Improvements in Compositions to be used as Paints.
Year: 1890

page_text: Date of Application, 15th Jan., 1890
Complete Specification Left, 6th Oct., 1890-Accepted, 22nd Nov., 1890
PROVISIONAL SPECIFICATION.
Improvements in Compositions to be used as Paints.
I, WILLIAM HODGSON BARNES, of 144 Lewisham High Road, New Cross, in the
County of London, Photographer, do hereby declare the nature of my said invention
for "IMPROVEMENTS IN COMPOSITIONS TO BE USED AS PAINTS" to be as follows:-
My invention relates to methods of employing bright varnish in the preparation of
paint compositions for ordinary use.
The bright varnish, which in my paints takes the place of the linseed or other oil
of ordinary paints, has not hitherto been successfully employed in the preparation of
ordinary paints, but according to my invention I employ this ingredient together with
others, and by observing the rules and directions hereinafter indicated 1 am able to
produce paints cheaper, more durable, less liable to blister or crack, and if desired
quicker drying. Which ingredients have not, previous to my discovery and invention
of the method of combining them, been applied to such purposes.
According to my invention I employ the article known as bright varnish in the
composition of my paints. By "bright varnish" I desire it to be understood the
article commonly known as and sold under that name by ships chandlers and others
and generally used on board ships to varnish the masts, yards, and other wood-work.
It is also, I am informed known as pine varnish.
By combining this substance together with the colouring and other matters
according to my invention compositions may be produced possessing special
advantages as paints, among which are more particularly the property of drying
very quickly, excellent preservative qualities, and the absence of tendency to blister
or crack, but such paints do not necessarily dry more quickly than ordinary
paints.
In preparing paint compositions with bright varnish I find that when any grease,
fatty matter, or fixed oil is introduced into a mixture of bright varnish intended
for use as paint, the drying qualities are so far interfered with as to spoil it's utility
as a paint. Therefore the first essential to be observed according to my invention is
that the pigment or colouring matter used must not be ground in oil, or only to a
small extent and exceptionally, as shall be more particularly indicated, different.
samples of bright varnish possessing somewhat different properties, and admitting, or
even requiring corresponding adjustinent of the other ingredients.
Some exceptional samples of bright varnish allow the use of a certain proportion
of pigment ground in oil, together with the rest of the pigment used dry, or ground
in a vehicle not containing fixed oil, without materially interfering with it's drying
properties, but the amount of oil thus introduced must in any case be extremely small
or the paint will dry badly.
In practice I find it convenient to thin the bright varnish with a volatile hydro-
carbon, preferably good American turpentine (but other turpentine or some of the
well known turpentine substitutes may be used in most cases) before combining it
with the pigment &c., but it may be so combined first, and thinned afterwards. As
already indicated the pigments must not be ground with oil, and no oil must be
mixed with the paint except as previously indicated, otherwise it will not dry properly;
being worse in this respect in proportion to the quantity of oil present.
I find it advantageous generally, to add (although not to all samples) a proportion
of rosin (colophony). This I dissolve in turpentine or other suitable solvent and
add to the paint composition, it makes the paint dry quicker, harder, and more
glossy, and lessens or removes any tendency to tackiness of the surface. In paints
to be used on wood the proportion of rosin may be larger than when the paint is to
be used for coating metal.

page_text: It may be here observed that one of the difficulties which have hitherto prevented
the use of white and red lead pigments in combination with bright varnish, is that
when either of these are mixed with bright varnish without other addition, the
mixture after a short time practically solidifies, so that it cannot any longer be used
as a paint; nevertheless a proportion of white or red lead used as hereinafter
described gives greater toughness to the paint.
Now according to my invention I overcome this difficulty in the following
manner.
For medium or dark tints white or red lead not ground in oil may be used equal
to from one fourth to one half of the total weight of pigment employed. If a much
larger proportion of white pigment than this is required to make up the tint recourse
must be had to zinc-white or baryta white to make up the quantity. For light tints
where the bulk of the paint must consist of a white pigment I use white lead and
zinc white together, and I have found that one part by weight of white lead and two
parts of zinc white is a very good proportion, but the proportions admit of very wide
variation; or, instead of zinc-white, baryta-white may be used, but it is not so
good.
