# Cyclopedia of Painting/House Painting—New Work

HOUSE PAINTING.
New Work. Do not use cheap ground ochres or Venetian red to produce tints or ground work. They will cause paint applied over them to blister and varnish to curl and flake.
For work that is to be varnished, do not use colors ground in oil for the solid ground color; even though reduced with turpentine and dry apparently flat, they still contain too much oil for a satisfactory ground for japan color or to allow of varnishing over them with safety.
For application over the lead coats, use colors ground in japan for deep ground colors or tints which require a large percentage of coloring matter.
New store fronts, vestibules, etc., which are built of soft wood and are to be painted in oil, should receive a priming or first coat mixed with 2-3 oil and 1-3 turpentine. Allow ample time for thorough drying. Putty and sandpaper. The second coat should be mixed with half turpentine and half oil to a good consistency. When hard dry, sandpaper lightly and apply a coat of oil paint. This will not blister, provided the wood does not get wet from the sweating of glass or like causes.
If the fronts are to be painted and varnished, they should receive a priming coat mixed with half turpentine and half oil. When hard dry, putty and sandpaper and apply a coat mixed with 2-3 turpentine and 1-3 oil. The paint should be tinted to approach the shade of the ground work. When hard, sandpaper lightly and apply a flat coat of ground color. Rub this coat smooth with fine steel wool and apply one or two coats of color ground in japan, according to the strength of the color. All that is necessary is sufficient japan color to make a solid coat. Stripe and ornament according to specifications, then finish with a coat of exterior ​varnish. If more expensive work is desired, a coat of color varnish can be applied over the japan color. This color varnish can be made by adding a small percentage of the japan color to the rubbing varnish. When hard, rub smooth with fine steel wool or curled hair. Stripe or ornament as desired, then finish with a coat of elastic varnish. If the finish is to be black or green, the undercoats should be dark lead color; if wine, dark terra cotta or dark red; if vermilion, dark yellow for light or terra cotta for dark, and vermilion for carmine or lakes where a deep effect is desired.
Old Work. When store fronts and vestibules are to be painted in oil and are in good condition, showing no cracks or signs of peeling, they should be sandpapered smooth. If two coats are to be applied, the first should be reduced with half turpentine. Over this apply an oil paint. It should be borne in mind, however, that too much oil must not be used, especially where the fronts are exposed to the hot sun.
When store fronts and vestibules are to be repainted and varnished and the old paint has stood for two or three years and is in good condition, the surface not having received too numerous coats, they can sometimes be sandpapered smooth and a coat of flat ground color applied, then a coat of color in japan. Stripe and ornament, then finish with a coat of exterior varnish.
When the fronts have been repainted a number of times with oil paint, they will not stand sun exposure after receiving the varnish, without danger of blistering. In such cases the paint should be burned off or removed with a paint remover. The surface is then practically new and the work can proceed as with new work, with the exception of the priming or first coat, which should contain a larger percentage of turpentine to assist in penetrating through any old paint left on the wood. Then proceed as with new work, building up the surface in the same manner by using ​flat ground colors and color ground in japan and exterior varnish.
Iron Store Fronts. Thoroughly clean the surface. If the work has been covered with a shop coat, scrape and thoroughly sandpaper before applying the paint.
In painting an iron store front in oil or flat color and varnish, the treatment should be the same as for a wooden front, with the exception of the first coat. The surface being non-absorbent, the first coat must be mixed so as to dry firm and hard by oxidation and evaporation. If to be finished in oil paint of a light tint with a lead or zinc base, the first coat should be reduced with 1-3 oil and 2-3 turpentine. If a solid oil is to be used, such as black, red, etc., reduce with turpentine and a small proportion of japan to assist in hardening. Allow ample time for thorough oxidation. Finish with one coat of oil paint. If to be painted and varnished, the first coat should be mixed with $^3$⁄$_4$ turpentine and $^1$⁄$_4$ oil, tinted to approximate the shade of the ground color to be used. When hard dry, sandpaper and proceed with a flat coat of ground color as for a wooden surface.
Interior Finish—New Work. The protection and preparation of the surface should be the first consideration and should be as carefully planned and carried out for plain painting, staining, varnishing or natural finishing as for more expensive work, as these are often the foundations for a better class of future finishing.
