4 ,pure turpentine not too rapidly distilled will leave no spot4 ,the turpentine containing traces of the crude gum due to too rapid distillation will impart a sticky1 yellowish-white stain to the paper and this the painter should not confound with the afore-mentioned greasy stain of the adulterated turps4 ,in our ,eastern1 ,middle1 ,western1 and ,northwestern cities the practice of kerosene oil injection is the favorite method of cheating the consumer4 ,the sense of smell will sometimes detect the presence of kerosene2 the white paper test will sometimes expose it2 and again both tests will fail1 along with the other usual ones4 ,while so keen an authority as ,mr4 ,geo4 ,b4 ,heckel1 of ,drugs1 ,oils and ,paints1 has acknowledged that the adulterators can cheat the hydrometer to a certain extent1 it cannot be done with the same measure of profit and impunity as formerly4 ,mr4 ,heckel has publicly advised consumers to insist on #ca turps1 prefacing the advice with the following noteworthy declaration3 ,if ,i were a painter ,i would never accept a gallon of turpentine without sticking a hydrometer into it1 and if it registered above #ca-a_/b or below #cj-a_/b ,i would not accept it from the ,united ,states ,treasury4 ,what vehicle painter vested with the authority of purchasing the turpentine supply for a painting business1 be that business big or little1 can afford to disregard ,mr4 ,heckel's admonition8 ,to pay turpentine prices for kerosene oil is a disastrous drain upon the resources of a painting business1 in addition to furnishing the materials used an element of insecurity1 a germ of decay1 sure to disturb the durability and comeliness of a painted surface4 ,for it is1 or should be1 in fact1 clearly understood that the kerosene or fire test oil adulterants do not evaporate like turpentine when put into a pigment and spread upon a surface4 ,they strike into the wood or pierce the nether coat of pigment1 causing1 later on1 the flaking and peeling of the pigment2 or they retard the drying of colors2 and again1 they lend a peculiar roughness to the surface1 like unto that imparted by benzine when used in a fine coach color4 ,the carriage and wagon painter has substantial reasons for being interested in coach japans1 for upon their quality and judicious employment the durability of his work greatly depends4 ,the many and beautiful colors which he uses almost daily are japan ground1 and the pigments and colors shop-mixed are invariably fortified with the ever-useful coach japan4 ,the wide variety of names applied to the drying materials used in the painting business has been the source of annoyance and confusion to the practical mind4 ,in reality1 however1 there are but three kinds--coach japan1 specially adapted for colors to be quickly dried and containing no oil2 liquid drier 7or dryer7 intended for the drying of oil and oil paint2 and patent driers purchased in paste form1 effective only when used in conjunction with oil4 ,the patent driers are so little used at present that they scarcely merit a notice4 ,coach japan1 with the merits of which the carriage painter has a right to be concerned1 being chiefly used1 as before stated1 in colors containing no oil require1 for purposes of protection and as a service-insuring medium1 blanketing under one or more coats of varnish4 ,it is not to be understood that coach japan will not combine with and dry oil colors2 its power in this capacity1 however1 is less than that of a liquid drier1 while its gummy nature shows a tendency to cause surface disturbances of the cracking and blistering order--most emphatically so when strictly exact proportions are not maintained4 ,its adaptability1 therefore1 is best confined to colors containing no oil4 ,so much of uncertainty1 so much that is injurious and fatal to the durability of colors1 is embraced in the employment of japan in excessive quantities or of an inferior grade that the painter should not be slow in determining1 by practical tests1 both strength and quality4 ,and to make such tests easy1 not to mention other convincing reasons1 need we invoke the purchaser's attention to the importance of buying only standard makes8 ,a first-class coach japan1 as a rule1 will show a color moderately light1 and when mixed with oil should manifest no disposition to curdle4 ,such a japan1 too1 should1 when floated in a thin film over a glass or other strictly non-porous surface1 dry firm and without brittleness in four hours4 ,to observe how the japan unites and assimilates with linseed oil1 take a pane of window glass1 that furnishing a surface non-porous and decidedly free from suction1 and attaching a sheet of white paper on one side as a means of better showing the action of the oil and japan1 drop on the reverse side of the glass about four drops of raw linseed oil4 ,then affix1 say1 a single drop of japan in close proximity to the oil1 immediately inclining the glass so that the japan may come in contact with the oil4 ,if the drier promptly unites and takes kindly to a close relationship with the oil without curdling or showing other evidences of disagreement1 it will merit the approval of the painter4 ,another easily-conducted test consists in comparing the japan of unknown quality with one of acknowledged merit1 by taking the samples and confining them in bottles containing raw linseed oil1 shaking the contents and then standing aside for at least twenty-four hours4 ,the proportions of oil and japan may be in the ratio of #e parts of oil to #a part of japan1 exactly the same proportions being adhered to in all the samples tested4 ,at the expiration of twenty-four hours one can see which sample mixes best with the oil4 ,the samples then poured in a thin film over a piece of glass and allowed to stand will determine the drying property of each4 ,it will also be useful to learn by observation and comparisons if the japan holds well in solution4 ,a japan that fails to do this is not valuable in carriage and wagon painting4 ,study should be made as to how and to what extent the japan effects the light and delicate colors at present so extensively used4 ,in point of fact1 the painter should not weary in investigating the qualities and characteristics of his coach japans1 and what they are capable of doing4 ,to establish their real value will mark an achievement of the first order in the economy of painting4 ,in regard to varnishes the buyer can find no excuse for putting aside the fact that quality and not price should determine the value of his supply2 and1 happily1 he has it within his power in the active prosecution of his business to demonstrate the good or bad quality of varnish4 ,it may frequently prove an expensive experiment2 and herein is disclosed an apparently good and sufficient reason for the painter's disinclination to change from the use of one make of varnish to another4 ,the varnishing stage of painting may be said to be in a critical period at all times1 and having established the quality of his varnish supply1 the responsible party in the matter is naturally opposed to changing in favor of a make with which he is not practically acquainted4 ,at the same time1 a practical test of different strictly reliable makes is the only way of deciding to one's own satisfaction which is the best1 and the most economical to buy4 ,any first-class finisher can very soon determine the working property1 brilliancy1 depth of lustre1 drying quality and general behavior under varying circumstances and conditions of different varnishes4 ,nevertheless1 that primary requisite1 durability1 is not so easily nor so promptly established4 ,this essential quality can be determined only after protracted trials upon vehicles engaged in active service1 the painter retaining carefully tabulated data bearing upon each make of varnish under observation1 the character of the service to which it is exposed1 etc4 ,thus1 in due season1 may the actual merits of a varnish be defined4 ,,chapter ,,xv4 ,,cutter ,,and ,,sleigh ,,painting3 ,,decorative ,,aspects ,,of ,,the ,,work--,,the ,,various ,,processes ,,of ,,painting ,,employed--,,the ,,prevailing ,,colors--,,striping ,,and ,,scrolling--,,repainting1 ,,revarnishing1 ,,profits ,,to ,,be ,,realized1 ,,etc4 ,cutter and sleigh painting are justly esteemed interesting parts of the art of vehicle painting4 ,coming at a time when the ordinary activities of vehicle painting are practically at a standstill1 the cutter and sleigh painting business furnishes a medium for profits gleefully taken advantage of by the average factory and jobbing shop painter4 ,in one way1 it must be confessed1 this branch of painting has fallen off in attractiveness4 ,the elaborate decorative effects once so largely in the full favor of fashion have been discarded1 and many workmen competent to accomplish such effects have become lost in other pursuits4 ,but in these days the painter should be prepared for any emergency2 hence it is best that cutter and sleigh decorative work be given study1 and skill to execute such work be kept in hand or acquired by practice4 ,now and then comes a call for a cutter or sleigh ornamented in the old-fashioned way with elaborate arm pieces1 etc4 ,the jobbing shop painter especially is very frequently confronted with opportunities for the practice of decorative painting in a variety of ways1 and to fulfill his mission as an important community artisan he should be prepared to do the work4 ,the very low prices paid for cutter and sleigh painting at the present time have proved an effective factor1 no doubt1 in considerably restricting the limitations of decorative painting4 ,at the same time1 there is every reason to believe that the conspicuous absence of fine decorative effects in cutter and sleigh painting is also due1 to a large extent1 to the inability of the average latter-day workman1 located in provincial centres1 to fittingly produce them4 ,upon the modern ,portland style cutter elaborate ornamentation would perhaps be out of place2 but upon many of the runner vehicles of ancient and honorable vintage1 which the beauteous ,belle of ,fashion has decreed to be the proper thing1 a generous measure of decorative work would be appropriate4 ,swell sleighs of more recent pattern take kindly to lavish ornamentation built upon rather delicate lines4 ,these conditions1 therefore1 warrant the painter who deeply desires to command profits and success in cutter and sleigh painting1 in cultivating a ready skill and dexterity along the lines of ornamental work4 ,illustration3 ,,fig4 #a4 ,surface perfections have grown to be important considerations in the economy of sleigh painting of the best grade4 ,while none but the very finest class of cutters and sleighs are given surfaces rivalling in smoothness and quality those reflected by the best class of carriages1 still1 first-class surfacing remains a chief feature of sleigh painting1 excepting at all times the seven-for-#ajj vehicles4 ,and in respect to this latter class of jobs1 the results achieved in the way of surface effects are often surprising1 due chiefly to the very heavy coats of varnish applied4 ,and here the reader may deem it pertinent to ask for a review of the systems and methods practiced in painting and finishing cutters and sleighs4 ,illustration3 ,,fig4 #b4 ,in the painting of runner vehicles of the best order the jobs are primed throughout1 bodies and running parts 7and this includes inside of bodies1 under surface--everything1 in fact1 not covered with iron71 with oil and lead primer4 ,permitting this coat to dry thoroughly1 a light sanding with1 say ,no4 #a_/b sandpaper1 is given1 and then a coat of lead containing enough raw linseed oil to bind the pigment securely without giving it a gloss is put on4 ,use an oval or round