J. N. (John Norwood) Hoff.
Paint and varnish facts and formulae : a hand book for the maker, dealer and user of paints and varnishes online
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FRANKLIN INSTITUTE LIBRARY
PHILADELPHIA, PA.
Class .^:...^r...i...-..<^ Book.ld.6a..7-^r- Accession..._;.v....._.w J&
Given bf. LslAt^ Z.L...L L L.tl.a.£l.M.&..£ 7^5
f'f£P/
Paint and
Varnish Facts and
Formulae
BY
J. N. HOFF
A Hand Book for the Maker,
Dealer and User of Paints
and Varnishes
Published by
Central Publishing Company
Newark, New Jersey
New York
D. Van Nostrand and Company
23 Murray and 27 Warren Streets
1905
Copyright 1904
BY
LEMUEL B. OSBORNE.
THE GETTY CENTER
LIBRARY
INDEX.
A
Acid Acetic 6-61
" Sulphurous 84
Adulterations 26-31-35-50
Alcohol, Grain 60
" Wood 61
Alkalies, Action of 85
' ' to remove paint 152
Aluminum Bronze 79
Leaf 112
Amyl Acetate 61
Ammonia 151
Aniline Colors 39-142-162
Anti-f ouling Paints 34
Asphaltum 66-146
B
Banana Liquid 102
Barium Chromate 32
Bathtub Enamel 116
Bathtubs, to Enamel 117
Benzines 59
Berlin Blue 36
Black Boards, Coating for 141
Blacks 27-28
" Charcoal or Soot 27-28
" Ivory or Bone 27-28
Black Enamel 116
Blistering 89
Blooming 87
Blue, Celestial 37
" Chinese 36
" Cobalt 37
-3 G G3£
Blue, Indigo 37
' ' Prussian 36
' ' Ultramarine 35
Boiled Oil 50
" Artificial 171
Bottle Greens 35
British Gum 80
Bronze Greens 35
Bronzing Liquids 102-103
Bronzes 79
" How Made 79
' ' Imported 79
Brushes, Paint 155-156
C
Cadmium Yellow 32
Calcium Carbonate 21
Oxide 21
Sulphate 20
Calcutta Linseed Oil 52
Camphor Oil 175
Carbon 27
Carmine 39-95
Caseine 77-105
Cements 105-106
Paints 77
' ' Priming 94
Castor Oil 131
Ceilings 99
' ' to take spots from 154
Celestial Blue 37
Cements, Pastes and Putties 103 to 106
for Steam Pipes 103
' ' for Metal and Porcelain 104
for Metal Letters on Glass 104
' ' Quick Drying for Iron 104
Stone and Glass 104
Caseine 105
to Unite Glass and Metal 105
Cements, for Glass and Minerals 105
" Paper 106
' ' Caseine for General Use 106
for Steam Pipes 106
Chalking 11-90
China Clay 19
China Wood Oil 52
Chinese Blue 36
Chemical Colors 31
Chrome Greens 33
Chrome Ochre 34
Chrome Yellows 31
Coach Colors 44
Coach Varnish 69
Coal Tar Naptha 60
Coal Tar Pitch 66
Cobalt Blue 37
Cochineal 39
Cold Water Paints 77
Collodion Varnishes 170
Colophony 55
Colors, Complimentary 96
" in Oil, Japan and Water 41
in Water 45
" Used in Water Paints 95
' ' in Decorations 97
" in Oil, Cheap 44
Positive 96
" Predominating 96
' ' Primary 96
Relation to Walls 97
Copperas Reds 26
Cotton Seed Oil 50
Covering Power of Paints, etc 46
Crawling of Paint 89
Cremnitz White 22
Crimson Lakes 39
Crinkling, Peeling and Alligorating 90
D
Damar Varnish 67
Varnish, to Clear 106
Dead Finish Varnishes 170-171
Decorative Effect of Paint 82
Decorative Enamels 113-117
Decorations, Hints for Interior 98-99-100-101
Destruction of Wood Metal and Stone 82-83
Diastase 60
Dotter 49
Drawing or Pulling 87
Dryers, Japan 72
" Lead 71-116
" Liquid 71
' ' Manganese 71
to Test 72-73
Drying Oil, Action of 50-82
Dulling or Flatting 88
Dutch Pink 33
E
Earth Colors, Adulteration of 25-26
Emerald Green, True 34
Emerald Oxide of Chromium 34
Enamels, to Prepare 113-117
Good Grades 114
" Weather Proof 114
" Marine 114
Porcelain White 115
Eosine 38
F
Filler, for Cracks and Crevices 106
Liquid 122
Paste 121-122
" and Stain Combined 124
Fish Oil 50
Flake White 22
Flat White Primer 116
Flax Plant 48
" Seed 48
Floors, to Treat 117-121
Hardwood 118
Painted 118
Varnished 118
Shellaced 119
Waxed 119
to Stain 119
to Oil 120-121
Floor Oils 121
" Paints 149
" Waxes 134
Formulae 102
Fossil Gums 63
Frankfort Black 28
Furnishings 96
Furniture Polishes 148
Varnishes 69
Fusel Oil 61
G
Gamboge 90
Gasolines 59
Gelatine 78
Gilding 110-111
Gilding on Glass 109
" on Iron and Metal 112
Glass to Etch 109
' ' Frosting on 109
" to Gild on 109
Glass Signs, to Back 113
Gloss, Loss of 78
Glues 78
Bone 78
Hide 78
Liquid 108
Waterproof 108
Gold Leaf, Ordinary Ill
" " Artificial Ill
Gold Size 113
Grain Alcohol 60
Graining 125
Pigments Used 125
Tools Required 126-127
Glazing Colors 128-129
Graphite 29
' ' Lubricant ] 33
Greens 33
Bottle 35
Bronze 35
Chrome 33
Emerald 34
Green Oxide of Chromium 33
* ' Emerald Oxide of Chromium 34
" Ultra Marine 35
Gum Resins 64-65-66-67
Zanzibar, Angola, Sierra Leone, Benguela, Kauri
Manilla, Demars, Shellac, Resin, Aspffaltum, Mastic
Sandarac.
Gums, True 79-80
Arabic, Dextrine, British.
