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

tons 1t can. be finished by
| painting. then glazing with d slight
lily contrasting tone and Wiping off
to, emphasize the ronghness of the
surface.
When only slight degree OF
rougI1nesa is required, that rough
stuff can be applied with coarse
brush and worked into a variety of
patterns.
Dragging It, on in vertical and
horizontal strokes win suggest the
texture of. a coarse fabric.
Laying the, preparation on in
humps and then troweling over with
stick will suggest the texture of
traveftines or, other stone.
But the possibilities can. only be
suggested here.
AS in the case With the many
ways of shipping a wall, the re-
suits obtained will depend primari-
ly on the painters skill and his
sense of decorative values.
b The prepared flat wall oil paints
and standard makes Of lead and oil
color are sufficiently permanent for
all 4 practical purposes i'm interior.
work, which does not imply, how
ever, that all co1ors ground in oil
viii not fade or change under strong
sunlight.
81 Fading Is Slight. Isl
The average room does not re-
ceive such flood of light as to.
make that factor an important con.
sideratiorl.
In exterior painting care must be,
exercised in selecting colors which,
are permanent
In general it win be found that
strong, bright, intense cOIors will
fade more rapidly than will more
subdued, neutral tones.
Soft .yellows, browns, tai1s, bluffs,
ivory. tones, warm grays and soft
blues and green are more permanent
than are bright cold green's or blues
or sharper, clearer tones Of red and
yellow.
It is not possible to classify
exactly all nonfading tinting colors
-colors mixed with lead and oil in
obtaining the right tone-~as much
depends on the brands used.
Those that can be relied on safe
ly are raw sienna, burnt sienna, raw
and burnt umber, French ocl1re,
Venetian and Tuscan reds and lamp
black.
Chrome yellow, chrome green and
Prussian blue can be classified as
fairly permanent.
Three Coats Usual.
They are indispensable in produc-
ing certain very uSable shades, and
are employed frequently, even
though known to fade somewhat I'M
der sunlight
For painting exterior woodwork
three coats are generally specified.
The first, or primng coat, of white
lead and raw linseed oil is applied
after the wood Is cleaned, thor
oughly dried and all knots and res
nous spots have been shellac var
nished.
After printing. all cracks, open
Joints and nail holes are smoothly
filled up with pure linseed oil white
lead putty.
After the putty has dried the sec
ond and third coats Of the color
selected are applied. ample time
being allowed for drying between
succeeding coats. ST
The second coat is Trimmed usu-
ally with. equal proportions OF oil
and turpentine.
Mixed with Oil.
The last coat is mixed with oil.
only a small proportion of turpen-
tine being used, particularly If
high gloss surface is desired.
If a prepared mixed paint IL used
the last coat is applied usually as
1T comes from the can.
In repainting. two coats will often
suffice. If the paint has scaled or
peeled badly it Is essential to remove
carefully such portions, to burn
them off with a painters torch be-
fore repainting.
Frequently such scaly parts can
be removed by scrubbing with stiff
wire brush.
1t is not economy to paint over
old surfaces showing signs of peel
ing without that preparatory treat
ment.
Before painting interior woodwork
all surfaces must be cleaned care
OBSERVATION-DISCLOSURES