Inside door frames should not be set until after the plastering has been completed, then put in with the other finish, otherwise the mortar will stain the wood badly and these stains cannot be removed without a great deal of trouble. In fact, frames are often ruined by mortar stains and bruises from plasterers removing their scaffolding. These bruises and stains especially ruin the work when it is to have a natural stain or finish.
If the frames are set, they should be protected before ​the plasterer commences work. If the work is to have a natural finish and the frames are hard wood, they should first be filled with paste filler, then a coat of shellac or liquor filler applied. If the frames are soft wood and are to be stained, they should be given a coat of oil stain; if to be painted, they should be primed. If water or spirit stains are used, cover with a coat of shellac or liquid filler, otherwise the lime water in the plaster will change the color of water stains. A strip should be tacked to the face of the frames to protect them from being bruised or scuffed up during the plastering.
Floors which are to be finished natural or stained should not be laid until after the plastering is done. Floors should be the last work of the carpenter as well as the painter. This requires laying an extra floor. On the best and more expensive buildings this is looked after by the architect in his specifications. However, there are a number of buildings in which the floors are laid before the plasterer commences his work, and as these are to be finished either natural, stained or painted, they should be protected from plastering.
As soon as the carpenter has finished sandpapering and dressing down the floors, they should be carefully swept and dusted off. The cracks should be filled with either a good linseed oil putty mixed with 1-3 keg lead, or a good crack and crevice filler, which is not so likely to be affected by shrinkage of the floors as is putty.
If hard, open-grained wood, the floors should first receive a coat of paste filler, then a light coat of shellac or floor finish.
If the floors are soft or hard pine and to be finished natural, they should receive a coat of shellac or liquid filler of good quality, applied thin. If to be stained, they should receive a coat of oil stain.
When dry, cover the floors with heavy building paper or plain carpet lining tacked down solidly. Sprinkle dry ​sand around the walls to keep the mortar from soaking into the paper. Allow this covering to remain on the floors until after the painting or finishing is done on the other parts of the room. The floors should be finished last.
Before the carpenter turns the work over to the painter, he should remove from the rooms all blocks, shavings, etc., and turn as much of the building over to the painter at one time as is possible.
The painter should sweep the room clean and thoroughly dust off the work before commencing to paint, stain or varnish.
Putty nail holes, joints, etc., with good putty, one which will not soften with age or turn yellow if white or light tints are applied over it.
If the work is to be painted, soft pine doors and casings should first receive a coat of size to keep them from spotting. This should be a shellac size if the work will permit. Good liquid filler is often used with good results by reducing to a thin consistency and applying a smooth, even coat. Hard drying varnishes, such as copal and hard oil finishes, are successfully used by applying them thin. Glue size can also be used if applied hot and very thin. It should not be allowed to get cold, as it will not strike into the wood but remain on the surface and is liable to break away. It is very hard for ordinary dampness to affect glue size after it has been properly applied and covered with paint or varnish. Where the price of work will not permit of sizing or the specifications do not call for it, satisfactory work can be done by mixing varnish with the priming coat. Varnish and turpentine will, to a certain extent, keep the work from spotting.
The paint for interior work should be mixed with a large percentage of turpentine. Oil will turn the work yellow. If white work, such as flat white, white enamel, is to be done, it is absolutely necessary that the priming coat should be mixed with turpentine, otherwise the work will yellow ​in a very short time, especially where sizing has not been used. An excess of oil will also cause the work to crack and check badly. Too much oil cannot be used for interior work with safety. Where the work is to be finished with oil paints, more oil can be used in the priming. It should be borne in mind, however, that interior work should always dry hard and firm to insure good results from its present painting, also to allow of satisfactorily repainting.
In giving these directions for the different classes of work, the one principal object has been to caution against the application of too numerous coats. It is not the amount of paint applied to a surface which produces the results, it is the manner of application, the proper mixing of the paint and the preparation of the surface. In enameled or grained work it is especially true that where too numerous coats of ground work are applied, it is very hard to repaint such a surface if at any time a different class of work should be desired.
