Painting and Enameling Interior New Woodwork

PAINTING AND ENAMELING INTERIOR NEW WOODWORK Medium All woodwork (specify location) shall be gone over carefully. Shellac all knots and sap portions. Prime with one thin coat of white paint, well brushed into the wood, after which sandpaper thoroughly, closing up all nail-holes and other imperfections with lead putty. Apply one medium coat of pure grain alcohol white shellac. Sandpaper lightly. Apply three coats of white paint consisting of about 60 per cent white lead and 40 per cent zinc oxide, and one coat of straight pure zinc oxide, followed by one coat of best enamel, freely and evenly applied, all coats to be tinted as required. Each coat must be thoroughly dry and well sandpapered before the application of another. (See Note 17.) First-Class Apply one additional coat to the above specification (four coats) after the shellac, followed by the straight zinc and two coats of best enamel, the last coat of enamel to be evenly rubbed with water and powdered pumice stone to a satin or china gloss finish. (See Notes 17 and 18.) NOTE 17—With the application of a second coat of enamel, this specification may be rubbed with water and powdered pumice stone to a very good finish. If a semigloss or flat finish is desired with but one coat of enamel, reduce the enamel by mixing into it a portion of the straight zinc coater necessary to give the condition required. To fully obtain this result requires very careful brushing, so as not to show laps, brush marks, and cording; but it can be accomplished very nicely.

With the exception of the priming coat no oil should be used except such as may be found in the stiff lead and zinc; the priming coat should consist of about 40 per cent oil and 60 per cent turpentine, light of body and well brushed into the wood. I have my zinc for enameling purposes ground in poppy oil, which greatly minimizes the chances of the work turning yellow when confined to a dark room. The use of linseed oil is a strong factor in the work turning yellow when excluded from a strong light. In the preparation of my several under paint coatings, I use, instead of oil as a binder, a portion of a good mixing enamel varnish; each coat must be worked fiat. In using the straight zinc oxide for a final coat of paint on this class of work, I find that I can get purer tints of greater variety, without the danger from chemical action that would result if I were to use some white leads.

The straight zinc coat, should have an "eggshell gloss" for the reason that, if it were perfectly flat such as the under paint coatings should be, it would absorb and draw the liquid properties from the enamel coat, leaving a surface of questionable uniformity.

The different coats of paint from the shellac up should be tinted as required for the finish, for by so doing you get a solidity of tint that you otherwise would not. For a perfect white job, we oftentimes "draw the lead;" that is, we break up the lead in turpentine to a thin consistency, permitting it to stand 24 hours, then pour the surface liquid off; and you have remaining lead practically free from oil. With the percentage of zinc oxide specified, and with the use of a good white enamel varnish, or—which is better—a portion of the enamel as a binder-reduced with pure turpentine to a working consistency, you have a ground work for enameling that will be satisfactory in every respect.

NOTE 18—This specification, if faithfully carried out, will produce splendid results. For this high class work, cherry, birch, or plain maple should be used; good results can be secured on white pine or poplar.