bristle brush to apply the lead to the body1 and for the running parts use a camel's-hair brush1 this latter tool being best adapted to lay a uniform depth of pigment over the sharp edges and small surfaces of the running parts4 ,upon this coat putty both body and running parts draw-puttying all open-grained portions of the surface4 ,forty-eight hours after puttying begin rough-stuffing the body1 using for the 'stuff equal parts of any good ,american filler and keg lead1 by weight1 reducing to a thick paste in equal parts of quick rubbing varnish and japan1 then cutting to a brushing consistency with turpentine4 ,this is a two-coat-per-day 'stuff4 ,apply four coats of the 'stuff1 then a guide coat of yellow ochre and set aside for a few days4 ,after rubbing the surface out 7full instructions for rubbing roughstuff may be found in ,chapter ,,iii4 of this series7 give it plenty of time--twelve or fourteen hours at least--to dry out4 ,then lightly sandpaper with ,no4 #j paper1 dust off1 and give first coat of color4 ,illustration3 ,,fig4 #c4 ,the proper color foundation being secured1 apply two coats of rubbing varnish1 either both clear or one clear and one color-and-varnish1 the character of the color foundation determining the selection1 and then follow with a heavily flowed on coat of finishing varnish4 ,in case color-and-varnish be used1 the striping and ornamental work had best be done on this coat1 as upon work of this quality the ornamentation will require the protection of a rubbing1 as well as a finishing1 coat of varnish4 ,the running parts require sandpapering1 then one coat of color-and-varnish1 then striping and finishing4 ,this system1 intended exclusively for high class work1 requires a very thorough carrying out1 with no neglected details from priming coat to finishing1 if a satisfactory degree of excellence1 both in finish and durability1 would be maintained4 ,another system1 in which roughstuff does not figure1 consists of giving body and gear1 when received from the wood shop1 a coat of lead1 ochre1 and oil priming4 ,when the irons are attached1 the job is sandpapered and a coat of lead containing a durable binder of oil is given4 ,the wood and iron are alike coated with this mixture4 ,the panels of the body are next1 in due season1 plastered with putty 7see ,knifing ,head ,formula ,no4 #a1 in ,chapter ,,iii471 the pigment being firmly forced into the grain of the wood4 ,aim to get a very smooth application of the pigment in addition to a complete fullness of the wood pores1 to the end that the surface cells may be sealed against graining out and that the labor of sandpapering may be reduced to the minimum4 ,illustration3 ,,fig4 #d4 ,the first coat of color is furnished with a binder of oil and should not be recoated until the day following4 ,add varnish as a binder for the second coat of color4 ,a single coat of rubbing1 and one of some hard drying finishing varnish often suffices to complete the finish4 ,if a better job is desired an extra coat of rubbing is given4 ,the striping1 corner pieces1 etc41 are done on the flat color4 ,the running parts are puttied on the priming coat1 exposed parts of open grained surface draw-puttied1 sandpapered1 given one coat of color1 coat of color-and-varnish1 striped1 and finished with a heavy bodied1 hard drying finishing varnish4 ,again1 for medium priced sleigh work a factory system consists of applying some reliable liquid wood filler to the job throughout1 then a little later wiping the surface over with soft1 clean rags4 ,the work is allowed twenty-four hours in which to dry out1 when the body is given a coat of roughstuff mixed in the proportion of #c lbs4 of filler to #a lb4 of keg lead1 equal parts of japan and rubbing varnish being used to reduce it to a heavy paste1 and turpentine employed to cut it to the proper working consistency4 ,putty on this coat of 'stuff4 ,then apply1 at the rate of two coats per day1 a roughstuff made according to the first formula given herewith4 ,three coats of this stuff should suffice4 ,rub out with rubbing bricks1 color and finish out as previously advised4 ,the running parts are puttied upon the filler coat1 draw puttied wherever needed1 then colored1 given color-and-varnish1 striped and finished4 ,in some shops the roughstuff is discarded altogether1 the wood filler being filled over with a couple of lead coats1 the first coat containing an oil binder and the second one containing no oil at all4 ,this lead foundation is surfaced down with sandpaper1 dusted off1 and a wash of quick hard drying rubbing varnish1 thinned down about one-half with turpentine1 given4 ,the surface is then finished out in the usual way4 ,the running parts are treated as described in the liquid wood filler process previously given4 ,illustration3 ,,fig4 #e4 ,the anti-kalsomine system concerning which considerable discussion was had somewhat recently amounts to this3 ,the jobs are primed throughout with oil1 yellow ochre1 and perhaps a little lead4 ,the bodies are then taken in hand and all necessary puttying done4 ,the anti-kalsomine1 the fixer or binder of which is cement1 is next mixed to a working consistency with hot water and applied hot4 ,it is best to allow the first coat of kalsomine to stand over night before being recoated1 although in the factory system three or four coats of the cement1 always applied hot1 are put on per day4 ,then a liquid mixture of oil1 japan1 and turpentine1 in the proportion of two parts of oil to three parts of japan1 and one part of turpentine1 is flowed over the kalsomine foundation4 ,this liquid wash serves to weld or amalgamate the cement with the priming coat4 ,the sandpapering of these anti-kalsomine foundations is one of the principal draw-backs to the use of the cement4 ,it sets in motion flotillas of dust1 stifling and suffocating to an extreme4 ,it has been noted1 however1 that this anti-kalsomine treatment has furnished some fine wearing and very durable surfaces4 ,illustration3 ,,fig4 #f4 ,the carriage painter in practicing his trade as it applies exclusively to carriages is confined to a comparatively few colors1 but in devoting his skill to cutter and sleigh work an extended variety of colors may be used4 ,artistic instincts are in good demand in the cutter and sleigh painting business4 ,possibilities for the harmonious combination of colors exist here to an extent not known of in the other branches of painting4 ,colors sombre and gay2 emblematic of this1 that1 or the other thing2 old-fashioned as the days of witch burning or as modern and up-to-date as the '#ig color grinder can make them1 are all alike acceptable in the sight of the people who love a sleigh ride4 ,some painters have a great liking for siennas and umbers as body colors for sleigh work4 ,toned down some they do gleam very showily under varnish4 ,such colors striped with aluminum or gold and edged with a fine line of red give a strikingly handsome effect1 especially if the running parts are painted in some one of the beautiful light reds at present available2 or a lighter shade of the body color can be advantageously employed upon the running parts4 ,perhaps the lighter styles of cutters1 speeding cutters1 for example1 take more kindly to the light and showy reds as running-parts colors than do the vehicles of heavier build1 but all styles1 nevertheless1 permit of brilliant color effects in the treatment of running parts4 ,for a light track or speeding cutter1 color the side and back panels medium ultramarine blue2 the dash1 carmine2 running parts1 a very light carmine4 ,stripe the panels1 #a_/d inch line of gold with a fine line of carmine4 ,the dash and running parts may be displayed with striping of black and gold4 ,portland cutters for ordinary service show handsomely with the body panels done in ultramarine blue1 moldings blacked1 with the running parts done in the lightest shades of the ultramarine blue1 the job then striped throughout with a primrose yellow stripe4 ,or again1 these cutters are painted deep carmine throughout the body1 with light carmine running parts4 ,the striping on body consists of #a_/h inch line of black1 and #c_/h inch inside of that is flashed a fine gold line4 ,a ,portland amber color for the body1 with a lighter shade of the same color for the running-parts1 looks fetching1 notably so when the body panels are striped with double lines of carmine1 the ornamental corner pieces being done in carmine of a lighter shade4 ,the running parts may get a single #a_/h inch line of carmine4 ,then one can see in the cutter and sleigh centres ,portlands done in ashen-grey1 canary and lemon yellow1 etc4 ,one of the largest cutter and sleigh factories in this country has this year abandoned the double fine line style of striping so greatly in evidence for several years past1 using instead1 as a rule1 a #a_/h-;inch carmine stripe--obtained by glazing carmine over a yellow base--with a distance fine line of gold running inside of it4 ,at this establishment one can see a jaunty ,portland painted pure white1 with the body striped a #a_/h-;inch blue line with a distance fine line of red4 ,here also are to be seen beautiful amber browns1 charming greens1 elegant yellows of the primrose1 orange1 canary order and extending down to the delicate cream colors4 ,but1 on the whole1 those cutter and sleigh builders and painters who cater to the worshipers at ,fashion's shrine show a determination to adhere to the dark rich colors1 such as browns1 greens1 and blacks1 for panel work4 ,cutters with running parts painted in colors different from those used upon the bodies are not so much in evidence as formerly4 ,where the dark colors promise to remain in high favor with a large class of the very exclusive folk for some years to come1 no strict adherence to such colors may be expected on the part of the general cutter-and-sleigh-using public4 ,,striping1 ,,corner ,,pieces1 ,,scrolls1 ,,etc4 ,in the striping of cutters and sleighs the real basis of success is a judicious selection of colors4 ,it has been a common saying in factory circles that anything in the way of colors1 hit or miss1 goes in sleigh painting when the ornamenting is reached4 ,but this should not be so2 in point of fact1 it is not so in those establishments doing a good class of work4 ,a riotous jumble of colors thrown into a fine line corner piece or scroll is an abominable exhibition of bad taste4 ,there is nothing1 we dare say1 that so completely stamps the cheap cutter or sleigh with a glaring badge of cheapness as the ornament constructed from an inharmonious selection of colors and dotted to beat a ,baxter ,st4 vest lining4 ,the dotter has no business striping or ornamenting the modern cutter or sleigh4 ,the ornamental features of sleigh work need to be of a very high order of excellence4 ,otherwise it fails to correspond to the quality of finish which now obtains in all first-class establishments where sleigh work is carried on4 ,in this connection the reader's attention is directed to examples of fine line ornaments adapted to ,portland cutters and sleighs2 also to examples of the bold1 handsome relief scrolls once so extensively used1 and which show so beautifully upon cutters and sleighs of the swell body pattern4 ,illustration3 ,,fig4 #g4 ,ornaments ,nos4 #a1 #b1 and #c are quick pencil sketches for panel corners4 ,the writer contributed these pieces to ,the ,hub some time ago and their reproduction must be credited to the courtesy of that journal4 ,no4 #d is used upon the dashes of ,portland cutters1 speeding sleighs1 etc4 ,two distinct corner pieces are shown in this design1 thus illustrating the possibilities of variation in respect to the corner designs employed4 ,no4 #e is a corner piece designed for ,old ,comfort and ,empress cutters4 ,this piece may be done in three or four shades of red1 or it may be placed in gold and high lighted in relief style4 ,in ,no4 #f is to be seen a very attractive design for the dash or rear panel of a large four or six passenger sleigh4 ,no4 #g is expressly intended for swell body cutters and represents an ornament familiar to many old-time painters4 ,it is a decidedly effective scroll and will afford the student in scroll work a good working plan for further effort4 ,nos4 #h and #i explain the style of the good-old fashioned scrolls which1 when ably executed1 may be declared the poetry of ornament4 ,vehicle painting lost one of its chief charms when the relief scroll was abandoned1 and we say speed the day when it is welcomed back to its old time uses and prestige4 ,then fortunate indeed will be the painter who is able to do relief scrolling4 ,illustration3 ,,fig4 #h4 ,transfer ornaments of the small patterns are still used and they really furnish happy little surface beautifiers at small cost4 ,one can quickly master the work of successfully applying transfers or ,decalcomanie1 as our friends of the genteel speech may say4 ,cut the transfer down close to its true outlines1 and then to the back of the ornament apply a size of finishing varnish and japan gold size4 ,when this has reached the right tack1 it is placed in position on the surface4 ,it is then given a few minutes to fasten itself securely upon the surface1 after which it is washed over with clean water until the covering over the face of the transfer is sufficiently moistened to free itself1 when lo6 the ornament in all its freshness and coloring of raiment is revealed4 ,the washing of the transfer is something of a delicate operation as it is a perfectly easy matter to disfigure the ornament or flood it out of position by careless practices4 ,illustration3 ,,fig4 #i4 ,,repainting ,,cutters ,,and ,,sleighs1 ,,revarnishing1 ,,etc4 ,cutters and sleighs for repainting1 revarnishing and brightening up generally should be got into the paint shop as soon as possible after the carriage work declines in the late fall4 ,this enables the painter to avoid the rush which is sure to be upon him with the first run of sleighing4 ,it also enables him to do more satisfactory work in several ways4 ,the work taken in early has a measure of time given it while being carried through the several processes not accorded that received late in the season4 ,varnish coats given proper time to dry not only surface up better but wear and retain their brilliancy longer1 and do not fire crack when run out in the cold4 ,upon the average class of cutters and sleighs a less expensive varnish1 as compared to that used upon first-class carriages1 will serve all necessary purposes4 ,expensive finishing varnishes are not needed4 ,cutters and sleighs are not exposed to the severe and destructive forms of service that wheeled vehicles are1 consequently they do not require highly elastic finishing varnishes to furnish the needed durability4 ,they are in service for only a comparatively small part of the year1 and mud spotting and troubles of that order do not intrude themselves4 ,save in the case of the highest-class sleigh work1 a first-class gear finishing varnish will furnish satisfactory results for finishing cutter and sleigh bodies4 ,a heavy gear varnish will answer perfectly for the running parts4 ,but in this selection of varnishes choice should always fall upon those of first-class quality4 ,whatever the grade1 get the best in quality of that grade4 ,first-class paint and varnish stock is more handily worked and will cover more surface than inferior stock1 and judged from any point of view one may elect it is the most economical material to buy4 ,when a cutter or sleigh comes in for a thorough repainting1 examine the vehicle closely and if the body can be removed without too large an expenditure of labor1 removal should be insisted upon4 ,there is usually considerable dirt under the edges of a cutter body that cannot be cleaned out except the body be taken off4 ,and a little of this dirt caught up in the paint or varnish brush worketh evil to the whole job4 ,moreover1 the brushes brought in contact with such accumulations of dirt are unfitted to produce pleasing results in the immediate future4 ,the touch-up-and-varnish sleigh job is1 in the main1 a troublesome affair1 especially the running parts4 ,the merry and pretty colors which chiefly obtain on sleigh running parts painted in former years are not so easily matched as the colors used upon the bodies4 ,in point of fact1 it doesn't pay to devote much time in trying for a match4 ,instead1 mix a color to about the shade of the old color and go over the running parts entire4 ,then restripe and finish1 and in the great majority of cases money will be saved thereby4 ,in rubbing cutter or sleigh work furnished with heavy moldings out of varnish1 use1 for surfacing such moldings1 any varnish brush of a small pattern worn to a stub4 ,cutting through on the edges of the moldings is nicely avoided in this way4 ,for the large panels on sleigh work a #c-;inch finishing brush will serve as the best tool4 ,it carries a greater quantity of varnish and enables the finisher to coat the surface quicker than he could do with the smaller brush4 ,in finishing the quick and adroit placing of the varnish is an item of chief importance4 ,during the sleigh season there usually drifts into the jobbing paint shop a lot of not very particular work4 ,as for example1 heavy work1 sleighs1 bobs1 etc4 ,upon such work there may be used the accumulated odds and ends of colors of various shades1 hues1 and tints1 left over from doing sleigh work of a better class and from carriage work4 ,some very neat combinations may be effected by the judicious employment of these left-over bits of color1 and it helps to slick up and put into profitable use certain materials which otherwise might eventually find their way into that quagmire of the paint shop--the slush keg4 ,briefly stated1 cutter and sleigh painting opens the way for the employment of considerable material which cannot be termed strictly available in the other branches of painting2 it comes at a time when the painter is better able to appreciate a lean loaf than a fat icicle2 and if conducted according to business-like and workman-like practices it will supply a handsome source of profits4 ,,chapter ,,xvi4 ,,leaves ,,from ,,the ,,paint ,,shop ,,diary--,,pertinent ,,points ,,on ,,practical ,,matters--,,blending ,,of ,,colors--,,spontaneous ,,combustion--,,painting ,,in ,,silver ,,bronze--,,the ,,french ,,painters' ,,varnish ,,room--,,remedy ,,for ,,rusted ,,carriage ,,springs--,,painting ,,metallic ,,surfaces--,,thinning ,,varnish--,,etc4 ,at best the carriage painter's existence is somewhat hazardous1 his every-day scene of toil being well laden with poisonous fumes and fetid exhalations4 ,in the painting of a hearse1 ambulance1 or dead wagon the precaution of disinfecting the vehicle most thoroughly should be taken4 ,carbolic acid1 carbonate of lime1 or1 if one prefers1 numerous ready prepared disinfectants of penetrating composition may be used generously4 ,prudence dictates the policy of refusing to take any chances when working in and about a vehicle possibly afflicted with the germs of some deadly contagious disease4 ,it is not always an easy matter to clean the glasses in heavy coach work unless special methods are practiced4 ,here is a quick way of cleaning besmeared glasses of the kind named4 ,saturate a soft sponge with wood alcohol and wipe over both sides of the glass4 ,if perchance varnish or paint accumulations are in evidence the alcohol softens them and a quick runaround with a keen-edged putty knife removes them4 ,if a careless or incompetent workman has badly bedaubed a glass1 coat the daubs with oxalic acid4 ,the action of this powerful liquid will very briefly soften up the accumulations so that the putty knife will nicely slick them off4 ,then give a rub over with an alcohol-charged sponge1 this to be immediately followed by a smart polish with the chamois skin4 ,if a still better polish is desired1 take a newspaper1 roll it into a shape that will permit rubbing the glass without bringing the fingers in contact with the surface1 and then dipping the paper into dry lampblack proceed to burnish both sides of the glass4 ,the blending of colors has lately become an important feature of the carriage painter's art4 ,this was at one time considered purely a matter of business belonging to the artist1 but it is not now so regarded4 ,artistic1 and therefore harmonious1 color blending consists in preserving the individuality of each color employed1 while at the same time there is an almost unconscious merging of one color into another4 ,no distinctive lines are allowed to disturb the harmony of the work4 ,the carriage color blender1 like his brother artist of the palette and three-story studio1 aims to obtain a thorough incorporation of all the different shades of color employed upon a certain piece of work so that the blending from light lo dark may be made without resorting to any glaring contrasts4 ,the blending is accomplished while the colors are wet1 the ground being laid first in the lighter colors1 then working in the darker shades until the darkest desired shade is reached4 ,great care is necessarily expended upon the tools1 etc4 ,a color-clogged brush need not be expected to do good blending service4 ,no arbitrary rules can be given within which to confine the work of blending--it is too closely allied to art for that4 ,supremely necessary aids to success in this field of work consist of plenty of practice taken in connection with intelligent study of outline1 harmony1 and contrasts4 ,if it is desirable to varnish a job of gilding the same day the leaf is laid1 and it is feared that the leaf will brush mark1 it is a good plan to give the gold a light coat of thin shellac1 going over the work very quickly4 ,the shellac will protect the leaf without in any way harming it4 ,one hears a good deal concerning spontaneous combustion4 ,the craft would be less familiar with the term if the following rule1 rigidly enforced in some shops1 were lived up to in letter and spirit3 ,greasy rags must be burned up immediately1 and not1 under any consideration1 allowed to remain in the shop one moment after their use is finished4 ,any violation of this order will result in immediate dismissal4 ,the following method of filling in a badly cracked carriage surface has successfully been practiced by a friend of the writer's4 ,the surface is first cleaned and given a light sandpapering to strike off dirt1 motes1 etc4 ,then dust off and apply a coat of gold-size japan1 a free1 generous coat of the japan being used4 ,once dry1 the coat is gone over with a roll of rubbing felt to kill the gloss4 ,the gold-size japan reaches into the minute orifices more effectively than varnish1 filling and sealing the fissures1 and in addition it furnishes an easily and quickly prepared surface for the color and the varnish coats to follow4 ,you wish to repair a split panel4 ,at each extremity of the split bore a #a_/d inch hole4 ,put one hole just at the crack1 the second one fairly clear of it4 ,next plug the holes up1 and then dress off even with the surface of the panel4 ,now cut a shallow bevel along each side of the crack2 this to enable the putty to resist the cracking tendency of the crevice4 ,then give the dressed off parts a coat of lead containing a good binder of oil4 ,when this has dried putty the hollow level and fill with a putty made of #c_/d dry white lead and #a_/d keg lead1 the liquids being rubbing varnish and japan1 equal parts4 ,sandpaper this repair in due time1 and then give the final puttying1 