In preparing oil paint, the first question to be considered is the nature of the surface to be painted, whether of wood, stone, or metal, and to what degree it is absorbent; second to this must be remembered the conditions and position of the work, such as refer to expense, dura bility, and drying qualities; and lastly, to bear in mind the all-important matter of appearance and color, whether the paint is for the first or last coat. We shall therefore proceed to an imaginary mixing of paint for wood, stone, and metal, bringing in a lesson on their application to the walls and woodwork of a building.
The quantities of driers, oil, and turpentine required to bring 112 pounds of white lead to the consistency of paint, is a matter that must be varied according to the conditions of the work it is required for. In summer-time, one pound of good driers to fourteen of white lead is ample for outdoor purposes; in winter-time, one in ten would be best. The quantity of oils re quired would be about one and one-half gallons for the 112 pounds of lead. The proportions of linseed oil and oil of turpentine it is advisable to use depend entirely upon the purpose we in tend it for. With reference to the question of boiled or unboiled oil, it should be remembered that both oils are glossy when applied in suffi cient quantity; boiled linseed oil has more body, and is more brilliant than raw linseed oil; raw linseed oil is lighter in color, and is not so liable to blister as boiled linseed oil; boiled linseed oil dries quicker than raw linseed oil.
To mix one pound of ordinary oil paint, take about eight ounces of pigment the desired color: thus, white lead for white, light greys, pinks, cream, etc.; Venetian red or vermilion for red; and so on, according to the price and color de sired. Add to this about two ounces of patent paste or liquid driers; then make up to one pound with either linseed oil alone or oil and turpentine in equal parts. Remember, the more oil, the more driers is advisable, but never less than one part driers in eight or ten of entire bulk.
To Make French Grey Paint. The ingredi ents for making about forty pounds of best glossy paint for indoors, tinted to a French grey color, would be, say, twenty-eight pounds genu ine white lead, three pounds best patent driers, about one-half gallon raw linseed oil, and one quart turpentine. Mix up the lead and driers with a broad stick to the consistency of a thick paste, using linseed oil. If all is to be tinted
one color, for French grey add a little ultrama rine blue and either a little Venetian red or common black. If a warm grey is wanted, add the red; if a cool metallic tinct, add the black. The ultramarine can be bought only in powder; mix this well with a little oil before adding it to the paint. The other colors can easily be obtained ready-ground in oil. Respecting the economical aspect of ready-mixed paints, it can not be expected that they can be equal in value to the best white lead paint. For first coating on new plaster, one can use nearly all linseed oil and a little driers—very little lead. This will stop the suction of the plaster. As a rule, new plaster requires four coats to get a good surface.
Proportions for Mixing Colors The following alphabetical list of colors, with proportions of ingredients, will be found useful: Amaranth—This is a bright brown. It is made by mixing together light Tuscan red and vermilion, with the addition of a small quantity of ultramarine blue.
Amber Brown—Use orange chrome yellow, burnt sienna, burnt umber, and lampblack, and add white until the desired shade is produced.
Antique Bronze — Mix together orange chronic yellow and ivory black.
Apple Green—Use light chrome green, white lead, and orange chrome yellow.
Ashes of Roses—Mix together light Tuscan red and lampblack.
Azure—This is a beautiful tone of blue, that may be best described as a dark shade of sky blue. Take white as a base, and add Prussian blue until the requisite shade is obtained.
Bismarck Brown—This color may be bought ready for use, and it may be lightened if neces sary. To imitate it, mix burnt sienna, orange chrome yellow, and burnt umber, and lighten up with white lead.
Brass—Add medium chrome yellow, French ocher, and a little umber to white as a base.