Zinc-white alone may be employed, preferably used dry, or ground in turpentine
before being mixed with the bright-varnish and coloured pigment (if any).
Another important feature of my invention consists in the use of zinc white to
assist the drying of the paint composition. I find that zinc white when used dry or
ground in turpentine or other suitable vehicle, without fixed oil, acts with the bright
varnish as a drier, and so considerably facilitates the rapid drying of the composition.
For this reason I prefer to use a certain amount of zinc white with the ether
pigments when the colour of the paint composition permits, and for white and light
coloured paints whenever they are wanted to be specially quick drying I prefer to
use zinc white without admixture with lead or baryta.
A modification of the foregoing process consists in heating or boiling bright
varnish in an open vessel. The boiling or heating may only be continued long
enough to just evaporate a small amount of the volatile oil contained in the bright
varnish, or it may be carried further until when cold the varnish forms a solid or
semi-solid substance.
For forming the paint composition this is dissolved in turpentine or other suitable
volatile hydro-carbon, or in alcohol, methylated alcohol, or in wood naptha, and may
have rosin, shellac, copal, manilla-copal or other suitable gum, gum-resin, oleo-resin,
or balsam added according to the solvent employed.
Another modification consists in boiling or heating bright varnish in a partially
closed vessel as for instance an iron boiler with a loose fitting lid (and with some
samples the lid may advantageously be removed for part of the time to facilitate the
evaporation of some of the volatile oil) together with some one or more of the well
known drying substances such as litharge, minium, sulphate of zinc, acetate of lead,
borates of zinc and manganese, umber &c. In practice I find that borate of
manganese answers the purpose well.
The boiled substance is then dissolved in turpentine, or turpentine substitute and
mixed with pigments according to the directions hereinbefore indicated.
In order to produce flat or dead-drying paints that is to say, drying without gloss
I employ a smaller proportion of bright varnish and a larger proportion of turpentine
and either use no rosin or but very little. A little whiting, chalk or china
clay, may be added, to assist in making the paint dry perfectly dead and without
gloss.
A harder drying flatted paint may be made by using the usual proportion of
bright varnish and turpentine or turpentine substitute, together with a slightly less
than usual proportion of rosin (or the rosin may be altogether omitted) and a large
proportion of white lead in proportion to the other pigments. This is to be stored
for a considerable time until it has thickened well. It is then thinned with turpentine
and is ready for use. Whiting, chalk, or china clay may be used to assist in
perfecting the dead character of the surface.

page_text: I rely principally upon the composition of the paint to produce rapid drying, but
dryers may be used if necessary.
For pure white colours the bright varnish may be decolourised by filtration through
animal charcoal or by other suitable means. Stockholm and other wood tars and
any of the natural turpentines such as American, Bordeaux or Venice turpentines may
be used in these compositions.
These paints may be used as japans for metal goods, the articles being ovened after
painting..
also amitable for nointing floor cloths oil cloths and the like.
COMPLETE SPECIFICATION.
Improvements in Compositions to be used as Paints.
1, WILLIAM HODGSON BARNES, of 144 Lewisham High Road, New Cross, in the
County of London, Photographer, do hereby declare the nature of my said invention for
IMPROVEMENTS IN COMPOSITIONS TO BE USED AS PAINTS" and in what manner
the same is to be performed, to be particularly described and ascertained in and by
the following statement :-
My invention relates to methods of employing bright varnish in the preparation of
paint compositions for ordinary use.
The bright varnish, which in my paints takes the place of the linseed or other oil of
ordinary paints has not hitherto been successfully employed in the preparation
of ordinary paints, but according to my invention I employ this ingredient together
with others, and by observing the rules and directions hereinafter indicated I am able
to produce paints cheaper, quicker drying, harder, and more glossy; which ingredients
have not, previous to my discovery and invention of the method of combining them,
been successfully and satisfactorily applied to such purposes.
According to my invention I employ the article known as bright varnish in the
composition of my paints. By the term "bright varnish" I desire to be understood
the article commonly known as, and sold under that name by ships chandlers and
others, and generally used on board ships to varnish the masts, yards, and other wood-
work. It is also known as pine varnish.