which should be done to the full measure of the best possible skill4 ,an effective little advertising card was once circulated by a keen-minded ,california carriage painter1 and on the back of the card were appended the following wise admonitions to the carriage user4 ,the suggestions are quite as pertinent now as they were at the time they were first given publicity4 ,to insure durability of the painting you must care for the work as follows1 viz3 ,don't expose to the fumes of ammonia4 ,don't let mud dry on it4 ,don't scratch the varnish in washing4 ,don't expose to the sun or rain when not in use4 ,don't let the axle-grease collect on the hubs4 ,don't blame me if you are careless1 as ,i have given you warning4 ,a man is well dressed only when every part of his apparel meets the approval of the critic4 ,this same estimate also applies to carriage painting--that is to genteel carriage painting4 ,hence why send the top joints on a carriage top out roughly and incompletely finished8 ,the critical eye rests very quickly upon such conspicuous parts of a vehicle1 and if they are not fittingly finished the seal of condemnation is set upon the work as a whole4 ,here is a finish for top joints that will disarm the fault finder3 ,first coat up with stout coat of lead containing sufficient oil to bind the lead securely4 ,then mix two parts dry white lead1 one part roughstuff filler1 to a rather stiff paste in equal parts of japan and rubbing varnish4 ,rub this mixture onto the joints with a piece of heavy harness leather4 ,when dry1 give the pigment a thorough smoothing up with sandpaper1 color1 color-and-varnish1 rub with water and pumice stone1 and then finish with a hard drying finishing varnish4 ,to paint a carriage gear in silver bronze1 which one is now and then asked to do1 bring the work up to the point of the foundation color for the bronze very carefully1 using no lampblack in the priming and first lead coats to throw them to a slate color4 ,the foundation coat should be pure white1 mixed to dry without gloss and applied with a camel's-hair brush4 ,over this coat flow on a coat of rubbing varnish1 and when the right tack is reached apply the bronze with a soft1 clean camel's-hair brush4 ,the wiping off and the delicate burnish may be given with a soft piece of chamois skin4 ,stripe with some color that harmonizes nicely with the bronze1 and use no varnish over it4 ,varnish destroys the richness of the bronze4 ,why use a broad pencil in glazing double line stripes8 ,the existing space between the stripes1 when the glazing is done with a broad pencil1 reflects a clouded1 muddy appearance4 ,better glaze each line separately1 using a sword pencil for glazing with1 and thus obtain the best color effects along with a fine1 dressy outline of striping4 ,if a carriage top from which the enamel has nearly or quite vanished is desired to be made bright again the following recipe1 published by the writer in ,painting and ,decorating some time since1 will give satisfaction3 ,mix #b parts of liquid glue with #c parts of dissolved castile soap1 adding #abj parts of soft water1 to more thoroughly liquify the glue and soap4 ,then add #d parts of spirit varnish1 after which stir in #b parts of wheat starch1 previously mixed in water4 ,follow with just enough lampblack to give the mixture a solidly black tinge4 ,a trifle too much of the lampblack will kill the gloss4 ,the dressing is now ready for use4 ,it should be kept in an air-tight vessel to prevent thickening4 ,a green stripe is strikingly enriched by glazing with verdigris1 but this glaze should be varnished over as soon as dry1 or1 at any rate1 before moisture settles upon the work2 otherwise the verdigris will lose its quality4 ,it's a very simple operation to sweep a varnish or paint-room floor1 but some ways are better than others1 nevertheless4 ,try this way for a change and thereby establish its utility3 ,take a pail of sawdust1 dampen it thoroughly1 and then throw a windrow of the woody bits across one side of the room4 ,sweep across to the other side of the apartment1 and then observe how spick and clean the floor will be1 with no moisture remaining to annoy the painter or varnisher4 ,the blow-pipe should be more in evidence in the carriage paint shop4 ,the tinsmith will charge but a small fee for making the pipe1 which may be #a-a_/b ft4 long and tapering from #a_/b inch at one end to #a_/d inch at the other4 ,dust and dirt that cannot be removed with a duster is simply given a cyclone breath through the tube1 and1 presto6 the parts are clean4 ,with the blow-pipe water can be driven out of evasive corners when cleaning up a job preparatory to varnishing4 ,despite the best laid plans of the painter carriage linings occasionally get some glaring smears of pigment4 ,if the linings so defaced be of light color1 dampen with naphtha or gasoline1 and then with a clean woolen cloth rub the goods briskly4 ,this same treatment may be given to dark colored cloth upon which the paint spots have dried4 ,if the spots are observed while the paint is still wet1 rub them smartly with pieces of the same kind of cloth of which the lining is composed4 ,the cloth to cloth treatment is a most effective and easy treatment4 ,the business wagon painter has many moldings and battens to black1 and he greatly needs a good1 pleasant handling pencil with which to do the work4 ,a pretty working pencil for doing the parts here named is made in this wise3 ,take some hair from a camel's-hair pencil and mix with it #a_/c black sable hair4 ,prepare a handle as though you were to make a sword pencil1 splitting it at the base1 etc4 ,then1 after arranging the hair to the right width and thickness1 insert the butt end of the bunch in the split4 ,wind tightly with strong linen thread4 ,use on the flat side of the pencil instead of the edge4 ,an imitation-of-ebony job comes within the province of the painter's skill now and then4 ,first of all1 the wood should be close1 fine-grained stuff4 ,wash it with a decoction of logwood three or four times1 allowing the liquid to dry well between applications4 ,next wash with a solution of acetate of iron4 ,this gives a deep1 intensely black color4 ,for the filling of an unusually deep surface cavity prepare a pigment after this formula3 ,one part keg lead2 #b parts whiting4 ,mix to a stiff paste in equal parts of thick varnish bottoms and raw linseed oil4 ,add a small quantity of japan to insure reliable drying4 ,then to this mass mix in enough dry white lead to cause the putty to work nicely from the hand4 ,apply very smooth so as to avoid sandpapering4 ,one of the secrets of the ,french coach painter's success as a fine varnisher and finisher was revealed by ,w4 ,h4 ,knight's report on the ,paris ,exposition4 ,referring to the varnish room1 ,mr4 ,knight wrote3 ,the door is locked1 and no one is admitted under any circumstances--not even the proprietor4 ,the doors and windows are air-tight1 so that not a particle of dust can find entrance4 ,and yet the room is ventilated1 but how8 ,by means of tubes filled with a mixture of horsehair and wool4 ,this permits the air to enter freely1 but deprives it of all dust1 consequently the finish of their work is perfect and exquisite4 ,all surfaces painted with lake colors should be amply protected by substantial varnish coats4 ,neither the lake coats nor the foundations over which they are laid should be allowed to dry dead4 ,give the ground coats a bit of gloss and always use the lakes as color-and-varnish coats4 ,also1 always refrain from buying a cheap1 inferior lake1 the chief constituents of which are whiting and aniline dye4 ,water dissolves the aniline3 hence with water as an aid the painter can determine the quality1 in a measure at least1 of the lake colors4 ,to the surface painted in a lake color1 apply1 before coating with varnish1 a generous smear of water4 ,if the aniline speedily disappears1 leaving the colorless whiting base1 the purchaser has just cause to question the quality of the material4 ,a varnish sag upon a surface doesn't always admit of easy removal4 ,it can be done1 however1 and that very quickly and smoothly in a majority of cases4 ,get a stocky bunch of curled hair1 wet it up thoroughly1 give it a liberal dip in pulverized pumice stone1 and then rub the afflicted surface carefully4 ,finish with a uniform polish furnished by the regular varnish surfacing equipment4 ,carriage and wagon interiors1 running parts1 etc41 finished in the natural wood1 that have become stained in spots so as to be an offense to the eye1 may be satisfactorily renewed by smearing the stains with oxalic acid4 ,apply the acid with a brush1 permit it to act upon the stains for a few minutes1 then with a small sponge wash off with clean1 soft water4 ,the steel scraper1 handily wielded1 will then remove all remaining evidences of the stains4 ,all metallic surfaces may be perfectly cleaned with this acid4 ,the question of carriage springs rusting is a live one with the carriage painter4 ,the spring maker1 or rather the first-class manufacturer of springs1 avers that the spring product well ground and finished is not at all liable to rust or prematurely throw off its protecting coats of paint and varnish4 ,the carriage painter1 however1 is compelled to paint and dress up all sorts and conditions of springs4 ,the badly rusted and scaly springs may be thoroughly cleaned1 using a file and hammer for the purpose1 and the spring layers being separated one from another4 ,then coat with graphite paint or mineral brown1 and in due time finish up in the usual way4 ,again1 the inner surface of the spring leaves is coated with a lead and lampblack mixture1 and later given a glazing of equal parts of unsalted beef and mutton tallow4 ,a third formula1 widely known as ,the ,hub formula1 because it is said to have originated with that journal1 has proven of value4 ,it is as follows3 ,remove the securing bolts2 place the springs thus released from tension in a bath of soft water over night4 ,in the morning1 with a stiff bristle or helix brush1 in water at #ajj degrees1 scour the plates effectually1 and remove the oxide by means of an ample use of elbow grease4 ,dry by sunlight or artificial heat in hardwood sawdust4 ,let lie in warm sawdust1 at #ge or #hj for from two to three hours2 then give a thin coat of clear1 boiled linseed oil1 and when thoroughly dry 7an exposure of twelve or more hours is necessary71 coat over by means of a sponge with a mixture of #f parts of commercial beeswax1 suspended at #ij1 with #b parts of spirits of turpentine4 ,one hour after application wipe off edges of all plates2 then allow one hour for hardening and secure the plate with centre bolt4 ,the carriage painter frequently has sign writing to do on glass and he requires a reliable size to enable him to get first-class leafing4 ,russian isinglass makes the best size1 although it is often difficult to obtain from local merchants4 ,to a pint of soft water add a piece of the isinglass #a_/b in4 square and boil until the material is wholly dissolved4 ,then add a drop or two of alcohol1 strain1 and the size is ready for use4 ,gelatine1 while largely used1 should be used the day it is prepared as a size1 otherwise it is not reliable in its action4 ,put a few shreds of the gelatine in a quart of water and boil until the water is reduced to a pint4 ,vermilion is one of the highly-prized carriage painting pigments1 and the best is none too good to meet the requirements of good work4 ,to test the color1 heat a small quantity in a porcelain vessel over an alcohol lamp4 ,the adulterated vermilion1 in burning1 will leave a sediment either red1 black1 or perhaps white4 ,the genuine quicksilver vermilion invariably proves fugitive when submitted to intense