Throughout the directions for undercoats on all classes of work it will be found that varnish is specified in place of oil and japan. This gives the most satisfactory undercoat surface that can possibly be made, especially if a good grade of varnish is used. The work will remain in good condition for an indefinite length of time; it will not crack or check; the grain of the wood will be thoroughly filled and with this method of reducing the paint, the number of coats to produce satisfactory work can be cut down.
Mixtures of japan and oil for undercoats are not always satisfactory for interior work. Too much oil makes spongy work which is liable to crack and check badly. Heavy mixtures of oil and japan will do likewise.
The directions given are not new but have been tried out in the most practical ways and have always proved entirely satisfactory.
Sandpaper or smooth the surface with fine steel wool and dust off thoroughly before applying the paint.
​Where paint, enamel or varnish are retarded in their drying by weather conditions or other causes, the work can be assisted in drying and hardening by sandpapering or mossing off, killing the gloss and allowing it to be exposed to a free circulation of air. This will harden work in a few hours as much as if allowed to stand for a considerable length of time.
Cheap paint should not be used for inside work any more than on the exterior of the building, if good results are to be expected. It is a mistake to use cheap ochre for priming. The same paint, or something as good, should be used for priming or first coat as is used for the finishing coats or for building up the ground work for enameling, graining and like work.
Oil Paint in White. Where two coat oil paint work is specified, without sizing, the first coat should be reduced with half turpentine and half oil to a good consistency, then a half pint of good hard drying or enamel varnish added. This will dry hard and will not spot as badly on soft pine wood as a turpentine oil reduction. After it is hard dry, putty crevices and nail holes with good putty, one which will not turn yellow, or the puttying can be done before the priming coat is applied. Should there be holes that are not properly filled, they can be reputtied over the first or priming coat. Sandpaper or rub with fine steel wool to a smooth, even surface, dust off and apply a second coat mixed to a good, heavy consistency with half oil and half turpentine, or 1-3 good hard drying varnish, 1-3 oil and 1-3 turpentine. Either mix will dry with a good gloss and can be washed.
For three-coat work the primer should be mixed as before stated, the second coat mixed with three parts turpentine and one part oil or hard drying varnish. This will dry with an eggshell gloss. Sandpaper or rub with fine steel wool to a smooth, even coat and apply the finishing coat of medium consistency, mixed with half turpentine and half ​oil, or 1-3 each turpentine, oil and varnish. This should dry with a good gloss and can be scrubbed. This work, however, will turn yellow with age, as will enamel if applied over it.
Gloss Work in White. Satisfactory two-coat gloss work cannot be done on bare wood. If the work is not filled or sized, the primer should be mixed to a thin consistency with $^7$⁄$_8$ turpentine and $^1$⁄$_8$ hard drying or enamel varnish. The second coat should be of the same mixture but of heavier consistency. If for a size or filled surface, the first coat should be of the same consistency and mixture as for second coat over bare wood. This will dry flat. Sandpaper or rub with fine steel wool to a smooth, even coat.
If the work is to be finished in lead, use 1-3 of the second coat flat mixture and 2-3 hard drying or enamel varnish. If a white finish is desired, zinc in place of lead should be used. For zinc finish, prime with lead reduced as before stated. Second coat with zinc varnish reduced with turpentine. Sandpaper between coats and finish with 1-3 second-coat zinc mixture and 2-3 white or enamel varnish. Either of these finishes will dry with a good gloss and should not turn yellow or cheek.
Oil Paint in Tints. Reduce the priming coat with half turpentine and half oil. To one gallon of paint add a half-pint of good varnish. The paint should be of good consistency and applied smoothly and evenly. When hard dry, sandpaper, dust off and apply a coat mixed as before stated, only of a heavier consistency. This paint will dry with sufficient gloss to allow of washing.
For three-coat work the primer should be mixed as noted and the second coat mixed with three parts turpentine and one part oil. This will dry about flat and can be sandpapered smooth before applying the finishing coat which should be mixed with half turpentine and half oil. To a gallon of the mixture add a half-pint of good mixing ​varnish; this should dry with fair gloss and can be washed or scrubbed.
