The Bridgeport evening farmer., 1912-01-26
Importance Of Paint
 On Motor Cars
Distinctive COlOr-Schemes Being Adapted - Some Artistic Effects Of Much Rich.
 ness

The exterior painting of a motor car Is one of the details to which careful builders give special attention and ap- ply scientific skill, for the right paint and Varnish are essential as a prOtec- ton to any structure of wood and met al which is exposed to the stress of weather and undergoes the constant washing and cleaning that falls to the lot of the automobile.
 The essential requirement is the proper application and surfacing of the foundation coats. To exclude mois- ture a priming coat of penetrating and successive coats of a mineral mixture called "roughstuff," which fills the grain of the wood, and the minute de- pressions in the metal so that when it Is rubbed down with small pieces of lump pumice- stone and water it will present perfectly smooth, even sur face. On this are laid a variety of dyes known as glaze co,ors-pigments which have not sufficient body to be used alone, but must be glazed over a substantial foundation of other pig ments sufficiently appr oaching their shade to support and bear out the thin coVer-Color. On a fine car as many a s twenty coats are app jed. This com btpatfon of glaze and ground coloc pro- duCes a bril-iancy and depth of tone impossible to get by any other means. motorcar, each manufacturer has been looking for distinctive colors which would diffeTentiate his car from all others. Several extreme'y handsome effects were presented in the exhibit al the Madison Square Garden Show. The way the idea has been worked nE. is interesting.
 In the Model A A torpedo, for in stance, the ever-changing hues of the opal are approximated with remark able success. Body and chassis are painted in opaline blue-a co,or diff cult to describe. for in some lights it appears to he blue, but viewed from a different angle approaches the fiery flashes in the irideScent changes of the opal. The effect is further enhanced by broad pale blue stripe on body and chassis, Simi ar in tone to the CO., of the body, but very much deeper In tone. The tone contrast is accen- tuated by fine line of gold which edges the stripe.
 Another distinctive exhibit illustrat- ing what can be done by careful con- sideration of the effect of light was Stevens-Duryea limousine. The upper body and chassis are black, while the lower panels and wheels have a new delicate tone created from a study of the hues of the violet in it's uncu ti- vated state and called "wi!dwo vio- let-'' The stripping is carried out in ivory white.
 An exclusive color, not uncommon in fine fabrics, but exhibited for the first time for motor-car decoration by the Stevens-Duryea factory. is win de mulberry. It is a most effective col or the delicate tone of which is fully revealed on close examination. The body and cha ssis of the two-passen- ger runabout in the Stevens Duryea exhibit were painted win de mu berry, and striped with a broad line of black, edged with gold. This color lends it. self remarkably we'll to the rounded panels of hood, dash and body of the runabou in which it was shown at the Garden The brilliancy of the fine ly vanished surface reflects a shade hot I-og- FRT1n more colors are used for the different surfaces.
 In each model the color scheme of the. exterior painting is carried out in the interior finish. Thus, each car is a harmonious whole. and the artis- tic effect, when the different types are shown side by side as in the Garden Show, emphasizes the painstaking thoroughness of the Stevens -Duryea people in every detail of fine motor car building.