heat4 ,the refuse oil of pine or coal tar is a useful oil to keep upon the paint shop shelves4 ,suppose a borrowed brush or a brush neglected in some way about the shop is found dried up--hardened to a stone-like condition4 ,take a quantity of the pine or coal tar oil from its air-tight receptacle1 where it should be kept to prevent evaporation1 and in the liquid suspend the injured brush well up over the bristles4 ,three or four days' immersion will usually soften up a very much abused brush4 ,all colors that are apparently changed in purity of color when even the palest of varnishes are used over them1 should have a little of the color used in each varnish coat up to the finishing coat of varnish4 ,if striping or ornamenting is used do this work upon the last rubbing coat and then finish with the very palest varnish obtainable4 ,bear in mind this fact1 namely3 ,colors are divided into three cardinal degrees--light1 medium1 and dark4 ,and the relative position of the base color governs the intermediate shades4 ,in the mixing and use of colors it is also a wise policy to provide for the self-asserting property of the strongest or controlling color4 ,if this is not done the distinctive character of the color sought for will not for long be retained4 ,a prime factor in finishing a carriage in natural wood consists in first thoroughly cleaning the wood and then keeping it clean4 ,all stains and discolorations of the wood should be sandpapered out or scraped off with steel scraper and a piece of glass4 ,then a careful1 uniform sandpapering should be given4 ,dust off and apply a coat of raw linseed oil4 ,this oil coat requires a clean1 smooth rubbing out--as clean and smooth as a coat of paint4 ,give this oil coat from #bd to #cf hours to dry and harden completely4 ,sandpaper lightly1 dust off1 and give the surface a coating of some reliable1 first-class1 wood filler4 ,as soon as the filler takes on a sufficient tack1 rub across the grain of the wood with soft1 clean rags until the surface is free from any surplus filler4 ,if1 after the application of the filler1 the cells of the wood remain unfilled or defectively sealed1 a second coat of the filler will be necessary4 ,once the filler has dried1 mix a putty colored to match the natural color of the wood1 and putty nail and screw holes and other cavities4 ,this puttying should be done so smoothly as to necessitate little or no sandpapering for the purpose of leveling the putty spots4 ,the whole surface may now in due time be lightly gone over with ,no4 #j paper4 ,next dust off and apply a coat of pale rubbing varnish4 ,the striping is best done on this coat4 ,then give second coat of rubbing1 surfacing this coat1 when dry1 with pulverized pumice stone and water1 clean up most thoroughly1 and finish with a very pale durable finishing varnish4 ,the painting of one of these natural-wood-finished jobs often presents a formidable problem4 ,what is the best method to pursue8 ,that cannot be answered decisively2 but a reliable method is appended4 ,first scrape and sandpaper the old varnish clean and sleek to the wood4 ,if the wood is in good shape and not weather-beaten1 apply a coat of lead containing no more oil than is carried in the keg lead as it comes from the dealer1 the pigment being simply thinned with turpentine and given a drying agent in the shape of a teaspoonful of coach japan1 to1 say1 each pint of the mixture4 ,if the varnish has perished1 and the wood is injured thereby1 it is advisable to give the lead a little extra dash of oil1 but not enough to cause the lead to dry with a gloss4 ,testing the lead on the finger nail will determine the question of gloss4 ,when dry this coating of lead should receive a careful sandpapering1 and a second coat of lead mixed to dry dead1 and laid with a camel's-hair brush1 may go on4 ,too much oil should be especially avoided in building the lead foundation over these natural wood surfaces1 as it must be borne in mind that the grain of the wood has been already sealed with a hard1 non-absorbent material into which the usual first coat percentage of oil does not penetrate4 ,on this second coat of lead all needed puttying is done4 ,the sandpapering which follows should be very perfect and skillfully done4 ,body surfaces may next receive the needed roughstuff coating up1 to be subsequently rubbed out and carried through to a finish in the ordinary way4 ,the running parts from this lead coat foundation are colored and finished according to the accepted practice4 ,once upon a time1 my lamented friend1 ,a4 ,f4 ,manchester1 in the columns of ,varnish1 asked this pertinent question3 ,do you have trouble with your fine colors clouding up and losing their brilliancy from the varnish8 ,replying to the query1 he suggested this plan1 to the efficacy of which the writer is glad to subscribe3 ,on any transparent color 7or any color1 in fact7 always add some of the color to each coat of rubbing varnish--enough to kill the amber tint of the varnish4 ,this preserves the colors in all their original brilliancy4 ,of course1 this plan necessitates striping and ornamenting on the last coat of rubbing1 but that is just as well as burying all the tone of the colors under the varnish4 ,then1 again1 it obliges the customer to have the job revarnished when he ought4 ,it is not a praiseworthy practice to putty a carriage body after it is rubbed out of roughstuff1 or after the first coat of color is on4 ,the puttying should be attended to when the job is being roughstuffed--and before4 ,all places overlooked at the first puttying should be attended to carefully upon the first coat of roughstuff4 ,puttying upon a roughstuffed rubbed panel leads to premature surface blemishes of a most unhappy order4 ,certain of the yellows are rather difficult to work nicely when used as striping colors for dagger or sword pencils4 ,notably so is chrome yellow1 which1 by the way1 is a pretty foundation for glazing with carmine4 ,such colors may be remedied by adding a bit of some body color which will give them a stronger covering property without harmfully changing the purity of the yellow4 ,the subject of varnish rooms is an entertaining one4 ,so many poor varnish rooms exist that any plan to make them better1 so long as it be a feasible plan1 merits attention4 ,mr4 ,f4 ,j4 ,flowers1 an old-time carriage man and an earnest advocate of the first-class varnish room1 some time ago gave his idea of such an apartment in these words3 ,first1 it should not be on the top floor of a building where it gets all the gases and fumes from the smith and paint shops4 ,it should be round in form1 with a dome roof1 ventilated and well lighted therefrom2 and each light of glass should be as colorless as possible1 and arranged so as to prevent the direct rays of the sun4 ,its ceiling should be all wood1 stained light blue with water colors2 the floor should be waxed or oiled2 the room1 when in use1 should be kept at an even temperature 7not less than #fe71 and all dampness should be avoided4 ,you ask1 why round8 ,i answer1 all evaporations form in circles when ascending2 the room having no corners1 there is no back draught to obstruct them4 ,why lighted from the roof8 ,there will be no cross-lights1 hence no conflicting light4 ,why ceiled with wood8 ,it is dryer than plaster and will absorb the evaporations when not coated with oil paint4 ,why color blue8 ,it is the spring light1 and gives the purest reflection4 ,why an even temperature8 ,it will prevent the condensing of the vapor1 and thereby prevent it from falling back upon the varnish1 which gives it that bloomy1 silky1 and pitted look which we hear so much about4 ,upon heavy vehicle work1 such as broughams1 landaus1 etc41 the inside surface of glass frames1 pillars1 door checks1 and the like1 quite commonly go with a polish finish1 as it does away with sticking doors1 defaced pillars1 and glaring glass frames4 ,the contrast between the polished parts and those reflecting a high brilliancy of finish is soft and pleasing and a grateful relief to the eye4 ,the parts referred to1 having been brought up to a solid foundation of rubbing varnish1 are given a thorough surfacing with pumice stone flour and water4 ,next rub with sweet oil and rotten stone1 using a soft woolen cloth for the polisher4 ,conclude the operation by rubbing wheat flour under a clean bit of woolen until the friction generated makes a gloss4 ,the flour1 in addition to its other office1 will absorb and clean up the oil4 ,a very quick drying striping color is frequently demanded--one that can be varnished over in an hour after application1 or sooner4 ,mix the pigment in equal parts of rubbing varnish and coach japan4 ,then thin to the proper working consistency with turpentine4 ,in painting over metallic surfaces1 which the carriage and wagon painter frequently finds it necessary to do1 it is essential to first know that such surfaces are thoroughly clean and free from acids1 grease1 etc4 ,give them a rub over with kerosene or benzine1 and then wash with soap and water1 concluding with a generous rinsing off with clean water4 ,if the surface is too heavily saturated with paint injuring accumulations1 give it a wash with water containing sal soda in the proportion of1 say1 #a_/b to #c_/d lb4 of the soda to #e or #f quarts of water4 ,a rinsing with clean water will now afford a clean surface over which to paint4 ,the metallic surface being clean1 it remains for the painter to give it a hard1 solid surfacing with ,no4 #a-a_/b sandpaper1 in order to develop the necessary minute furrows and scratches to give the pigment a bite or a chance to grip fast4 ,instead of sandpapering1 the practice holds good in some shops of rubbing the surface with a fire brick as a means of trenching and channeling it to the required extent4 ,the vehicle painter located in the small shop and not usually using a very considerable quantity of varnish daily1 should buy his supply of this material in small cans--pints and quarts for example4 ,once a can is opened1 the varnish1 through repeated exposure to the air1 quickly begins to grow fatty1 and after a time the loss of the turpentine leaves it in an unfit condition to work satisfactorily over a fine surface4 ,a rubber stopper is the best kind of a varnish can stopper1 because it does not crumble and break into bits like the cork1 and it is the closest possible approach to an air-tight device4 ,the painter has but small use for the varnish that has to be thinned with turpentine in order to give it the proper spreading and flowing property4 ,the elements of durability and brilliancy of lustre are in great danger of being greatly impaired1 if not quite wholly destroyed1 when shop thinning of varnishes is practiced4 ,to attempt to successfully cut the solidity of varnish with turpentine added in hit or miss fashion constitutes a direct injury to this manifestly sensitive and delicate material4 ,thinning varnish should be resorted to only when an extremely critical emergency presents itself4 ,to provide a tight1 dust-and-smoke-proof floor for the varnish room1 proceed in this wise3 ,cut strips of stout wrapping paper to the proper length to fit lengthwise of the floor4 ,coat one side of the paper with trimmer's paste1 and then lay the strips on smooth and free from wrinkles4 ,allow the second strip to overlap the first one fully #b inches4 ,continue overlapping until the floor is covered4 ,when the first layer or covering has laid long enough to provide for the complete drying of the paste1 lay a second course of the paper in the same manner1 and in due time1 if necessary1 apply a third course4 ,then apply a coat of yellow ochre paint1 mixed oil and turpentine1 in the proportion of #a_/d oil to #c_/d turpentine1 with a tablespoonful of