By combining this substance together with the colouring and other matters
according to my invention compositions may be produced possessing special
advantages as paints, among which are more particularly the property of drying very
quickly, and excellent preservative qualities, but such paints do not necessarily dry
more quickly than ordinary paints.
In preparing paint compositions with bright varnish I find that when any grease,
fatty matter or fixed oil is introduced into a mixture of bright varnish intended for
use as paint, the drying qualities are so far interfered with as to lessen or even spoil
its utility as a paint. Therefore the first essential to be observed according to my
invention is that the pigment or colouring matter must not be ground in oil, or only
to a small extent and exceptionally as shall be more particularly indicated, different
samples of bright varnish possessing somewhat different properties, and admitting, or
even requiring corresponding adjustment of the other ingredients.
Some exceptional samples of bright varnish allow the use of a certain proportion of
pigment ground in oil, together with the rest of the pigment in the form of dry
powder, or ground in a vehicle not containing fixed oil, without materially interfering
with its drying properties, but the amount of oil thus introduced must in any case be
extremely small or the paint will dry badly. The largest proportion of pigment
ground in oil which I have been able to use with any sample of varnish without
affecting the rapid drying of the paint has been one pound of the oil-ground pigment
to five pounds of dry pigment. It must be remembered in connection with this that
the amount of oil in a given weight of such oil-ground pigment is, as is also the

page_text: quality of the oil, a variable factor, and that both items affect the quantity of such oil-
ground pigment which may be used, though this amount or thereabouts is
permissible with some samples of the varnish. I prefer in all cases to use dry
colours only.
1
In practice I find it convenient to thin the bright varnish with a volatile hydro-
carbon, preferably good American turpentine (but other turpentine or some of the
well known turpentine substitutes may be used) before combining it with the
pigment &c., but it may be so combined first, and thinned afterwards.
As already indicated the pigments must not be ground with linseed or other fixed
oil and no such oil must be mixed with the paint except as previously indicated,
otherwise it will not dry properly, being worse in this respect in proportion to the
quantity of oil present.
I find it advantageous generally, to add a proportion of rosin (colophony) this I
dissolve in turpentine or other suitable solvent and add to the paint composition which
both makes it more glossy, and lessens or removes any tendency to tackiness of the
surface. In paints to be used on wood the proportion of rosin may be larger than
when the paint is to be used for coating metal.
It may be here observed that one of the difficulties which have hitherto prevented
the use of white and red lead and most other lead pigments and compounds in
combination with bright varnish, is that when either of these are mixed with bright
varnish without other addition, the mixture after a short time practically solidifies, so
that it cannot any longer be used as a paint, this peculiarity varies somewhat in
degree with different samples of the varnish, nevertheless as it is often desirable to use
these pigments on account of their good covering properties and the toughness they
impart to the paint, according to my invention I overcome this difficulty in the
following manner. The peculiar solidifying properties which these lead pigments
and compounds possess with respect to bright varnish may be in some measure
neutralized by dilution with other pigments, but I find in practice that the best
addition for the purpose is zinc white, which possesses remarkable power in
neutralizing this action of lead pigments and compounds on bright varnish, as little as
one pound of genuine zinc white to six pounds of white lead is generally sufficient to
perfectly prevent any such thickening or solidifying of the paint. With red lead,
litharge and the like a larger proportion of the zinc white must be used to produce
the same effect.
Zinc white alone may be employed, preferably used dry, or ground in turpentine,
before being mixed with the bright varnish and coloured pigment (if any)..
Another important feature of my invention consists in the use of zinc white to assist
the drying of the paint composition. I find that zine white when ground in turpen-
tine or other like vehicle or used dry, that is to say without being combined with
linseed or other fixed oil, acts with the bright varnish as a drier, and so considerably
facilitates the rapid drying of the composition. For this reason I prefer to use a
certain amount of zinc white with the other pigments when the colour of the paint
composition permits, and for white and light coloured paints whenever they are
wanted to be specially quick drying I prefer to use zinc white without admixture with
lead or baryta.
