FLOORCLOTH (FE. Toile ciree ; GER. Wachstuch, Wachsleinwancl).
The term " floorcloth" was formerly applied to canvas covered with several layers of paint ; but this kind of floor covering is now specially called "oilcloth," the original word having acquired a much wider signification. Oilcloth, although a great improvement upon its pre decessors in point of cleanliness and durability, has nevertheless some defects, and it is chiefly owing to these that it is now being rapidly superseded, as far as price will permit, by other fabrics. Even the best qualities of oilcloth are cold, hard, and slippery to the feet, especially when wet. Linoleum, karnptulicon, and other substitutes for oilcloth, do not possess these defects, and are yet much more durable, and quite as cleanly. The whole of the thickness of oilcloth is built up, as it were, of a number of films of paint, each of which requires a long time to harden. The time necessary to produce an oilcloth of good quality must therefore be very great. The whole thick ness of the more modern substitutes for oilcloth ie, in most cases, obtained by one or two operations, the great saving effected in time being more than sufficient to compensate for the extra expenditure on machinery.
Oilcloth.—The basis of oilcloth is a coarse canvas, generally made of jute. The breadth of each web varies from 6-8 yds., while the length sometimes attains 150 yds. On its arrival at the works, the canvas is cut into convenient lengths, which are then nailed to upright frames. These frames are provided with screws, by means of which the fabric can be uniformly stretched. Too much strain must not be put upon it, or the shrinkage, which takes place when it becomes wet, will cause it to give way. At convenient intervals of height, opposite each frame, are stages or platforms, on which the workmen stand while preparing the surface. The fiat operation to which the framed canvas is subjected is "size priming," which consists in brushing its surface with a weak solution of size. The object of this is not only to give a body to the cloth, but also to protect the fibre from the injurious action of the acid products generated during the oxidation of the lin seed oil which is subsequently applied. Cloth which is covered with paint without a protective coating of size soon becomes rotten and brittle. Although the surface of the canvas is much smoother after this priming, yet a number of loose fibres still project, and, to remove these, the cloth is either rubbed while still damp with fiat pieces of pumice, or it is allowed to dry, and is then sheared with large knives. Sometimes the drying of the size is accelerated by admitting hot air into the building in which the frame is situated. When the priming is thoroughly dry, and
the face of the canvas is freed from loose fibres, the first coat of paint is applied, commencing, as in sizing, at the top of the web. The consistence of this paint is much thicker than for ordinary painting purposes; the pigment in general use is yellow ochre. Sometimes red oxide of iron is substituted; but paint mixed with this substance does not dry so well. The first layer of paint is not applied by means of paint-brushes, but with the help of long steel trowels, similar in shape to those used by plasterers. The paint is well worked into the interstices of the canvas, and the excess is scraped off by the edge of the trowel. Both sides of the canvas are treated in this way, and are then allowed to dry, either with or without the aid of artificial heat. Some manufacturers still appear to think that oilcloth seasoned at ordinary temperatures is superior to that which has been dried at an elevated temperature in stoves. There does not, however, appear to be any perceptible difference between the finished goods turned out by the two methods. When the first layers of paint are sufficiently hard, another coat is laid upon the side which is intended for the back of the cloth. As aeon as this dries, the back is finished, with the exception of any trade mark which may be necessary, and which should be applied at this stage. The first layer of paint en the face side of the cloth is rubbed with lump pumice, before the next coating is applied. This is again done with a trowel, and the operations of trowelling, drying, and pumice-scouring are repeated three or more times, according to the quality of the oilcloth to be produced. When sufficient thickness has been obtained, the face coating is applied. As this forms the groundwork of the pattern which is subsequently printed upon the oilcloth, it requires more care, both in mixing and laying on. A brush is used in the latter operation, instead of a trowel. When this last coat is sufficiently dry, the whole piece of oilcloth is cut down from the frame, and removed to the printing-room. The method of doing this, and the nature of the blocks used, are the same as for linoleum, and are described below. After printing, the oilcloth ip seasoned, usually by hanging it in a room heated to at least 24° (75° F.). It is then taken down, and, when the edges have been trimmed, ie ready for use. Oilcloth, when not sufficiently seasoned, is so soft that the pattern soon wears off; it also has the disadvantage of shrinking considerably after it has been laid down.