Gum Varnish, Cost of 70
Gypsum 20
to Harden 20
use of 20
H
Hard Oil Finish 69
Hints for Interior Decorations 96
Hydraulic Cements 22
I
Indigo 37
Influence of Atmospheric Conditions 82-84
Ink Stains, to Remove 155
Iron, to Preserve 155
Iron Rust, to Remove 155
Isinglass 78
J
Japan Dryer 72
Japan Gold Size 113
K
Kauri Gum . 178
Kalsomines 77
Kalsomining 177
Kerosene 59
L
Lacquer, Bronze and Metal 134
Lakes 38-39
Yellow 38
Red 39
Purple 39
Scarlet 39
Lapis Lazuli 35
Lamp Black 27-28
Lead 71
' ' Antimoniate 32
' ' Carbonate 5
Lead and Oil Paint 74 v
Lead, Sugar of, Dryers 116
Lime 21
Linoleic Acid 94
Linoleum, Treatment of 133
Linseed Oil 48
Process of Manufacture 48
Linseed Oil, Old Process 49
' ' New Process 49
Cold and Hot Pressed 49
Oxidation of 50-71
Adulterations 50
Tests 50
Liquid Slateing 122-123-124
Liquid Wood Fillers 122-123-124
Lubricants 60-129-131
' ' Wagon Grease 132
Patent Wagon Grease 132
Graphite 133
Lubricating Oils 129
' ' Animal, Vegetable and Mineral .... 129-130
Viscosity 130
Congealing and Flash Points 130
Heavy 130
Cylinder 130
" Standard Machinery 130
" Light Machinery 130
High Grade 131
Motor 131
Spindle 131
Extra Cylinder 131
High Grade Cylinder 131
Castor Oil 131
" " Substitute 132
Lard Oil, Substitute 132
M
Machine Paints 146
Malt 60
Manganese 71
Marble, to Polish 148
" to Remove Stains from 154
Marine Paints 34
' ' Enamels 114
Mars Yellow 32
Metallic Brown 23
Metallic Paints 144
" Cheap 144
" Red 145
" High Grade 145
Mineral Black 28
Mineral Oil 17-52-58-129
Mineral Pigments 23-41
Mortar 21
N
Naples Yellow 32
Naptha 59
Nitro-benzole 39
Ochres 23-24-25-32
; ' Artificial Coloring 25
Artificial 32
Cheap 24
English - 24
' French 24
' Golden 25
Gold and Russet Shades 32
: ' Roschelle 24
Oil, Boiled 50
Camphor 175
Castor 130
China Wood' 52
Colza 130
Cotton Seed 17-130
Fish 50
Headlight 132
Lard 129
Lemon 176
Linseed 17-48
Lubricating 60-129-132
Mineral 17-52-58-129
Neatsfoot 129
Olive 130
Palm 130
Poppy Seed 53
Rosin 50-56-57
Signal 132
Solar 60
Sperm 129
Oil, Walnut 53
" Varnish 70
' ' Varnishes 63
Oils, Other Drying 53
Oils and Solvents 48
Oleates and Resinates 71
Orange Mineral 37
Organic Pigments 41
Oxides of Cobalt 37
Oxides of Iron 23
Oxides of Zinc 12
Properties of 13
Adulterations and Tests 14
P
Paint Brushes 155
Care of 157
to Clean 157
Paint, Anti-f ouling 34
Asphaltum 146
Cheap White 140-141
Fireproof 141-142
Flat Interior 93
Flexible 140
Floor 149
for Coating Rough Walls 176
Lead and Oil 74
Marine 34
Paraffine 144
Ready Mixed 137
Silicate of Soda 176
to Clean 154
Transparent for Glass 142
Water Glass 176
Paint Oil Formulae 173
" Oils 171
from Rosin Oil 172
from Resinates 172
from Oxidized Linseed Oil 173
Paint Troubles 89
Crawling 89
Running 89
Drawing and Pulling 89
Loss of Gloss 89
Crinkling 89
Saging 89
Blistering 89
Cracking, Peeling and Alligatoring 90
Chalking 90
Action of Sun on 91
Painting and Decorating 92
" " Exterior 92
Interior 93
Plaster 94
Wood Work 92
Zinc 144
' ' and Varnishing 82
Paints, Paste for Machinery 146
Paraffine Wax * 81
Paris Green 34
Paris White 16-179
Patent Gold Ill
Paper, to Enamel 117
Pastes,Ordinarv 106
" Wall Paper 106
Petroleum Spirits 58
Pigments, Stability of 41
" Tables of Permanency 42
Pinholes in Varnish 87
Pinoline 57
Plaster 20
Plaster of Paris 20
Plumbago 29
Polishing Agents 147
Paint, Properties of S2-84
Life of 84
Covering Power 46
Action of External Agents 84
Polishes, Excellent French 143
for Iron and Steel 143
Polishing Wood Work 94
Poppy Seed Oil 53
Positive Colors 96
Predominating Colors 96
Primary Colors 96
Priming 91-94
Proportion of Oil to Pigments 85
Prepared Floor Wax 134
Putty 17
' ' Joiners 106
" Floor and Crack 108-109
Purple Lakes 39
a
Quercitron Bark 33
Quaker Greens 35
R
Ready Mixed Paints 74-134
Prejudice Against 74
Composition of 75
Pigments Used 75
Cost of 76
Cheap Grades 76
Base 136
Coloring Matter for 137
All Shades, to Make 137
Base White 137
Inside White 135
Outside White 135-136
Solutions for 75-76-135
Facht White 135
Various Colors 137-140
Ready Mixed Paints 134
Apple Green 139
Black 137
Blues Light and Dark 140
Bronze Green 139
Brown, Light and Dark 13S
Buffs 139
Colonial 139
Cream 139
Greens 137
Green Stone, Medium 139
Lavender 139
Leads 138
Lemon 137
Maroon 140
Olives 139
Pea Green 139
Quaker Drab 139
Red 137
Salmon 139
Straws 139
Stone 138
Spruce 139
Tans 139
Vermillion 137
Yellow 137
Red Enamel 116
Red Lakes 39
Red Lead 37-84
Removers, Paint and Varnish 151-153
* ' Ammonia 151
Alkalies 152
" Liquid Removers 152
Removing Whitewash 97
Rolls of Wallpaper, Rule to Determine 98
Rosin 50-55-67
" Light 56
' ' Color, Brands, etc 56
" Oils 57
" Residues 57
" Refined 58
Rubbed Work 93
Running of Paint 89
Rule for Use of Mineral and Vegetable Pigments 29
