Evening star., 1942-07-01

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tion or refinished to fit into a more
modern scheme of things.
If they are to be refinished all
the old paint must be removed; if
they are to be retouched care must
be taken to get the original effect
by using the same color and texture
Of paint and by following the old
design as closely as possible.
If the furniture is pine you have
probably removed the paint by the
I've method described last week. II
it is not pine, or you are in any
doubt as to the wood used, take no
chances; use varnish remover In
case you have had little experience
with remover and dread the messi-
ness of the usual kinds you will well
come the news that there is mix
ture which is much easier to handle
1t does not run, is non-inf1ammable
and cannot hurt your hands or
clothes. 1t is quite possible to place
the furniture on newspapers in the
kitchen and proceed to remove the
paint with a minimum or difficulty
and excellent results by merely fol-
lowing the directions on the jar.
Though this is bit more expensive
at first it costs less in the long run
as it does not evaporate readily.
Paint the remover on with brush
When the paint begins to lift, slide
wide-bladed putty knife under it
and lift it off in rolls. Work always
with the grain of the wood. To
remove the residue which did not
come off with the first coat, use
the remover again and rub it in with
pad of fine steel wool under
folded pad of heavy cloth. This will
also be necessary for chair turnings
and carving. When the surface is
clean. wipe over with wood alcohol
to remove the last of the remover.
Be sure that the surface is
thoroughly dry before you attempt
to refinish.
For a thin oil paint wash, similar
TO those used on farmhouse furni-
ture in oyster white, cobalt blue or
ochre proceed as follows. For the
white, mix white lead, Cor fiat white
paint) with hnseed oil and a touch
OF raw umber, thin with turpen-
tine and paint a thin wash over
the furniture. Wipe off Immediately
with a cloth, leaving traces of the
paint in the corners and crevices.
Experimenting will give the desired
effect. Be sure to wipe with the
grain of the wood and avoid any
rotary motion. The same process
Is used with the other colors. In
each case thin down one third with
turpentine. This may be used as
1t is or to form an interesting back
ground for painted design.
For a good all-over paint Job use
one coat of printing paint in the
approximate color of the finish coat.
Allow this to dry thoroughly and
sand to smooth finish. Then
follow with two coats of good en-
amel paint This is ideal for the
Victorian furniture that is to be
treated to a modern face lifting"
with white, pale yellow or bright
green frames and f1owered uphol-
stery-or for the simple pine fur
niture that is to be used in modern
background where color is the ac-
cent.
For retouching, to brighten worn
furniture when the original effect
is to be retained, repaint the back
ground with a thin wash of the
paint as close to the original shade
as possible. Match the decorating
colors exactly and practice so that
you can emulate the same non-
chalant strokes of the original.
Avoid an overworked or labored
effect. If the decoration is stencil
trace the stencil as closely as pos
sible, cut new stencil and proceed
with the color or gilt paint to apply
a new design. If the finished job
looks bit too new blend it by
using wash over the whole thing
of turpentine and raw umber,
wiping off the high points. When
this has thoroughly dried go over
the entire piece with wax and
foOliSh IT. S0 that the we'll kept