Gloss Work in Tints. The primer can be mixed with half oil and half turpentine. It is safer to cut down the amount of oil, using 2-3 turpentine and 1-3 oil. After the priming is thoroughly hard, putty and sandpaper and apply a coat of flat color of good consistency. When hard, sandpaper to a smooth, even surface and apply a coat of 1-3 flat color and 2-3 good color mixing varnish. This paint should be flowed on smoothly and evenly. It will dry with a good gloss and make a very satisfactory finish.
Flat Finish in Three Coats. A satisfactory flat finish cannot be obtained with less than three coats unless the wood has been filled or sized. The priming coat for bare wood should be mixed to a thin consistency with $^7$⁄$_8$ turpentine and $^1$⁄$_8$ varnish. Putty with good, hard drying putty, one which will not show gloss spots or turn yellow. Sandpaper or rub with fine steel wool to a smooth surface. The second coat should be mixed to a heavier consistency, carrying a little larger percentage of varnish so as not to leave a surface which is too flat. This same mixture should be used for the first coat over a surface which has been filled or sized. If for white work, white enamel varnish should be used where varnish is specified. Rub smooth with curled hair, dust off and apply a finishing coat mixed flat. This will dry without gloss spots. It can be mixed with either lead or zinc, according to the specifications, also white or tints according to the work desired.
If a dead flat finish is desired, when lead is used, the lead should first be washed with turpentine. If a zinc finish, use zinc reduced with turpentine.
Enamel in Three Coats. The priming or first coat should be mixed according to directions for flat work. If the lead used is soft ground, it should be washed with turpentine and allowed to stand over night and the turpentine poured off in the morning. Reduce the paint with all ​turpentine to which reduction should be added 1-32 to 1-16 gallon of the enamel to each gallon of paint. This will assist in hardening the paint and the mixture can be used either on bare wood or over a sized surface. When the priming or first coat is thoroughly hard, putty with good hard-drying putty, one which will not turn yellow, then rub with fine sandpaper or steel wool, after which apply a second coat mixed flat, to which has been added a pint of the enamel to a gallon of paint. Rub this coat smooth with fine sandpaper or curled hair. Apply a good, smooth, even coat of enamel of good consistency. If properly applied, the enamel can be left in full gloss finish or lightly rubbed. If a higher finish is desired, reduce the first coat of enamel with a small amount of turpentine, one pint to the gallon of enamel. Rub this coat with fine steel wool to kill the gloss and level down the surface, then flow on a smooth, even coat of enamel. This can be rubbed to the finish desired and polished after three to four days' standing. If desired, zinc can be used for the flat coats in the foregoing directions; however, it is best to use lead for building up undercoats.
Zinc Finish. The priming coat for zinc should be as directed for flat work. Lead is best to use for priming or first coat over a sized surface. Where two or three coats of flat zinc work are specified, reduce zinc that has been ground in varnish with turpentine to a medium thin consistency and apply over a first coat of lead. When dry, rub with curled hair and apply a second coat of the same mixture of a heavier consistency. This will dry flat and make a beautiful finish.
If a gloss finish is desired, apply the finishing coat of zinc in varnish reduced with turpentine to a consistency of cream. To one part of this mixture add two parts white enamel varnish. If a higher finish is desired rub this coat with fine steel wool and apply a coat of clear varnish. This can be rubbed to the desired effect.
​Ebony or Flat Black Finish. Where work is to be finished in ebony, either in gloss or flat, the wood should be prepared according to the finish. If soft wood and is to be finished in ebony, it should receive a coat of shellac; putty with black putty and apply a coat of dark lead color, mixed flat, to which has been added a half-pint of good hard-drying varnish to the gallon of paint. When hard dry, rub off smooth with curled hair. Over this apply a coat of flat black. If a gloss or polish is desired, apply a coat of black color and varnish or ebony finish. This can be rubbed to a dead effect. If a more expensive finish is desired, slightly reduce the first coat of varnish color or ebony finish, according to the temperature of the room. When hard dry, cut down smooth with fine steel wool, dust off and flow on an even coat of the color varnish or ebony finish. This can be rubbed and polished.