s
Sandarac G7
Scarlet Lakes 39
Separating of Varnish 87
Shellacs 65
Crude 65
Refined 65
Bleached 66
Shellac Varnishes 166
Shelling 87
Short Oil Varnishes 69
Siennas 23-25
Raw and Burnt 24
Italian 25
Sign Painting Rule 112
Signal Oil 132
Silica 18
in Paint 18
in Fillers 18
Silicate of Alumina 19
" of Lime 94
' ' of Magnesium 20
" of Soda 18-94
Paints 176
Silver Leaf 112
Smalts 81
Smoke Gases 9-84
Soap Stone 20
Solar Oil 60
Solutions 75-76-135
Spirits of Wine 61
Spots, to Remove from Ceilings 154
Spotting or Chilling 87
Stains, Aniline 162
" Oil 163-164
" Spirit 160
" Shingle 165
" Red Brown 163
" Solution for 161
Stains, Yellow Brown 163
4 ' Various Colors to Make 158-160
" Varnish 163-164
11 Water 158
11 Antique Oak 158
" Cherry 159
" Ebony 159
" Grey 159
' ' Mahogany lj? 9
" Mahogany, Light and Dark 158
" Maple 159
" Oak • 15S
" Walnut 158
Stains, Water and Spirit 160
" Blue 16 °
" Blue Black 16 °
11 Brown 16 °
" Brownish Red 160
" Crimson 16 °
" Dark Grey 16 °
11 Greenish 16 °
" Green 161
' ' Greenish Grey 161
11 Yellowish Grey 161
" Cherry Red 161
11 Orange I 61
" Red 161
" Rose Color 161
" Straw Color 161
Solutions 161
Gall Nuts 161
Brazil Wood 161
Fustie 161
Persian Berries 161
Cochineal 161
Indigo 161
Tin 162
Stains, Varnish and Oil 165
Antique Oak 164
Cherry 164
Dark Cherry 164
Green 165
Mahogany 165
Oak 165
Rosewood 165
Walnut 164
Stains, to Remove from Boards 154
" " " " Marble 154
Starch 80
Sticklac 65
Striae 87
Substitutes 132
Castor Oil 132
Lard Oil 132
Linseed Oil 171
" Turpentine 174
Sugar 60-61
Sugar of Lead Dryer 116
Sun, Action of 91
Sweating 86
Sulphate of Cadnium 32
Sulphide of Barium 15
" to Detect 16
of Lead 15
" of Mercury 38
of Zinc 14
Sulphurous Acid 84
T
Talc 20
Tar 61
Terra Alba 20
Testing of Paints 45
Colors 45
Varnishes 73
Tung Oil 52
Turning White of Varnish 88
Turpentine, Spirits of 53-54-55
' ' How Obtained 54
Tests for Purity 55
Drying Properties 54
Turpentine Substitutes 174
Venice 58
U
Ultra Marine Blue 35-36
Ultra Marine Green 35
Umbers 23-25
Burnt and Raw 25
V
Varnishes, Brands of 68
Carriage 67
Ceiling 69
Cheap Black 66
Dead Finish 170
" Gum, Cost, of 70
" Covering Power of 46
Exterior , .67
Flat 171
Furniture 69
Varnish Formulae, Asphaltum 176
Collodion 170
Colorless 168 /
Shellac Grain 167
" Wood 167
" Cheap 167
" Water 167
Varnishes, Special 168
Varnishes, Spirit : . 167
Varnish Gums 64
Interior 67
" Oils 70
Varnishes, Raw Materials 63
Oil 63
Spirit 63
Varnish and Paint Troubles 82
Sweating 86
Shelling 87
Wrinkling 87
Striae 87
Pinholes 87
Spotting and Chilling 87
Drawing and Pulling 87
Separating and Crawling 87
Blowing and Blistering 87
Blooming 87
Turning White 88
Dulling or Flutting 88
Varnish, to Test ,.73
Varnish Formulae, Transparent Brilliant 169
Water Proof 169
Water Proof Paper 169
Vaseline 60
Venice Turpentine 58
Vermillion, True 38
Cheap 38
Venetian Red 21-26
W
Wagon Grease 132
Walls 98
Wall Paper, Hanging of 97-98
Rolls for a Boom 98
Walls, Repapering 97
" Treatment of 97
Walnut Oil 53
Water Proof Glues 108
Water Glass 18-176
" Size 113
Wax Finish for Wood 148
Waxes, Furniture and Floor 134
M Bees 80
Ceresin 81
Carnauba 81
Paraffine 60-81
Polishing 134
White 80
Whiskey 61
Whiting 16-179
White Lead 5
Processes oi' Manufacture 6
Old Dutch 6
Quick Process 6
Pulp Lead 7
Mill Ground Lead 7
Action of Linseed Oil on 9
Action of Other Agents 9-10
Adulterations 10-11
Whitewash 21-177
97
Wild Mustard 49
AYood Alcohol 61
Absolute 62
" Fillers Liquid 122
Quality of 22
Pigments Used 122
Paste 121
Wood Spirit 61
Wood Work, Various Colors, Treatment of .98-99-100-101
" Ash 99
" Brown 99
" Cedar 99
" Chestnut 99
" Cream 99
" Fawn Colored 100
" Ivoory Enamel 100
" Light Golden Oak 100
" Mahogany 100
" Pale Green 100
" Pearl Grey 100
" Silver Birch 100
" Yellow Orange 100
PAINT AND VARNISH
FACTS AND FORMULAE.
CHAPTER I.
WHITE PAINTS AND PIGMENTS.
White Lead.
HTHIS is the most important of all paint forming
dry material, from the standpoint of general,
indeed universal use, it answering most of the
requirements demanded.
Its production cost and selling price is mod-
erate, it can be used as a base to combine with
other pigments, has great opacity, so-called cover-
ing power, mixes readily with linseed oil and tur-
pentine, aids the drying properties of the paint of
which it forms a part, works easily under the
brush when properly mixed, and has reasonable
durability. The last-mentioned property is gov-
erned by the quality of the oil used and the condi-
tions to which the painted surface is exposed.
White lead or basic carbonate of lead of average
quality contains approximately,
Oxide of lead, 86.72
Carbonic acid, 11.28
Water, 2.00
100.00
5
Paint and Varnish Facts and Formulae.