In order to render it quite easy to perform my invention, I append formulæ which
I employ and which will serve as samples and to illustrate and explain the application
of the foregoing directions but are not intended to indicate the only proportions
in which the various ingredients may be used in accordance with my invention.
To produce a light stone colour I take of

page_text: The following modifications of the foregoing process, which are intended to meet
those cases in which zinc white is undesirable or inadmissable as a constituent,
consist.
1st. In heating or boiling bright varnish in an open vessel. The boiling or heating
may only be continued long enough to just evaporate a small amount of the volatile
oil contained in the bright varnish, or it may be carried further until when cold the
varnish forms a solid or semi-solid substance.
For forming the paint composition this is diluted or dissolved in turpentine or other
suitable volatile hydro-carbon, or in alcohol, methylated alcohol, or in wood naptha,
and may have rosin, shellac, copal, Manilla-copal or other suitable gum, gum resin,
oleo resin, or balsam, added according to the solvent employed, and the following is an
example when no zine white is used.
Bright varnish boiled down to half its original bulk 1
Turpentine
Ivory black
-
-
-
1
pints.
to 2 pints.
2 lbs.
2nd. In boiling or heating bright varnish in a partially closed vessel as for instance
an iron boiler with a loose fitting lid (and with some samples the lid may
advantageously be removed for part of the time to facilitate the evaporation of
some of the volatile oil) together with some one or more of the well known drying
substances such as litharge, minium, sulphate of zinc, acetate of lead, borates of zinc
and manganese, umber or the like.
In practice I find that borate of manganese answers the purpose well.
The boiled substance is then diluted and combined as described in the foregoing
paragraph.
In all the herein before described paint compositions I rely principally on the
properties due to the peculiar composition of the paint to produce rapid drying. Zinc
white itself acting as a drier to the bright varnish, but other driers may be used in
addition if required. Calcined sulphate of zinc, borate of manganese, and Guynemer's
driers are all efficient, the lead driers are of less value.

page_text: FLATTED PAINTS.
When either white lead, red lead, litharge, or similar lead compounds are mixed
with bright varnish without other addition if the lead is in sufficient quantity.
the mixture very soon thickens, and ultimately solidifies. By this action of the
lead compounds, the glossy character of the varnish is destroyed and it then dries
flatted, that is to say without gloss.
In applying this principle to the production of flatted paints, various methods of
procedure may be followed one of which is as follows.―
A flatted paint may be made by combining the usual proportion of bright varnish,
turpentine (or turpentine substitute) and pigment, as used for ordinary or glossy paint,
together with a slightly less than usual proportion of rosin (or the rosin may be
altogether omitted) excluding zinc white altogether in the first instance, and adding a
large proportion of white lead to the other pigments. White lead in proportion
of to lbs. to each pint of bright varnish may be taken as a good working rule,
but the proportions will require varying somewhat with different samples of
the varnish.
Less red than white lead is required to produce the result, and less litharge
than either. Red lead lb. to 2 pints of varnish litharge lb. to the pint of varnish,
acetate of lead in about the same proportion will produce the required thickening or
solidifying of the mixture.
The following will serve as an example of the proportions in mixing a flatted paint
in this way.
Brunswick green
White lead
Bright varnish
Turpentine
-
12 lbs.
5 lbs.
9 pints
6 pints
Grind these through a paint mill and stand aside to thicken--in about 48 hours
the mixture will have become about as thick as clotted cream. Try some of it
with a brush and see if it dries sufficiently flatted, if it does add 1 pint of turpen-
tine and 1 lb. genuine zinc white and store for use. It will not then thicken any
further; but if not quite sufficiently flatted or non glossy on drying, let it stand longer
before adding the zinc white.
As zinc white prevents the solidifying of the bright varnish by the lead compounds,
it is excluded from the formula in the first instance, but when by the action of the
lead the paint has become flatted a certain amount is added to prevent any further
continuance of the action of the lead.
Another method that may be used is to mix the bright varnish and white lead, or
the like together, and leave the mixture to thicken and set, the thickening should be
allowed to go on till the mixture is about as solid as cheese, which with a suitable
sample of varnish will take place in about 24 to 48 hours more or less. This may be
used at once or kept for further use.