japan added to each pint of the paint4 ,the second coat of ochre may be mixed in #b_/c hard drying implement varnish to #a_/c japan4 ,mr4 ,p4 ,c4 ,hoebel1 in ,varnish1 interestingly describes his method of painting over a cracked and fissured surface1 and avers that it has for many years proven uniformly successful4 ,mr4 ,hoebel says3 ,instead of sanding down the old varnish1 ,i skin it off by the use of ammonia and a stiff bladed putty knife4 ,then rub down with block rubbing stone and let stand over night to dry out4 ,next1 a good sandpapering with ,no4 #a paper2 dust thoroughly4 ,then apply a mixture composed of #a part drop black1 #a part keg lead1 and the same amount of dry lampblack4 ,add a little rubbing varnish4 ,thin to a proper working consistency with turpentine4 ,next day putty-glaze the entire cracked surface with not too soft putty4 ,use the regulation hard drying carriage painter's putty4 ,this putty should dry hard enough to sand well the following day4 ,the sandpapering of this putty is of the greatest importance and requires an extra amount of elbow grease4 ,the job is now ready to receive the proper ground work for its respective color which is to be4 ,in wagon painting some exceedingly light and delicate tints are used1 and driers for such tints adapted to the delicacy of coloring are needed4 ,appended is a formula for a drier of this kind3 ,mix #ae parts of sulphate of zinc1 #d parts sugar of lead1 and #g of litharge1 with pure linseed oil1 and grind the mixture in a paint mill very fine2 then mix #ajj parts of paris white to a dough with #ej parts of white lead and linseed oil4 ,grind this also very fine in the mill1 then mix all together1 grinding once more4 ,it is possible now and then to remedy a case of pitted varnish in this manner4 ,the morning after the varnish is applied cover the surface with clear turpentine4 ,let the turps gradually soak up and soften the pitted varnish1 adding more turps as required4 ,when the varnish has become sufficiently softened1 mix a little raw linseed oil with the turpentine 7the oil holding the turps in check and preventing it from cutting into the under coats7 and with a soft badger-hair brush proceed to lift the afflicted varnish coat4 ,the varnish once removed1 let the surface stand for a few hours1 then give it a light rubbing over with a moistened sponge dipped in finely pulverized pumice stone4 ,follow with a thorough washing with clean water and revarnish4 ,color and varnish strainers are a necessity4 ,cheese cloth1 cut into #f-;inch squares1 gives a very practical kind of strainer4 ,all colors that have stood for some time after mixing require straining before being used4 ,and finishing varnish--all varnish1 in fact1 should be strained as the final contents of the can are approached4 ,many first-class finishers insist upon straining all the varnish they use2 and cheese cloth serves the purpose of a good strainer at a low cost4 ,the best stroke for squaring up varnish has often been discussed at length1 and it seems to be the decision of the leading finishers of the country that the horizontal stroke is to be preferred to the vertical4 ,to the beginner the former is probably the most difficult to use1 the danger of runs1 sags1 etc41 seemingly being thereby intensified4 ,the natural flow of varnish1 as the finishers all may know1 is downward1 and the horizontal stroke of the brush does not arrest this flow or divert it from its accepted course4 ,the vertical stroke1 however1 permits of a varnish flow in at least two directions--sideways and downward4 ,runs and other surface defacers are equally possible with the horizontal or vertical brush stroke4 ,immunity from such disturbers depends altogether upon the uniformity and equality with which the varnish has been flowed upon the surface4 ,to renovate and give a fresh new look to cushions and backs1 when faded1 thin the desired color down with turpentine until it can almost be called a wash1 and apply the mixture very thinly4 ,allow the color to dry thoroughly1 and then thin shellac with alcohol until a very thin shellac is provided and coat the articles with this1 following immediately with a smart polishing with neatsfoot oil and then wiping dry with clean woolen cloths4 ,the twine used for bridling paint brushes--and the twine bridle is the favored kind in the carriage paint shop--should be run through melted tallow and beeswax before put to use4 ,after the tallow and wax has cooled on the twine1 the bridling may proceed4 ,after the twine is in position on the brush1 run a little of the warm grease and wax over it4 ,thus a more durable and more easily cleaned bridle is given the brush4 ,imitation vermilions are considerably favored of late years1 but they fade after the manner of a late autumn twilight unless amply protected by varnish4 ,given adequate varnish protection they show radiant colors and wear durably4 ,the country carriage painter is no stranger to the vehicle1 the family heirloom1 perchance1 that comes into the shop with hubs split and shattered1 and axle grease filtering up through the cracks saturating the wood and making it generally unpaintable4 ,an old carriage painter advises this treatment in order to cause the paint and color to dry over the afflicted parts3 ,first give the hubs a wash with gasoline or benzine1 working the fluid well into the cracks4 ,give plenty of time for evaporation to occur4 ,then with shellac cut with a little ether1 fill in the fissure4 ,next make a putty of plaster of paris mixed with the shellac and ether4 ,into the fissures force this mixture1 keeping it clearly from the outside surface of the hub1 as nothing short of a file will level it after it has dried4 ,give the putty a nice1 smooth dressing off upon the filling of each crevice4 ,the business wagon occasionally contains a window glass that should go in imitation of frosted glass4 ,take finely ground whiting and1 with #b_/c raw linseed oil to #a_/c japan1 mix to a rather stiff consistency2 and then with turpentine reduce to a condition to work easily under a camel's-hair brush4 ,let the mixture be spread quickly and uniformly even upon the glass4 ,then take finely shredded cloth and roll it into a ball and cover with a clean cotton cloth and proceed to go carefully over the freshly laid on whiting1 softly tapping it1 until the frosted imitation is brought clearly and prettily into relief4 ,a surface that has become dented by a blow from a hammer or other blunt instrument can be remedied by so placing the surface that the dent or depression will hold a little water poured into it1 and then holding a lighted taper to the water until the heat thus generated in the minute body of water causes the wood to again assume its natural shape and condition4 ,in denting the wood1 if a positive rupture does not occur at the edge of the depression the strain of the wood has occurred in two distinct directions--inward and lengthwise--and the reaction when it takes place will be two-fold4 ,a second way of treating such surface difficulties consists of boring with a gimlet through the compressed fibres of the wood until the sound timber is reached4 ,this puncture will counteract the lengthwise reaction4 ,then moisten with tepid water until the wood recovers its natural position again4 ,the bruise or dent with fractured edges is more easily repaired1 as no reaction need be feared1 the pressure of the tool making the depression having overcome the natural resistance of the wood2 and destruction of resistance results1 as may be naturally inferred1 in destruction of all reactive functions4 ,if the carriage or wagon painter at any time wishes a varnish to dry without gloss he may dissolve #d ounces of beeswax in turpentine and add to #a quart of varnish4 ,this1 while not reducing the body of the varnish1 will cause it to dry without much1 if any lustre4 ,it will work from the brush freely and wear durably4 ,if only a subdued gloss is desired1 use #b ounces of beeswax to #a quart of varnish4 ,the window sashes in business wagons that are painted in some of the dark fashionable greens offer a beautiful contrast to the body color if grained mahogany color4 ,for the ground color for the mahogany use white lead1 burnt sienna1 and a bit of raw sienna for the toning ingredient4 ,putty1 if necessary1 upon the first ground coat4 ,two coats should suffice to give a dense1 stable ground4 ,burnt sienna1 wet in stale beer1 forms the graining material4 ,apply with a soft brush1 wipe quickly out with a soft1 fleecy sponge1 use the blender lightly1 and the trick is done4 ,the finisher should never assume the responsibility of adding driers to varnish4 ,varnish is composed of peculiarly sensitive and susceptible ingredients responding to the slightest influences1 good or ill1 and the addition of siccatives only tends to make the action of the varnish uncertain4 ,it is only for the time being that the driers unite and form a part of the varnish4 ,during the operation of applying to the surface the varnish forsakes or separates the shop-added siccative1 with the result that pitting and pin-holing1 along with other burdensome deviltries1 are developed4 ,no1 shop mixing of driers with varnish is not advisable4 ,my esteemed confrere1 ,mr4 ,j4 ,g4 ,cameron1 makes public this worthy observation1 with ,varnish as his medium of circulation3 ,every varnish room should have a window through which the direct rays of the sun passes during the afternoon4 ,it should be curtained and have a small slit or hole in the curtain for a slice of sunlight to stream through4 ,this slice of sunlight will reveal the condition of the air within the room and tell the varnisher just how much dust he will have to contend with that day4 ,if this ray shows that the air is loaded with magnetic dust1 it would be well for him to sprinkle well every suspicious place within the varnish room4 ,some days sprinkling is not needed2 such days as rainy ones or right after a rain storm4 ,on windy days1 window sills and any place where the air is likely to drift through should be wet down4 ,but on magnetic days the floor and every place should be well wet down4 ,a varnisher's clothes should be also scrupulously groomed off4 ,the writer has varnished often with a damp 'shammy' wrapped round his wrist and arm to keep the dust from his underclothing from troubling him4 ,beware of the black color-and-varnish that carries a dash of too much color in it4 ,black of high or low degree1 such as is used in carriage painting1 may be classed as a non-drying material4 ,finishing varnish applied over a color-and-varnish containing too great a percentage of color is exceedingly liable to strike into this improperly hardened undercoat and lose the beauty of its lustre thereby4 ,in carriage part finishing done upon the color-and-varnish coat the trouble here noted should be guarded against4 ,ornamental striping upon business wagons should never be done with the heavy stripe4 ,retain the same style of striping throughout a job4 ,throwing in two or three styles of line work on a job is an affront to good taste of which no up-to-date painter should be guilty4 ,a fine old woodworker once told my lamented friend1 ,mr4 ,c4 ,e4 ,vader1 how to make a saw with which to cut block pumice stone4 ,he said3 ,take a piece of band iron #a-a_/d or #b inches wide and #ah inches long2 put one end in the vise and then get a sharp cold-chisel4 ,be sure to have it sharp4 ,slant the chisel #de from you and tip to the left and strike quite a blow4 ,next time turn chisel to the right1 or just try to cut some saw teeth in this iron4 ,you can cut and set them at the same time4 ,don't make teeth too far apart4 ,this will cut as much pumice stone as a well filed and set saw would4 ,in an essay on ,how to ,make ,coach ,varnish go ,wrong1 published by a prominently-known varnish making firm some time since1 this advice was tendered3 ,practice hospitality6 ,let everybody go in and out of your varnish room freely4 ,don't have a small door cut in the large one1 and don't shut off your varnish room from the other rooms4 ,let the temperature of your varnish room vary as much as possible4 ,under no circumstances allow it to remain the same for two consecutive hours4 ,let it fall far below #gj or rise far above #hj2 but above all things1 make it vary4 ,in the winter season let the fire go out occasionally1 and be sure to select this as the proper time to open the window to see what is going on outside4 ,one of the strong selling factors of a vehicle consists of a first-class interior finish4 ,a prospective customer1 as a rule1 is quick to perceive the finish of the inside surface2 and nothing tends more powerfully to cheapen the looks of an otherwise faultlessly finished job than a slovenly surfaced and finished carriage body interior4 ,one doesn't need to insist upon the same high standard of cleanliness for the inside as the outside1 but good surfacing and an excellent freedom from dirt1 motes1 etc41 should be maintained in the finishing of interior surfaces4 ,in the finishing of carriages in the natural wood1 gum shellac should not be used to fill up the grain of the wood4 ,shellac is of an entirely too brittle nature1 devoid of elasticity1 to be used upon a surface subject to sustained vibrations with accompanying violent jars and jolts4 ,for first-class carriage work shellac is good only when not used4 ,another strongly recommended method of filling up cracks and fissures in coach panels embraces the employment of equal parts of ,english filling1 dry white lead and whiting1 mixed with equal parts of japan and rubbing varnish4 ,to this add #a_/b the quantity of rye flour paste1 stirring the mass into a thick consistency4 ,this is applied with an old paint brush1 and when it has set and stiffened considerably upon the surface it is knifed in with a broad-blade putty knife1 and two days later it is rubbed down with a block of pumice stone or a fine rubbing brick4 ,a putty for resetting glass in coach frames is made of #g parts whiting and #a part white lead mixed to the correct working consistency in raw linseed oil1 adding a little japan gold size to furnish the proper drying quality4 ,if the putty is to be use upon black frames1 darken sufficiently with ivory drop black1 instead of lampblack1 and lessen proportionately the japan used4 ,this putty can be depended upon to remain in place and securely1 hold the glass in the frames4 99 99 99 99 99 ,,the ,,largest ,,in ,,the ,,world ,robert ,ingham ,clark ,co41 ,,manufacturers ,,of ,,the ,,celebrated ,britannia ,english ,varnishes4 ,,london4 ,,paris4 ,,hamburg4 ,illustration ,the ,britannia ,finishing ,varnishes of the ,robert ,ingham ,clark ,co4 manufacture are sold in every part of the civilized world4 ,the extreme durability of their varnishes1 combined with their brilliancy1 easy-working and quick-drying properties1 make them the best and safest varnishes for carriage and car work to be found on the market4 ,these goods are put up in gallons1 halves and quarts2 also in #ab-a_/b gallon drums4 ,samples will be furnished on application4 ,,pratt ,,lambert1 ,,agents ,,for ,,the ,,united ,,states ,,and ,,mexico1 ,long ,island ,city1 #cgj-cgh ,twenty-,sixth ,st41 ,,new ,,york4 ,,chicago4 99 99 99 99 99 ,carriage ,varnishes and ,japans of ,unequalled ,quality ,special ,crimson ,color ,varnish ,an unrivalled undercoating for the finest work4 ,works very freely1 covers splendidly1 has a beautiful color and holds the latter wonderfully4 ,can be mossed off in twelve hours4 ,clear ,rubbing ,varnishes of ,highest ,quality ,work and rub very easily4 ,the standard for quality for twenty-five years4 ,nonpareil ,japan ,a wonderful drier and binder4 ,exceedingly pale in color1 and never equaled in quality4 ,pale ,body ,finishing ,made up on a new formula and having no equal for a high-grade finishing ,varnish4 ,works easily1 flows out finely with a splendid lustre1 giving a very fine surface over touch-up work1 and is thoroughly reliable in all respects4 ,,chicago ,,varnish ,,company 7,established #ahfe7 ,dearborn ,kinzie #bb ,vesey ,street #ff ,high ,street ,,chicago ,,new ,,york ,,boston 99 99 99 99 99 ,,the ,,easy ,,way4 ,the average actor must rehearse the new piece several times1 and each rehearsal uses up half a day4 ,then he needs the prompter to help him out with the first few performances3 and his anxiety1 lest he forget1 wears on his nerves and worries the other actors and causes the manager to say things1 and compels a great many scenes of battle and sorrow not writ in the play4 ,edwin ,booth never needed the prompter1 and he rehearsed but once4 ,he had it all in his mind so familiarly1 before he came to the stage1 that he went through it without an effort4 ,he said he was lazy1 and that was the easiest way4 ,we appeal to your laziness4 ,why not make business easy6 ,what's the use of worrying1 and making mistakes1 and doing it over again1 and getting rattled1 and keeping the factory in a turmoil1 and having angry customers1 and losing trade1 and walking up and down at night1 and saying things6 ,if you have the right kind of varnish on the right kind of color your work will go smoothly1 your nerves will be in good condition when you are an old man1 you will get the reputation of being wise and good1 your funeral sermon--so long delayed--will be delivered with a clear conscience4 ,just think a little beforehand3 that is all4 ,we keep ourselves well and happy by making varnish and color which have no battle scenes in them4 ,come now3 let us trade together1 and show the world how pleasant a thing is business--properly done4 ,,murphy ,,varnish ,,co4 99 99 99 99 99 ,,new ,,york ,john ,w4 ,masury ,son ,,manufacturers ,,of ,superfine ,colors ,ground in ,japan ,pure ,colors ,ground in ,oil ,artists' ,tube ,colors ,fine ,carriage ,varnishes ,wagon ,paints ,carriage ,gloss ,paints ,miscellaneous ,varnishes and ,japans ,,chicago 99 99 99 99 99 ,,surrey ,,varnish ,,co4 #hff and #hfh ,,north ,,hoyne ,,ave4 ,,chicago4 ,,illinois4 ,good ,old-,fashioned ,varnishes and ,japans ,illustration ,,william ,,fisher ,,founder ,,of ,,the ,,surrey ,,varnish ,,co41 ,,chicago1 #ahia ,,grandson ,,and ,,pupil ,,in ,,varnish ,,making ,,of ,,william ,,harland ,,originator ,,of ,,the ,,firm ,,of ,,wm4 ,,harland ,,son ,,merton1 ,,surrey1 ,,england1 #agia4 ,illustration ,the quality of a ,varnish depends upon the time and skill devoted to its manufacture1 and not altogether1 as many suppose1 upon the materials from which it is made4 ,,in ,,all ,,our ,,finishing ,,varnishes ,,we ,,use ,,only ,,the ,,slow ,,english ,,process4 ,our ,two-,day and ,four-,day ,carriage ,rubbing ,varnishes are the ,best in the ,world4 ,,surrey ,,varnish ,,co4 #hff and #hfh ,,north ,,hoyne ,,ave4 ,,chicago4 ,,illinois4 99 99 99 99 99 ,,standard ,,carriage ,,varnishes ,,excel ,,in ,,free ,,flowing ,,safety ,,uniformity ,,lustre ,,and ,,durability ,,it ,,is ,,impossible to obtain best results unless you use the best material and there are no better ,,rubbing ,,or ,,finishing ,varnishes in the market than those made by the ,,standard ,,varnish ,,works ,the ,largest ,varnish ,works in the ,world ,,factories1 ,,covering #g ,,acres1 ,,elm ,,park1 ,s4 ,i4 ,,general ,,offices ,,london 444#bi ,,broadway444 ,,chicago #bc ,,billiter ,,street ,,new ,,york #bfbi ,,dearborn ,,st4 99 99 99 99 99 ,,armstrong ,mc,k,e,l,v,y ,pittsburgh ,,beymer-,,bauman ,pittsburgh ,,davis-,,chambers ,pittsburgh ,,fahnestock ,pittsburgh ,,anchor ,cincinnati ,,eckstein ,,atlantic ,,bradley ,,brooklyn ,new ,york ,,jewett ,,ulster ,,union ,,southern ,chicago ,,shipman ,,collier ,,missouri ,st4 ,louis ,,red ,,seal ,,southern ,,john ,t4 ,,lewis ,,bros4 ,,co4 ,philadelphia ,,morley ,cleveland ,,salem ,salem1 ,mass4 ,,cornell ,buffalo ,,kentucky ,louisville ,,use ,,pure ,,white ,,lead ,,and ,,pure ,,linseed ,,oil and you will know exactly what you are getting--absolutely the best and most economical paint in existence4 ,employ a responsible1 practical painter to apply it and the result will be satisfactory4 ,national ,lead ,co41 ,no4 #ajj ,william ,street1 ,,new ,,york4 99 99 99 99 99 ,,berry ,,brothers 7,,limited7 ,,manufacturers ,,of ,illustration ,,carriage ,,varnishes ,,new ,,york1 ,,boston1 ,,philadelphia1 ,,baltimore1 ,,cincinnati1 ,,chicago1 ,,st4 ,,louis1 ,,san ,,francisco ,,factory ,,and ,,main ,,office ,,detroit 99 99 99 99 99 ,,lucas ,,helps ,lucas ,coach ,colors ,send for pamphlet showing #ed beautiful colors we carry in stock4 ,have you ever tried our ,lucasine ,vermilions1 ,light ,royal ,green1 ,aurora ,lake4 ,deep ,orange ,yellow1 ,cobalt ,blue8 ,lucas ,a4 ,i4 ,v4 ,m4 ,colors ,send for sample cards1 showing up-to-date harmonious combinations for painting the body and gears of wagons4 ,lucas ,primers ,vermilion1 ,lead ,color and ,orange4 ,light gravity for dipping2 heavy gravity for brush work4 ,lucas ,iron and ,steel ,fillers ,for the heavy iron parts of carriages and wagons of all kinds4 ,they are tough1 elastic1 and will stand hammering4 ,lucas ,wood ,fillers ,paste and ,liquid4 ,for filling and priming ,oak1 ,hickory and ,ash3 particularly useful for work finished in the natural colors4 ,lucas ,coach ,varnishes ,our hard drying coach rubbing gives universal satisfaction4 ,lucas ,coach ,drying ,japan ,thoroughly reliable4 ,always uniform in strength and general working qualities4 ,lucas ,black ,enamel ,top ,dressing ,tip top for general repairs4 ,unexcelled for leather and cloth tops and curtains4 ,lucas ,phenom ,varnish and ,paint ,remover ,quick1 energetic1 effective4 ,does not raise the grain of the wood4 ,an indispensable article in every paint shop4 ,,john ,,lucas ,,co41 ,practical ,manufacturers ,colors1 ,paints1 ,varnishes4 ,,new ,,york ,,philadelphia ,,chicago 99 99 99 99 99 ,,just ,,issued ,,the ,,home ,,mechanic ,,and ,,complete ,,self-,,instructor4 ,a ,,whole ,,library ,,in ,,one ,,book4 ,illustration ,a full compendium of ,indispensable ,information and ,instruction in the most useful ,mechanical ,trades4 ,each ,part has been prepared by a ,specialist who is ,master of his ,trade4 ,the ,instruction is ,thorough and ,practical4 ,this book will enable you to do many little things that you now have to pay for and will thus save ,hundreds of ,dollars in any household4 ,no other book has ever been published that treats of so many of the trades or that contains on any one of them information so thoroughly practical in character4 ,,part ,i4 is devoted to ,carpentry4 ,it describes the ,tools1 tells ,how to ,select ,them and ,keep ,them in ,order1 and ,how to ,use ,them2 ,how to ,fit up a ,shop and to ,make the ,various ,appliances1 and how to do ,all ,sorts of ,work1 from ,planing a ,board to ,building a ,house4 ,a description and the ,selection of ,builders' ,hardware1 and another to the ,making of ,specifications4 ,everything is ,fully ,illustrated by ,engravings4 ,,part ,,ii4 is devoted to ,painting--tells exhaustively how ,paints are ,prepared1 ,mixed and ,applied1 and ,how to ,make and ,use ,varnishes and ,dryers4 ,it gives ,full and ,plain ,information about ,colors and ,tints1 also about ,graining1 ,staining on ,glass1 as well as ,wood2 ,lettering1 ,glazing1 and ,paper ,hanging4 ,,part ,,iii4 treats of ,sign1 ,carriage and ,decorative ,painting1 and contains ,full ,information and ,instructions as to ,frescos and ,walls and ,interior ,ornamentation that is to be found elsewhere only in ,high-priced ,volumes4 ,the ,technical ,knowledge that it imparts of ,pillars and ,scrolls1 ,ceilings and ,borders and ,room ,decorations is worth many times