As met with in commerce, it is a heavy pigment
of varying degrees of whiteness, depending upon
the method of manufacture and the care exercised
in its production.
Sometimes a trace of Prussian Blue is added to
increase its appearance of whiteness.
The processes of manufacture in practical
operation may be divided into the slow or so-called
Old Dutch Process, with its modifications, and the
various quick process methods whose name is leg-
ion, few of which, however, are in practical use.
The Old Dutch Process consists in casting the
metallic lead, free from impurities, in the form of
buckles or thin strips of spiral formation ; the lead
thus formed is placed in earthern ware pots so
that it is held or suspended above vinegar or ace-
tic acid which covers the bottom of the vessel.
These pots are arranged in rows and covered with
planks and a layer of dung or spent tan bark. Row
upon row is built up in this manner to form what
is termed a stack. The fermentation of the dung
or tan bark produces sufficient heat to volatalize
the acetic acid, the fumes of which, with the as-
sistance of the oxygen of the air, converts the lead
into basic acetate of lead, which in its turn is con-
verted into basic lead carbonate by the carbonic
acid resulting from the fermenting manure or tan
bark.
Paint and Varnish Facts and Formulae.
The process of conversion requires about three
months. The resulting product is removed, sep-
arated from the metallic lead which may still re-
main to some extent, washed, ground and dried, if
it is to be sold in that form. When to be ground in
oil at the place of manufacture, the drying process
is usually eliminated. The wet or pulp lead in
this case being passed, after screening, into a
pulper. Linseed oil, in proper quantity, is intro-
duced and the mechanical action is such, that the
oil displaces the water contained in the pulp lead
and the now finished product is run into kegs.
This is pulp lead in contradistinction to mill
ground lead made in the old way by grinding dry
lead with linseed oil in stone mills of various types.
Mill ground lead appears to have some favor-
able points to those unacquainted with the pulp
process, but the latter method is so perfect as to
produce lead practically free from water and in
such condition as to " break up " in oil or turpen-
tine much more quickly and easily than will the
mill ground product. Excess of moisture is the
essential point to guard against.
The English method of making white lead is to
convert the metallic lead into litharge, which is
done by oxidizing the metal in a furnace. The lith-
arge in a finely divided state is moistened with lead
acetate solution, placed in closed troughs into
Paint and Varnish Facts and Formulae.
which carbonic acid gas is driven, the litharge be-
ing continually agitated by suitable machinery;
white lead is the resulting product. This lead cov-
ers well, and is considered good. Of the other
quick process methods, the one most largely used
in this country, subjects the metallic lead in a finely
divided state to the action of carbonic acid gas and
acetic acid, in large revolving cylinders.
Another method is to dissolve the lead in acetic
acid, forming a solution of basic acetate of lead
and precipitating this lead in the form of white
lead by introducing carbonic acid gas into the solu-
tion.
The physical properties of white lead produced
by the various processes differs in opacity, fine-
ness, density, and color.
Quick process leads have, as a rule, a crystal-
line formation, giving a tendency to transparency,
while slow process lead (Dutch Process), on ac-
count of the amorphous condition of the substance,
is denser, more opaque, and masks or covers bet-
ter. This opacity is heightened by the pigment be-
ing coarser in grain than the precipitated leads.
Slow process leads are apt to be more or less
off color and to contain impurities unless very
carefully prepared. The quick process leads, in
which the methods are under perfect control, pro-
duce a product, when complete, excelling in white-
8
Paint and Varnish Facts and Formulae.
ness and fineness of texture. This latter property,
the fineness of the particles, makes the lead bulkier
and hence it requires more oil in producing a
workable paint and is another reason why it seems
to cover poorly, The proportion of lead being less
and oil greater.
Of all dry materials used as pigments, white
lead has probably the most action on linseed oil,
the hydroxide of lead combining with a portion
of the oil, to f orm lead soap, which helps to hold the
carbonate of lead in suspension and accounts for
the smooth working qualities and the tough elastic
coat it produces. Too much action between the
particles of lead and oil produces the chalking
tendency of white lead. This is sure to occur
eventually, because the natural tendency of the
lead is to aid the oxygen in the air to oxidize the
oil until the binding properties are entirely de-
stroyed. When white lead is used, however, the
surface left is in better condition for repainting
than that left in the use of most other pigments.
White lead is sensitive to the action of alkalies,
acids, and many substances containing sulphur,
such as sulphuretted hydrogen, which occurs in
coal gases. The sulphur in coal gases causes white
lead to turn black, due to the formation of lead sul-
phide. The drip of rain water from trees or other
foliage also tends to make lead blacken in spots
9
Paint and Varnish Facts and Formulae.
and mildew, particularly where the shade is dense
and little sunlight penetrates. Tinting colors con-
taining sulphides, or linseed oil which is impure, or
which has been bleached and clarified with cer-
tain chemical agents also exercises a bad effect on
white lead, under certain conditions. What ap-
pears to be a dirty blackened condition of the paint
may also be due to dust particles adhering to the
surface of the paint. In this case, washing with a
very weak solution of sal soda will renovate the
surface, the paint underneath being found to be in
good condition. In a small way, the blackening can
be removed by the use of a strong solution of Hy-
drogen Peroxide with 5 per cent, of ammonia
water added, applied with a sponge. This chemi-
cal converts the blackened lead into lead sulphate
which is white. Sunlight also tends to bleach
darkened white lead paint.
White lead is adulterated with lead sulphate, (a
poorly covering white, which mixes badly with oil),
chalk, clay, barytes, gypsum and silex.
These adulterations, in most cases, being neu-
tral pigments, rather increase the durability of the
paint. The objection to these substances is that
they detract from the covering power of the paint,
give it a tendency to crack, and are very much
cheaper than the white lead you are paying for.
Indeed, in the writer's experience, a case was
10
Paint and Varnish Facts and Formulae.
noted where pure lead and oil were used and mil-
dew and blackening occurred, whereas, on part of
the same work, the same lead and oil, with 50 per
cent, paris white added, was applied at the same
time the pure lead was used. The latter work
showed a white, glistening and perfect surface
when the pure lead paint was in a deplorable con-
dition. The only favoring condition given the
adulterated paint, was its exposure to the direct
sunlight, while the other painted work was shaded
by surrounding trees.