The following proportions answer well for this preparation.

page_text: Either whiting, chalk, or china clay may be used as an ingredient to assist in
prefecting the flatted character of the surface of the paint.
In any of the before described compositions, Stockholm and other wood tars and
any of the natural turpentines such as American, Bordeaux, or Venice turpentines
may be used. It is unnecessary to give separate formula for paints in which these
are used as the general rules given above afford sufficient indication. When employed
they should be thinned with turpentine or other volatile hydro-carbon to about the
consistence of bright varnish, and these mixtures may be used to replace a portion
of the bright varnish.
With regard to the selection of a sample of bright varnish suitable for the produc-
tion of these quick drying paints I would observe that it is important to make a
proper selection.
Beyond the fact that I have generally found the cheapest and darkest colored
samples most suitable for my purpose I know of no way but actual experiment to
decide on its suitability. In selecting the sample of bright varnish I proceed as
follows. Take one and a half fluid ounces thereof and add to it one fluid ounce of
turpentine this is to be ground with sufficient genuine zinc white to form a paint and
then brushed on a clean piece of iron; if the paint becomes surface dry in from half
an hour to an hour the sample of varnish may be considered suitable otherwise it
should be rejected.
Having now particularly described and ascertained the nature of my said inven-
tion and in what manner the same is to be performed, I desire it to be understood
that I do not claim the use of bright varnish or the substance of a like nature before
mentioned in the composition of paints apart from the use thereof in accordance with
the rules and directions hereinbefore contained, nor do I claim the use of Stockholmn
and other wood tars other than in combination with bright varnish as described but
I declare that what I claim is.-
1. The manufacture of paints of which the principal fluids constituents are bright
varnish combined with a turpentine or other light volatile hydro-carbon or hydro-
carbons into which is mixed zinc white and from which linseed and other fixed oils
and fatty matters are excluded or used only in small proportions in accordance with
the rules and directions bereinbefore contained and substantially as described and
set forth.
2. The manufacture of paints of which the principal fluid constituents are bright
varnish and Stockholm or other wood tar or crude natural turpentines combined with
turpentine or other light volatile hydro-carbon or hydro-carbons, and into which is
mixed zinc white and from which linseed and other fixed oils and other fatty matters
are excluded or used only in small proportions in accordance with the rules and
directions herein before contained and substantially as described and set forth.
3. The preparation and manufacture of paints of which the principal fluid con-
stituents are bright varnish combined with turpentine or other light volatile hydro-
carbon or hydro-carbons and with or without the use therein of zinc white, by boiling
off or evaporating part of the more volatile constituents of the bright varnish and then
replacing them by turpentine or other volatile hydro carbons or alcohol, methylated
alcohol, or wood naptha, and such boiling or evaporating may take place either with
or without the presence of some of the well known driers hereinbefore named
substantially in the manner and for the purposes described and set forth.
4. In manufacturing a paint, the principal fluid constituents of which are bright
varnish and turpentine or with or instead of the turpentine other light volatile hydro-
carbon and Stockholm tar, crude natural turpentine, the neutralization of the thickening
or solidifying action of white and red leads, litharge, acetate of lead, and other lead
compounds possessing this quality, in such a composition by the combination
therewith of zinc white in about the proportion and as and for the purpose
described.
5. Manufacturing of flatted paints, that is to say paints drying without gloss by the
method of submitting bright varnish, wood tars and crude natural turpentine to the

page_text: peculiar thickening and solidifying action which white lead, red lead, letharge, acetate
of lead, and some other of the lead compounds exercise upon it, and combining
the resulting product with the other pigments and materials substantially as
described.
6. In the manufacture of flatted paints by the process claimed above, the method of
arresting the further thickening or solidifying action therein mentioned when the
desired effect has been produced by the addition to the composition of zinc white,
whereby the paint is rendered capable of being kept indefinitely in a fluid state and
fit for use substantially as described.
7. The manufacture of paints of the materials and in the manner herein before
described and set forth.
Dated the Sixth day of October 1890.
W. H. BARNES.