Where grill work and plate rails or hard wood are to be finished and the open-grain effect is desired, add to the flat black a few drops of oil and apply a coat to the bare wood. Allow to stand a short time, then wipe off to the desired effect of flat black or Flemish finish. If, however, the hard wood is to be finished in gloss or polish, it should first be filled with paste filler, then proceed as with soft wood varnish coats, leaving off the dark lead color coat.
Cupboards and Pantries. When cupboards and pantries are to be painted, the first or priming coat should be applied to the bare wood and mixed with 2-3 turpentine and 1-3 oil. This will dry hard and can be sandpapered smooth. If two coats only are to be applied, the finishing coat should be mixed to dry hard and firm. If oil paint, it can be mixed to a good consistency with 2-3 oil and 1-3 turpentine and a small amount of good japan, or mix the desired color flat and use half color and half good-drying varnish. The paint should be of the same consistency as varnish. To this a further percentage of turpentine can be added to ​insure ease of working, or a small percentage of oil can be used, but not enough to cause the paint to dry tacky.
If three coats of oil paint are specified, the second coat should be of the same mixture as the primer, but of a heavier consistency. When hard, sandpaper and apply a coat of paint mixed with 2-3 oil and 1-3 turpentine. If sufficient time is allowed, this should dry firm and hard. If a varnish finish is desired, the finishing coat varnish color can be applied as recommended for two-coat work.
In painting the pantries, cupboards, etc., it is very essential that the doors and drawers should not be closed, so as to allow the paint drying hard. A free circulation of air is absolutely necessary.
Graining Ground. Graining grounds which are mixed with all oil are very liable to crack and check after varnish has been applied over them. Care should always be used in noting that the undercoats are thoroughly hard before applying subsequent coats. There should not be too much oil used.
If the priming is to be applied to the bare wood, reduce with half oil and half turpentine. Allow this to thoroughly harden through, putty, sandpaper smooth and apply a coat of paint, mixed flat, to which has been added a half-pint of hard-drying varnish to the gallon of paint. When hard, rub smooth with fine sandpaper or steel wool and apply a coat of the same paint with the addition of varnish to allow of drying with a slight gloss, or a small amount of oil can be used, but not enough to cause the paint to dry tacky. If the surface has been sized, the first coat should be mixed with 2-3 turpentine and 1-3 oil, smoothed off and finished with one coat as recommended for finishing on bare wood. Graining color can be worked over this ground without danger of cutting through with the graining combs or when cutting out growths, as is often the case when oil is used in ground work.
It is best to grain in distemper for interior work. For ​exterior work, more oil can be used for building up the ground work than for interior. However, if the work is to be varnished, most of the oil should be cut out. A great many painters prefer not to varnish exterior work, but apply a coat of oil, rub off with a soft cloth and let the work remain with this finish. Where varnished work is used on the exterior, the graining should be done in distemper if possible, or the oil graining color should be allowed to stand until thoroughly hard before applying the varnish; this insures against blistering and cracking.
Floors. Where the priming can be allowed to stand a sufficient time to thoroughly harden, the paint can be mixed with half turpentine and half oil. Where time will not permit, 2-3 turpentine and 1-3 oil should be used. Floor paint should dry hard, remembering that the priming or foundation coat is very important. After hard dry, putty and apply a second coat of paint mixed with 2-3 turpentine and 1-3 copal or mixing varnish. This will dry hard with a slight gloss. Sandpaper and dust off and apply a coat of the same shade mixed with 2-3 varnish and 1-3 flat color. This will dry with a good gloss and can be used without fear of scratching or peeling if the varnish used is of good grade. After the floors have been used and have become somewhat worn, they can be renewed by washing clean and applying a thin coat of floor finish. This can be repeated as often as the floor shows wear.
STAINING.
Where it is possible, the wood should be stained before being nailed to the wall or as soon as the carpenter has finished dressing. This will save time and labor in finishing. The stain should be of thin consistency so as to penetrate into the wood and not remain in spots on the surface. Allow the stain to remain on the wood a short time, then wipe off with a cloth to even up the work. On very soft pine, ​it is often necessary in order to produce uniform work to size the same with a thin sizing before staining. This size should be very thin, and it is well to wipe it off immediately after applying so as not to have an excess on the surface, thus keeping the stain from striking in and the soft and sappy places from absorbing so much of the stain as to make the finished work spotted.