It is likely that the neutralizing action of these
cheap pigments do reduce the chemical action of
the white lead on the oil, preventing the binder of
the pigment from perishing so soon as it would
without them, but producing brittleness and lack
of elasticity.
Tests.— Subject the suspected sample of lead to
the blow pipe flame on charcoal. Pure white lead
is readily reconverted into metallic lead without
residue. Any residue present in the form of white
powder is likely to be sulphate of lead or barytes.
Pure white lead is perfectly soluble in dilute nitric
acid and the addition of caustic potash solution
should not form a precipitate. A residue in the
nitric acid solution indicates gypsum, barytes, or
lead suphate.
11
Paint and Varnish Facts and Formulae.
Oxide of Zinc.
White zinc as a pigment is next in importance
to white lead. It is made by strongly heating me-
tallic zinc in fireclay retorts in a reverberatory
furnace. The heat vaporizes the metal, which va-
por is brought into contact with air heated to 300
degrees Fahrenheit. Oxidation results. The oxide
is a very loose flocculent material and is carried
by the hot air into condensing chambers where it is
deposited ready for use.
Zinc white is often prepared directly from its
ores. The roasted ores are pulverized and heated
in a furnace on a bed of coal, and when fully ig-
nited are submitted to a current of air from be-
neath the grate. The vapors formed are kept
strongly heated along with a current of air and led
into condensing chambers. Zinc made direct from
the ores varies in whiteness, but is, for the most
part, a good commercial product, the off grades
produced being sold for other purposes where col-
or is not an object.
It is also produced by the action of lime water
on a solution of zinc chloride. Zinc white takes
much more oil than white lead to make a suitable
paint and, hence, will cover more surface, but is
more transparent and, therefore, requires more
coats to produce the same dense covering given by
white lead. It is practically a neutral pigment in
12
Paint and Vaknish Facts and Formulae.
PHILADELPHIA, PA.
Class .^:...^r...i...-..<^ Book.ld.6a..7-^r- Accession..._;.v....._.w J&
Given bf. LslAt^ Z.L...L L L.tl.a.£l.M.&..£ 7^5
f'f£P/
Paint and
Varnish Facts and
Formulae
BY
J. N. HOFF
A Hand Book for the Maker,
Dealer and User of Paints
and Varnishes
Published by
Central Publishing Company
Newark, New Jersey
New York
D. Van Nostrand and Company
23 Murray and 27 Warren Streets
1905
Copyright 1904
BY
LEMUEL B. OSBORNE.
THE GETTY CENTER
LIBRARY
INDEX.
A
Acid Acetic 6-61
" Sulphurous 84
Adulterations 26-31-35-50
Alcohol, Grain 60
" Wood 61
Alkalies, Action of 85
' ' to remove paint 152
Aluminum Bronze 79
Leaf 112
Amyl Acetate 61
Ammonia 151
Aniline Colors 39-142-162
Anti-f ouling Paints 34
Asphaltum 66-146
B
Banana Liquid 102
Barium Chromate 32
Bathtub Enamel 116
Bathtubs, to Enamel 117
Benzines 59
Berlin Blue 36
Black Boards, Coating for 141
Blacks 27-28
" Charcoal or Soot 27-28
" Ivory or Bone 27-28
Black Enamel 116
Blistering 89
Blooming 87
Blue, Celestial 37
" Chinese 36
" Cobalt 37
-3 G G3£
Blue, Indigo 37
' ' Prussian 36
' ' Ultramarine 35
Boiled Oil 50
" Artificial 171
Bottle Greens 35
British Gum 80
Bronze Greens 35
Bronzing Liquids 102-103
Bronzes 79
" How Made 79
' ' Imported 79
Brushes, Paint 155-156
C
Cadmium Yellow 32
Calcium Carbonate 21
Oxide 21
Sulphate 20
Calcutta Linseed Oil 52
Camphor Oil 175
Carbon 27
Carmine 39-95
Caseine 77-105
Cements 105-106
Paints 77
' ' Priming 94
Castor Oil 131
Ceilings 99
' ' to take spots from 154
Celestial Blue 37
Cements, Pastes and Putties 103 to 106
for Steam Pipes 103
' ' for Metal and Porcelain 104
for Metal Letters on Glass 104
' ' Quick Drying for Iron 104
Stone and Glass 104
Caseine 105
to Unite Glass and Metal 105
Cements, for Glass and Minerals 105
" Paper 106
' ' Caseine for General Use 106
for Steam Pipes 106
Chalking 11-90
China Clay 19
China Wood Oil 52
Chinese Blue 36
Chemical Colors 31
Chrome Greens 33
Chrome Ochre 34
Chrome Yellows 31
Coach Colors 44
Coach Varnish 69
Coal Tar Naptha 60
Coal Tar Pitch 66
Cobalt Blue 37
Cochineal 39
Cold Water Paints 77
Collodion Varnishes 170
Colophony 55
Colors, Complimentary 96
" in Oil, Japan and Water 41
in Water 45
" Used in Water Paints 95
' ' in Decorations 97
" in Oil, Cheap 44
Positive 96
" Predominating 96
' ' Primary 96
Relation to Walls 97
Copperas Reds 26
Cotton Seed Oil 50
Covering Power of Paints, etc 46
Crawling of Paint 89
Cremnitz White 22
Crimson Lakes 39
Crinkling, Peeling and Alligorating 90
D
Damar Varnish 67
Varnish, to Clear 106
Dead Finish Varnishes 170-171
Decorative Effect of Paint 82
Decorative Enamels 113-117
Decorations, Hints for Interior 98-99-100-101
Destruction of Wood Metal and Stone 82-83
Diastase 60
Dotter 49
Drawing or Pulling 87
Dryers, Japan 72
" Lead 71-116
" Liquid 71
' ' Manganese 71
to Test 72-73
Drying Oil, Action of 50-82
Dulling or Flatting 88
Dutch Pink 33
E
Earth Colors, Adulteration of 25-26
Emerald Green, True 34
Emerald Oxide of Chromium 34
Enamels, to Prepare 113-117
Good Grades 114
" Weather Proof 114
" Marine 114
Porcelain White 115
Eosine 38
F
Filler, for Cracks and Crevices 106
Liquid 122
Paste 121-122
" and Stain Combined 124
Fish Oil 50
Flake White 22
Flat White Primer 116
Flax Plant 48
" Seed 48
Floors, to Treat 117-121
Hardwood 118
Painted 118
Varnished 118
Shellaced 119
Waxed 119
to Stain 119
to Oil 120-121
Floor Oils 121
" Paints 149
" Waxes 134
Formulae 102
Fossil Gums 63
Frankfort Black 28
Furnishings 96
Furniture Polishes 148
Varnishes 69
Fusel Oil 61
G
Gamboge 90
Gasolines 59
Gelatine 78
Gilding 110-111
Gilding on Glass 109
" on Iron and Metal 112
Glass to Etch 109
' ' Frosting on 109
" to Gild on 109
Glass Signs, to Back 113
Gloss, Loss of 78
Glues 78
Bone 78
Hide 78
Liquid 108
Waterproof 108
Gold Leaf, Ordinary Ill
" " Artificial Ill
Gold Size 113
Grain Alcohol 60
Graining 125
Pigments Used 125
Tools Required 126-127
Glazing Colors 128-129
Graphite 29
' ' Lubricant ] 33
Greens 33
Bottle 35
Bronze 35
Chrome 33
Emerald 34
Green Oxide of Chromium 33
* ' Emerald Oxide of Chromium 34
" Ultra Marine 35
Gum Resins 64-65-66-67
Zanzibar, Angola, Sierra Leone, Benguela, Kauri
Manilla, Demars, Shellac, Resin, Aspffaltum, Mastic
Sandarac.
