The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1923-06-02

Many painters, particularly older
men trained in earlier traditions,
claim. for good lead and oil color
qualities superior TO prepared fiat
paints on the market. IS
Their. principal argument is that
lead and. oil will stand up better,
hold the color and be more salts
factory in the long rum.
Redecorating Easy.
Although the initial cost is great.
err than that of water color or the
less expensive papers, there is one
advantage, that obtains where walls
are. painted with flat wall colors or
lead and oil. a. ST
"A wall so decorated can be
washed frequently and redeeorated
or freshened by the application Of
one or more coats Of paint if the
plaster has not been cracked or
damaged. ,...
Every coat properly applied to a.
wall becomes foundation. for adj
ditionaI painting. =
I Much attention is being driven to
texture of painted walls;
Painters and dealers realize now
the Importance OF thatA element.
Z 1t ,is comparatively easy to OBJ
tain IAN agreeable wall tone when.
uniform color is all that is needed,
but, the problem Is more complex
when it is desired to give the wall
tone distinctive quality, iTdividu-
atty that will distinguish it from
"a merely painted wall.
Old Tricks Revived.
!. Decorators have been familiar
always with countless devices for.
ACCOMPLISHING such results. The
processes are merely old painters
tricks used more artistically.
One of them Is the use of sponge
stipp1ing.
A variety OF textures and effects
can be produced by the simple ex-
pedient of stippling with sponge
light tone over a darker one, or
the reverse, stippling tones of a
cool color over warmer tones, using
contrasting or closely related COL
ors. one over the other, as the case
may require.
Another method is to give the
third coat a semi gloss surface.
Over 1t another coat, contrasting
with 1t slightly in value, as lighter
or darker in. intensity, as purer or
duller, or. in shade as cooler or
warmer is applied.
With a crumpled paper roller a
wad of canvas, coarse burlap or
other material, depending on the
texture desired. that last coat is
picked up, allowing the undercoat
!. to show through in spots.
Care must be exercised in such
treatment that the resulting tex
ture is uniform and even in effect.
Plaster Interior.
We are just beginning to realize
that Tor many types of interior dec
Grating there is little to recommenS
the. average mechanically perfect
smooth plaster wall.
The methods of giving texture
to painted walls just described are
a response in part: to that feel-
Ing.
Very often the decorators prob
lem requires wall that has. the
uneven. irregular surface, the char
acter, of roughly executed, hand
worked plaster.
The sort of rough walls we as
sociate with early English and Nor
man cottages will serve as ex-
amples.
When 1t is not possible to OBJ
tain the sort of wall desired by
manipulating the plaster itself, as
in remodeling or redecorating. the
same result may be had by skilled
painter. There are numerous ways
of accomplishing 1t. I
A preparation consisting prillci-
pally of whiting, plaster paris and
glue, mixed with water to a thick
putty-like substance, can be smear
H. -
the desired degree Of roughness is
produced.
Another Mixture Good.
Another formula. the principal in
gradients of which are whiting, lead
and glue. mixed with oil and tur-.
pentine. can be similarly manipu-
lated.