Where size is used, the stain should be allowed to remain on the surface longer than on the bare wood so as to allow of good penetration before, wiping off. It is not necessary to wipe if care is used in brushing on the stain. Where it is not possible to stain the wood before nailing to the wall, the work should be thoroughly dusted, then puttied. Knife the putty into nail holes or cracks, after which apply the stain. Allow the stain to remain on the surface a short time, then wipe off to even up the work. When hard, sandpaper lightly and apply a shellac or liquid filler. When hard, rub with fine sandpaper or fine steel wool to a smooth, even coat, after which apply varnish, the number of coats depending on specifications.
Cupboards and Pantries. Where cupboards and pantries are to be stained inside on the shelving, inside drawers, etc., they should receive a coat of shellac or good liquid filler over the stain, then a thin coat of hard-drying varnish, one which is not easily affected by heat, otherwise there is danger of warm dishes or other utensils sticking to it.
Floors. Where floors are to be stained and finished, they should be stained and protected according to instructions previously given. Where these instructions have been followed, and as soon as the interior is finished, remove the paper and dust off the floors. If there should be dust from the plastering which cannot be removed with a duster, dampen a cloth with a mixture of half turpentine and half oil and with this remove all the dust and leave the floors clean. Do not have enough of the mixture on the cloth to make ​the floor oily, just a sufficient amount to take up the dust. If shellac is to be used over the stain, use turpentine for cleaning. Apply over this stain a thin coat of shellac or good liquid filler. Rub off lightly with fine sandpaper or steel wool and apply a coat of floor finish. This can be left in the gloss, rubbed with pumice stone and oil, or sandpapered to kill the gloss, then waxed in the usual manner.
Should a deeper stain be wanted or the floor be marred or scratched, use a mixture of 1-3 stain and 2-3 floor finish. If the floor has not been protected before the plastering was done, it should be thoroughly cleaned, the mortar scraped off, sandpapered and dressed down smooth and the cracks filled with crack and crevice filler or puttied with good putty; then apply a coat of stain, after which the floor can be finished as noted.
TO PAINT PLASTERED WALLS.
Plastered walls should receive a coat of size before painting. The best size which can be applied to a wall is a thin coat of oil paint. This is hard to apply without showing laps, but these can be easily covered with subsequent coats. When hard dry, apply a coat of warm glue size which will fully stop absorption.
If the walls are to be painted in oil with a full gloss, they should receive the finishing coat of a full oil reduction. If to be half flat, the finishing coat should be mixed to a good consistency with half turpentine and half oil. This will cover the work in a solid manner and make good two coat work.
If a varnish size is used, reduce a fair grade of hard oil finish or varnish to a thin consistency and apply freely with a full brush. When hard dry, apply a first coat mixed with half oil and half turpentine.
If a full gloss is desired, the finishing coat of full oil reduction can be applied over this surface, or, if half fiat ​is wanted, the same mixture as for first coat can be applied, but must be of a heavier consistency.
If the walls are to be finished flat, three coats over a size must be applied. If an oil paint and glue size are used, a second coat mixed half flat will produce a satisfactory foundation for the flat color.
If varnish size is used, apply two coats of half flat paint, the second coat of a heavier consistency than the first coat.
If to be left flat, apply one even coat of flat paint mixed to a good consistency.
If to be stippled, the paint should be mixed flat to a heavy consistency, carrying a small percentage of varnish. In applying a flat color on large rooms, two men should work together in order to avoid showing laps. In stippling large surfaces, it is customary for two men to apply the paint and one man to follow with the stippler.
Where the walls are to be stippled in oil paint, the finishing coat should be mixed to a heavy consistency with 2-3 oil and 1-3 turpentine. Apply the paint medium heavy and allow it to stand a short time, then proceed to stipple. One man can apply the paint as well as do the stippling.
Where walls have been stippled or decorated, they can be protected by applying a thin coat of good starch. Boil the starch and strain. Be sure it is uniform throughout, then reduce to a thin consistency and apply a thin coat and stipple the same as with paint. This will protect the decoration, and after it becomes soiled with smoke it can be washed off and another coat of starch be applied in the same manner as before, thus saving the decoration for an indefinite length of time.