Gums, True 79-80
Arabic, Dextrine, British.
Gum Varnish, Cost of 70
Gypsum 20
to Harden 20
use of 20
H
Hard Oil Finish 69
Hints for Interior Decorations 96
Hydraulic Cements 22
I
Indigo 37
Influence of Atmospheric Conditions 82-84
Ink Stains, to Remove 155
Iron, to Preserve 155
Iron Rust, to Remove 155
Isinglass 78
J
Japan Dryer 72
Japan Gold Size 113
K
Kauri Gum . 178
Kalsomines 77
Kalsomining 177
Kerosene 59
L
Lacquer, Bronze and Metal 134
Lakes 38-39
Yellow 38
Red 39
Purple 39
Scarlet 39
Lapis Lazuli 35
Lamp Black 27-28
Lead 71
' ' Antimoniate 32
' ' Carbonate 5
Lead and Oil Paint 74 v
Lead, Sugar of, Dryers 116
Lime 21
Linoleic Acid 94
Linoleum, Treatment of 133
Linseed Oil 48
Process of Manufacture 48
Linseed Oil, Old Process 49
' ' New Process 49
Cold and Hot Pressed 49
Oxidation of 50-71
Adulterations 50
Tests 50
Liquid Slateing 122-123-124
Liquid Wood Fillers 122-123-124
Lubricants 60-129-131
' ' Wagon Grease 132
Patent Wagon Grease 132
Graphite 133
Lubricating Oils 129
' ' Animal, Vegetable and Mineral .... 129-130
Viscosity 130
Congealing and Flash Points 130
Heavy 130
Cylinder 130
" Standard Machinery 130
" Light Machinery 130
High Grade 131
Motor 131
Spindle 131
Extra Cylinder 131
High Grade Cylinder 131
Castor Oil 131
" " Substitute 132
Lard Oil, Substitute 132
M
Machine Paints 146
Malt 60
Manganese 71
Marble, to Polish 148
" to Remove Stains from 154
Marine Paints 34
' ' Enamels 114
Mars Yellow 32
Metallic Brown 23
Metallic Paints 144
" Cheap 144
" Red 145
" High Grade 145
Mineral Black 28
Mineral Oil 17-52-58-129
Mineral Pigments 23-41
Mortar 21
N
Naples Yellow 32
Naptha 59
Nitro-benzole 39
Ochres 23-24-25-32
; ' Artificial Coloring 25
Artificial 32
Cheap 24
English - 24
' French 24
' Golden 25
Gold and Russet Shades 32
: ' Roschelle 24
Oil, Boiled 50
Camphor 175
Castor 130
China Wood' 52
Colza 130
Cotton Seed 17-130
Fish 50
Headlight 132
Lard 129
Lemon 176
Linseed 17-48
Lubricating 60-129-132
Mineral 17-52-58-129
Neatsfoot 129
Olive 130
Palm 130
Poppy Seed 53
Rosin 50-56-57
Signal 132
Solar 60
Sperm 129
Oil, Walnut 53
" Varnish 70
' ' Varnishes 63
Oils, Other Drying 53
Oils and Solvents 48
Oleates and Resinates 71
Orange Mineral 37
Organic Pigments 41
Oxides of Cobalt 37
Oxides of Iron 23
Oxides of Zinc 12
Properties of 13
Adulterations and Tests 14
P
Paint Brushes 155
Care of 157
to Clean 157
Paint, Anti-f ouling 34
Asphaltum 146
Cheap White 140-141
Fireproof 141-142
Flat Interior 93
Flexible 140
Floor 149
for Coating Rough Walls 176
Lead and Oil 74
Marine 34
Paraffine 144
Ready Mixed 137
Silicate of Soda 176
to Clean 154
Transparent for Glass 142
Water Glass 176
Paint Oil Formulae 173
" Oils 171
from Rosin Oil 172
from Resinates 172
from Oxidized Linseed Oil 173
Paint Troubles 89
Crawling 89
Running 89
Drawing and Pulling 89
Loss of Gloss 89
Crinkling 89
Saging 89
Blistering 89
Cracking, Peeling and Alligatoring 90
Chalking 90
Action of Sun on 91
Painting and Decorating 92
" " Exterior 92
Interior 93
Plaster 94
Wood Work 92
Zinc 144
' ' and Varnishing 82
Paints, Paste for Machinery 146
Paraffine Wax * 81
Paris Green 34
Paris White 16-179
Patent Gold Ill
Paper, to Enamel 117
Pastes,Ordinarv 106
" Wall Paper 106
Petroleum Spirits 58
Pigments, Stability of 41
" Tables of Permanency 42
Pinholes in Varnish 87
Pinoline 57
Plaster 20
Plaster of Paris 20
Plumbago 29
Polishing Agents 147
Paint, Properties of S2-84
Life of 84
Covering Power 46
Action of External Agents 84
Polishes, Excellent French 143
for Iron and Steel 143
Polishing Wood Work 94
Poppy Seed Oil 53
Positive Colors 96
Predominating Colors 96
Primary Colors 96
Priming 91-94
Proportion of Oil to Pigments 85
Prepared Floor Wax 134
Putty 17
' ' Joiners 106
" Floor and Crack 108-109
Purple Lakes 39
a
Quercitron Bark 33
Quaker Greens 35
R
Ready Mixed Paints 74-134
Prejudice Against 74
Composition of 75
Pigments Used 75
Cost of 76
Cheap Grades 76
Base 136
Coloring Matter for 137
All Shades, to Make 137
Base White 137
Inside White 135
Outside White 135-136
Solutions for 75-76-135
Facht White 135
Various Colors 137-140
Ready Mixed Paints 134
Apple Green 139
Black 137
Blues Light and Dark 140
Bronze Green 139
Brown, Light and Dark 13S
Buffs 139
Colonial 139
Cream 139
Greens 137
Green Stone, Medium 139
Lavender 139
Leads 138
Lemon 137
Maroon 140
Olives 139