the price of the whole book1 and this can be as truly said of the ,practical ,instruction in ,carriage ,painting1 and also that in ,sign ,painting1 which includes ,painting on ,glass and various ,metals and ,textiles1 as well as on ,wood4 ,,part ,,iv4 treats of ,finishing and ,ornamenting ,furniture and ,cabinet ,articles1 tells ,how to ,prepare the ,materials1 what ,tools to ,use and ,how to ,use ,them4 ,this covers1 among other things the ,processes of ,bleaching1 ,darkening1 ,staining1 ,filling1 ,graining1 ,veneering1 ,marqueterie ,work1 ,buhl ,work1 and ,inlaying of all sorts4 ,recipes for ,varnishes1 ,stains1 ,cements1 etc41 and for ,removing ,stains and ,reviving ,leather1 and ,cloths1 will be invaluable in any family4 ,,part ,v4 is a complete ,instructor on ,horse ,shoeing1 teaching what every ,owner of a ,horse as well as every ,horse-,shoer should know4 ,thirty pages are devoted to the ,diseases of and ,accidents to the ,horses ,feet1 written by a ,practicing ,veterinarian of successful experience4 ,,part ,,vi4 treats of ,soap-,making and is prepared as a ,guide for ,families and ,small ,manufacturers4 ,it tells how to make all sorts of ,plain1 ,fancy and ,medicinal ,soaps1 ,emulsions and other substitutes1 including ,washing ,fluids4 ,,part ,,vii4 comprises a hundred pages on ,candy-,making1 which will afford ,pleasure and may easily be turned to ,profit4 ,complete instruction1 covering ,syrups and ,creams1 ,pastes and ,ices1 as well as ,candy1 that it will serve the needs of ,confectioners as well as ,families4 ,,part ,,viii4 is a ,practical ,treatise on ,baking1 giving ,plain and ,explicit ,instructions for making and ,baking ,every ,variety of ,bread1 ,cake and ,cracker1 ,pies and ,pastry4 ,,part ,,ix4 treats of ,taxidermy and its kindred ,arts1 being a ,practical ,working ,guide for ,collecting1 ,preparing and ,preserving all kinds of ,animals1 ,birds1 ,reptiles1 ,insects1 ,etc4 ,the ,instruction is intended for ,beginners1 who have had no ,previous ,lessons or ,practice1 but it is so ,full and thorough that even experts will find it of value4 ,the ,young ,folks will find in these pages ,equipment for a most ,interesting ,pastime that may easily be made the source of a ,large ,income4 ,added to all are nearly a ,hundred ,pages of ,secrets ,worth ,knowing1 containing a ,collection of ,most ,valuable ,recipes for ,making ,all ,sorts of ,articles that are in ,constant ,demand1 and for which we have frequently to pay ,exhorbitant ,prices4 ,this book also contains a chapter on ,tanning1 explaining how ,tannin is obtained2 ,salting ,hides2 ,tanning ,skins with ,fur on and several processes for ,tanning ,leather4 ,also a chapter on ,,rustic ,,fences and ,,gates with ,illustrations of same4 ,this is but a ,bare ,suggestion of what is contained in ,this ,remarkable ,volume4 ,the ,instruction is all by ,experts2 the information we ,guarantee to be ,reliable4 ,no ,other ,twelve ,books in the ,world contains so much of ,practical ,value4 #hgf ,pages4 ,large #abmo4 ,bound in ,cloth4 ,price1 #b4ej postpaid4 ,address all orders to ,the ,western ,painter ,,chicago 99 99 99 99 99 ,,exactly ,,right ,varnishes ,for ,carriage ,painters4 ,illustration3 ,e4 ,s4 #ahbg ,,co #gf ,,years' ,,experience ,,in ,,every ,,can4 ,,wearing ,,body ,whose working qualities are not equaled4 ,less liable to trick than any other4 ,dries free over night4 ,can be run out in three or four days4 ,,black ,,rubbing ,unequaled in intensity of color1 working qualities1 absolute uniformity and the perfection of surface obtained4 ,,roughstuffs ,that produce the best possible surface for the color1 with the least possible labor4 ,,edward ,,smith ,,co41 ,,varnish ,,makers ,,and ,,color ,,grinders4 #de ,broadway1 ,,new ,,york1 #ei ,market ,street1 ,,chicago4 99 99 99 99 99 ,,letter ,,patterns ,,for ,,carriage ,,painters4 ,letter ,patterns for ,carriage ,painting are now used by experienced workmen who want a time-saving method1 as well as by beginners who have not time to learn the trade by the old way4 ,they are cut from extra durable pattern paper1 and are all ready for use when they reach you4 ,each alphabet contains all the letters and the character 4 ,to ,paint ,signs1 you should place the letters in position on the board to form the desired words1 mark with pencil or crayon round each letter to get the outline1 remove the pattern and paint in the color4 ,to ,make a ,shade3 ,after marking out the letter1 drop your pattern as low as necessary and move to the right or left1 penciling round the right or left and bottom edges only2 now1 with a straight-edge1 cut in the corners on angle as shown in cuts of figure #e and #f4 ,the following cuts represent some of the most useful styles1 with sizes and prices of each alphabet4 ,,block4 #b inch #ae;c #ab inch #j4hj ,,gothic4 ,a #c #bj;c #ad #a4jj ,b #d #be;c #af #a4be #e #ce;c #ah #a4fj #f #de;c #bj #b4jj #h #fj;c #bd #b4ge #aj #ge;c ,,roman4 #b inch #bj;c #h inch #j4gj ,,tuscan4 ,n #c #be;c #aj 4#ij ,h #d #ce;c #ab #a4aj #e #de;c #ae #a4de #f #ee;c ,,egyptian4 #b inch #bj;c ,,slant ,,block4 ,t #c #be;c ,o #d #ce;c #e #de;c #f #ee;c #h #fe;c #aj #hj;c ,,full ,,block4 #c inch #j4cj ,,full ,b ,,slant4 ,d #d 4#dj ,b #e 4#ej #f 4#fj #h 4#ge #aj #a4jj ,,peaked4 #c inch #j4cj ,,fantail4 ,p #d 4#dj ,m #e 4#ej #f 4#fj #h 4#ge #aj #a4jj ,,modern #d inch #j4ce ,,chicago ,,art4 #e 4#de ,,favorite4 ,e #f 4#fj ,e #h 4#ge #aj #a4jj #ab #a4cf #ae #a4gj ,,de ,,vinne ,,caps4 #c inch #j4ce #b inch #j4cj ,,de ,,vinne ,r #d 4#de #c 4#dj ,,lower ,,case4 #e 4#fj #c-a_/b 4#ej let #f 4#ge #d-a_/b 4#gj #h #a4jj #f 4#he #aj #a4ce ,to order4 #ab #a4gj ,,script4 #f inch ,capitals #a4jj ,fat ,lower case to match 4#ge #i inch ,capitals #a4ej ,lower case #a4jj #ab inch ,capitals #b4jj ,lower case #a4ce ,,german ,,text4 #d inch ,capitals #j4he ,abc ,lower case 4#fe #f inch ,caps #a4jj ,lower case 4#ge #h inch ,caps #a4ej ,lower case #a4jj ,,block4 #b inch1 per set of #aj #j4aj ,,roman4 #e #c 4#aj #f #d 4#ae #e 4#bj #f 4#be #h 4#ce #aj 4#dj #ab 4#ej ,stencils of any of the above alphabets of ,letter ,patterns will be cut on the very best prepared ,stencil ,paper at double the price quoted for the patterns2 all stencils are shellaced ready for use in oil or water colors4 ,,transfer ,,ornaments1 ,,or ,,decalcomanie1 have been used for so many years for ,carriage and ,sign ,decoration that they are now a staple article in the paint shop1 and the ,transfer letters will soon be as popular1 for any person who can use one can use the other4 ,they make elegant signs on wood1 tin1 or any smooth surface1 and another kind for the inside of glass are very fine1 and guaranteed to wear as well1 or better than work done by hand by the most experienced sign writer4 ,a list of prices1 sizes1 and colors1 with full directions for applying1 will be found on pages #db to #di of my large #fd-page catalogue1 which will be sent ,,free to any person applying for same4 ,special ornaments1 trade-marks and other transfers made to order in quantities4 ,we manufacture and sell all kinds of ,signs and ,sign ,letters in ,enamel ,aluminum1 ,wood1 etc4 ,if you wish goods forwarded by mail be sure to send stamps or money to pay charges or they will be sent by express4 ,,wm4 ,,sedgwick1 #bfj ,clark ,street1 - - ,,chicago4 ,send for #fd-,page ,catalogue of ,fresco ,stencils1 ,signs and ,sign ,letters 99 99 99 99 99 ,,the ,,king ,,patent ,,chiselled ,,varnish ,,brush ,illustration ,this brush is made on our full centre patent2 it is brass bound1 and the greatest pains taken in the selection of stock and making4 ,it now stands at the head of this class of brushes1 being especially adapted to piano1 car1 and coach work4 ,the ,king ,patent ,chiselled ,varnish ,brush ,the following1 written by one who is an acknowledged authority on the subject of varnishing1 will be of interest to those who want the best brush made4 ,,the ,,king ,,varnish ,,brush4 ,it is seldom that we so readily commend a new tool as1 in this instance1 we do the patent varnish brush of ,messrs4 ,john ,l4 ,whiting ,son ,co41 ,boston1 ,mass41 which they are now supplying under the name of ',the ,king4' ,it consists of an oval brush bound with brass1 and having its centre well filled with bristles4 ,the latter is a new and certainly very desirable feature1 as no accumulation of dirt or varnish gum can find a resting place4 ,the bristles are of the best quality1 possessing all the desired elasticity1 and appear to be more firmly held in place than is the case with many oval brushes we have used4 ,the bristles are evenly distributed throughout the brush1 and are not compressed into a solid ring or ferrule1 around a so-called reservoir for varnish or paint1 in the centre of the brush4 ,these reservoirs have never been a success1 and the absence of one in ',the ,king' leads us to particularly admire it1 for our experience teaches us that a brush with a solid bristle centre will carry varnish better and keep in better order than one having a central space or reservoir4 ,besides this1 such a brush will wear more evenly4 ,the brush is particularly adapted for varnishing large panels or gears1 and well merits a trial by varnishers4 ,f4 ,b4 ,,gardner4 ,if you are not using ,whiting's ,brushes give them a trial and learn their superior working qualities and economy1 over all other kinds4 ,for information address the manufacturers4 ,,john ,l4 ,,whiting ,,son ,,co41 ,,boston1 ,u4 ,s4 ,a4 99 99 99 99 99 ,we are ,headquarters for ,carriage ,painters' ,supplies of every description ,we are ,agents for the following ,,specialties ,,coach ,,colors ,,in ,,japan ,manufactured by the well-known house of ,wadsworth1 ,howland ,co41 7,inc47 of ,boston1 ,mass4 ,send for ,sample ,book showing many new colors4 ,,carriage ,,varnishes ,made by the same firm4 ,,english ,,varnishes ,made by ,robt4 ,ingham ,clark ,co41 of ,london4 ,eng4 ,highest grade ,varnishes made4 ,,aug4 ,,buhne ,,co4',s ,,steel ,,wool ,takes place of ,sandpaper4 ,pumice stone4 ,samples ,free4 ,,faultless ,,varnish ,,remover ,no alkali will not stain the most delicate wood4 ,try it4 ,sample can be sent prepaid for #ce cents4 ,,coach ,,and ,,car ,,strictly ,,pure ,,white ,,lead4 ,heavy body and finely ground for ,carriage ,painters4 ,write for quotations4 ,also a ,full ,line of ,,brushes of every description4 ,,bronze ,,powder for striping and lining4 ,,chamois ,,skins ,english and ,french4 ,,fillers1 ,dry and ,ground1 for ,rough ,stuff and ,gear ,fillers4 ,,leaf ,gold1 ,silver1 ,aluminum4 ,,pumice ,,stone ,powdered1 ,lump and ,composition4 ,,rubbing ,,felts ,all grades and ,thicknesses4 ,,sponges ,sheep's ,wool1 ,selected forms4 ,send for ,carriage ,painters' ,net ,price-,list4 ,it is ,,free4 ,,geo ,e4 ,,watson ,,co4 #ajh ,lake ,street ,,chicago 99 99 99 99 99 ,established #ahcb ,incorporated #ahhb ,,valentine ,,company ,,valentines ,,varnishes ,manufacturers of ,high ,grade ,,coach ,,and ,,car ,,varnishes ,,and ,,colors #beg ,broadway1 ,new ,york ,,chicago1 #bgg ,dearborn ,street ,,boston1 #agj ,purchase ,street ,,paris1 #ba ,rue de ,lappe ,,amsterdam1 ,prinsengracht #gfb 99 99 99 99 99 ,transcriber's note3 ,the one footnote has been moved to the end of its chapter4 ,illustrations have been moved to paragraph breaks near where they are discussed4 ,punctuation has been made consistent4 ,section names are inconsistent between the table of contents1 chapter headers1 and actual section names4 ,variations in spelling and hyphenation were retained as they appear in the original publication1 except that obvious typographical errors have been corrected4 ,page #ga3 ,the reference to page #ahd is to a page that does not exist 7on page #ahd may7 ,page #ajd3 ,the figure labeled ,o4 ,d4 ,t4 does not correspond to the displayed monogram1 which appears to be ,o4 ,r4 ,t4