Pea Green 139
Quaker Drab 139
Red 137
Salmon 139
Straws 139
Stone 138
Spruce 139
Tans 139
Vermillion 137
Yellow 137
Red Enamel 116
Red Lakes 39
Red Lead 37-84
Removers, Paint and Varnish 151-153
* ' Ammonia 151
Alkalies 152
" Liquid Removers 152
Removing Whitewash 97
Rolls of Wallpaper, Rule to Determine 98
Rosin 50-55-67
" Light 56
' ' Color, Brands, etc 56
" Oils 57
" Residues 57
" Refined 58
Rubbed Work 93
Running of Paint 89
Rule for Use of Mineral and Vegetable Pigments 29
s
Sandarac G7
Scarlet Lakes 39
Separating of Varnish 87
Shellacs 65
Crude 65
Refined 65
Bleached 66
Shellac Varnishes 166
Shelling 87
Short Oil Varnishes 69
Siennas 23-25
Raw and Burnt 24
Italian 25
Sign Painting Rule 112
Signal Oil 132
Silica 18
in Paint 18
in Fillers 18
Silicate of Alumina 19
" of Lime 94
' ' of Magnesium 20
" of Soda 18-94
Paints 176
Silver Leaf 112
Smalts 81
Smoke Gases 9-84
Soap Stone 20
Solar Oil 60
Solutions 75-76-135
Spirits of Wine 61
Spots, to Remove from Ceilings 154
Spotting or Chilling 87
Stains, Aniline 162
" Oil 163-164
" Spirit 160
" Shingle 165
" Red Brown 163
" Solution for 161
Stains, Yellow Brown 163
4 ' Various Colors to Make 158-160
" Varnish 163-164
11 Water 158
11 Antique Oak 158
" Cherry 159
" Ebony 159
" Grey 159
' ' Mahogany lj? 9
" Mahogany, Light and Dark 158
" Maple 159
" Oak • 15S
" Walnut 158
Stains, Water and Spirit 160
" Blue 16 °
" Blue Black 16 °
11 Brown 16 °
" Brownish Red 160
" Crimson 16 °
" Dark Grey 16 °
11 Greenish 16 °
" Green 161
' ' Greenish Grey 161
11 Yellowish Grey 161
" Cherry Red 161
11 Orange I 61
" Red 161
" Rose Color 161
" Straw Color 161
Solutions 161
Gall Nuts 161
Brazil Wood 161
Fustie 161
Persian Berries 161
Cochineal 161
Indigo 161
Tin 162
Stains, Varnish and Oil 165
Antique Oak 164
Cherry 164
Dark Cherry 164
Green 165
Mahogany 165
Oak 165
Rosewood 165
Walnut 164
Stains, to Remove from Boards 154
" " " " Marble 154
Starch 80
Sticklac 65
Striae 87
Substitutes 132
Castor Oil 132
Lard Oil 132
Linseed Oil 171
" Turpentine 174
Sugar 60-61
Sugar of Lead Dryer 116
Sun, Action of 91
Sweating 86
Sulphate of Cadnium 32
Sulphide of Barium 15
" to Detect 16
of Lead 15
" of Mercury 38
of Zinc 14
Sulphurous Acid 84
T
Talc 20
Tar 61
Terra Alba 20
Testing of Paints 45
Colors 45
Varnishes 73
Tung Oil 52
Turning White of Varnish 88
Turpentine, Spirits of 53-54-55
' ' How Obtained 54
Tests for Purity 55
Drying Properties 54
Turpentine Substitutes 174
Venice 58
U
Ultra Marine Blue 35-36
Ultra Marine Green 35
Umbers 23-25
Burnt and Raw 25
V
Varnishes, Brands of 68
Carriage 67
Ceiling 69
Cheap Black 66
Dead Finish 170
" Gum, Cost, of 70
" Covering Power of 46
Exterior , .67
Flat 171
Furniture 69
Varnish Formulae, Asphaltum 176
Collodion 170
Colorless 168 /
Shellac Grain 167
" Wood 167
" Cheap 167
" Water 167
Varnishes, Special 168
Varnishes, Spirit : . 167
Varnish Gums 64
Interior 67
" Oils 70
Varnishes, Raw Materials 63
Oil 63
Spirit 63
Varnish and Paint Troubles 82
Sweating 86
Shelling 87
Wrinkling 87
Striae 87
Pinholes 87
Spotting and Chilling 87
Drawing and Pulling 87
Separating and Crawling 87
Blowing and Blistering 87
Blooming 87
Turning White 88
Dulling or Flutting 88
Varnish, to Test ,.73
Varnish Formulae, Transparent Brilliant 169
Water Proof 169
Water Proof Paper 169
Vaseline 60
Venice Turpentine 58
Vermillion, True 38
Cheap 38
Venetian Red 21-26
W
Wagon Grease 132
Walls 98
Wall Paper, Hanging of 97-98
Rolls for a Boom 98
Walls, Repapering 97
" Treatment of 97
Walnut Oil 53
Water Proof Glues 108
Water Glass 18-176
" Size 113
Wax Finish for Wood 148
Waxes, Furniture and Floor 134
M Bees 80
Ceresin 81
Carnauba 81
Paraffine 60-81
Polishing 134
White 80
Whiskey 61
Whiting 16-179
White Lead 5
Processes oi' Manufacture 6
Old Dutch 6
Quick Process 6
Pulp Lead 7
Mill Ground Lead 7
Action of Linseed Oil on 9
Action of Other Agents 9-10
Adulterations 10-11
Whitewash 21-177
97
Wild Mustard 49
AYood Alcohol 61
Absolute 62
" Fillers Liquid 122
Quality of 22
Pigments Used 122
Paste 121
Wood Spirit 61
Wood Work, Various Colors, Treatment of .98-99-100-101
" Ash 99
" Brown 99
" Cedar 99
" Chestnut 99
" Cream 99
" Fawn Colored 100
" Ivoory Enamel 100
" Light Golden Oak 100
" Mahogany 100
" Pale Green 100
" Pearl Grey 100
" Silver Birch 100
" Yellow Orange 100
PAINT AND VARNISH
FACTS AND FORMULAE.
CHAPTER I.
WHITE PAINTS AND PIGMENTS.
White Lead.
HTHIS is the most important of all paint forming
dry material, from the standpoint of general,
indeed universal use, it answering most of the
requirements demanded.
Its production cost and selling price is mod-
erate, it can be used as a base to combine with
other pigments, has great opacity, so-called cover-
ing power, mixes readily with linseed oil and tur-
pentine, aids the drying properties of the paint of
which it forms a part, works easily under the
brush when properly mixed, and has reasonable
durability. The last-mentioned property is gov-
erned by the quality of the oil used and the condi-
tions to which the painted surface is exposed.
White lead or basic carbonate of lead of average
quality contains approximately,
Oxide of lead, 86.72
Carbonic acid, 11.28
Water, 2.00
100.00
5
Paint and Varnish Facts and Formulae.
As met with in commerce, it is a heavy pigment
of varying degrees of whiteness, depending upon
the method of manufacture and the care exercised
in its production.
Sometimes a trace of Prussian Blue is added to
increase its appearance of whiteness.
The processes of manufacture in practical
operation may be divided into the slow or so-called
Old Dutch Process, with its modifications, and the
various quick process methods whose name is leg-
ion, few of which, however, are in practical use.
The Old Dutch Process consists in casting the
metallic lead, free from impurities, in the form of
buckles or thin strips of spiral formation ; the lead
thus formed is placed in earthern ware pots so
that it is held or suspended above vinegar or ace-
tic acid which covers the bottom of the vessel.
These pots are arranged in rows and covered with
planks and a layer of dung or spent tan bark. Row
upon row is built up in this manner to form what
is termed a stack. The fermentation of the dung
or tan bark produces sufficient heat to volatalize
the acetic acid, the fumes of which, with the as-
sistance of the oxygen of the air, converts the lead
into basic acetate of lead, which in its turn is con-
verted into basic lead carbonate by the carbonic
acid resulting from the fermenting manure or tan
bark.
Paint and Varnish Facts and Formulae.
The process of conversion requires about three
months. The resulting product is removed, sep-
arated from the metallic lead which may still re-
main to some extent, washed, ground and dried, if
it is to be sold in that form. When to be ground in
oil at the place of manufacture, the drying process
is usually eliminated. The wet or pulp lead in
this case being passed, after screening, into a
pulper. Linseed oil, in proper quantity, is intro-
duced and the mechanical action is such, that the
oil displaces the water contained in the pulp lead
and the now finished product is run into kegs.
This is pulp lead in contradistinction to mill
ground lead made in the old way by grinding dry
lead with linseed oil in stone mills of various types.
Mill ground lead appears to have some favor-
able points to those unacquainted with the pulp
process, but the latter method is so perfect as to
produce lead practically free from water and in
such condition as to " break up " in oil or turpen-
tine much more quickly and easily than will the
mill ground product. Excess of moisture is the
essential point to guard against.
The English method of making white lead is to
convert the metallic lead into litharge, which is
done by oxidizing the metal in a furnace. The lith-
arge in a finely divided state is moistened with lead
acetate solution, placed in closed troughs into
Paint and Varnish Facts and Formulae.
which carbonic acid gas is driven, the litharge be-
ing continually agitated by suitable machinery;
white lead is the resulting product. This lead cov-
ers well, and is considered good. Of the other
quick process methods, the one most largely used
in this country, subjects the metallic lead in a finely
divided state to the action of carbonic acid gas and
acetic acid, in large revolving cylinders.
Another method is to dissolve the lead in acetic
acid, forming a solution of basic acetate of lead
and precipitating this lead in the form of white
lead by introducing carbonic acid gas into the solu-
tion.
The physical properties of white lead produced
by the various processes differs in opacity, fine-
ness, density, and color.
Quick process leads have, as a rule, a crystal-
line formation, giving a tendency to transparency,
while slow process lead (Dutch Process), on ac-
count of the amorphous condition of the substance,
is denser, more opaque, and masks or covers bet-
ter. This opacity is heightened by the pigment be-
ing coarser in grain than the precipitated leads.
Slow process leads are apt to be more or less
off color and to contain impurities unless very
carefully prepared. The quick process leads, in
which the methods are under perfect control, pro-
duce a product, when complete, excelling in white-
8
Paint and Varnish Facts and Formulae.
ness and fineness of texture. This latter property,
the fineness of the particles, makes the lead bulkier
and hence it requires more oil in producing a
workable paint and is another reason why it seems
to cover poorly, The proportion of lead being less
and oil greater.
Of all dry materials used as pigments, white
lead has probably the most action on linseed oil,
the hydroxide of lead combining with a portion
of the oil, to f orm lead soap, which helps to hold the
carbonate of lead in suspension and accounts for
the smooth working qualities and the tough elastic
coat it produces. Too much action between the
particles of lead and oil produces the chalking
tendency of white lead. This is sure to occur
eventually, because the natural tendency of the
lead is to aid the oxygen in the air to oxidize the
oil until the binding properties are entirely de-
stroyed. When white lead is used, however, the
surface left is in better condition for repainting
than that left in the use of most other pigments.
White lead is sensitive to the action of alkalies,
acids, and many substances containing sulphur,
such as sulphuretted hydrogen, which occurs in
coal gases. The sulphur in coal gases causes white
lead to turn black, due to the formation of lead sul-
phide. The drip of rain water from trees or other
foliage also tends to make lead blacken in spots
9
Paint and Varnish Facts and Formulae.
and mildew, particularly where the shade is dense
and little sunlight penetrates. Tinting colors con-
taining sulphides, or linseed oil which is impure, or
which has been bleached and clarified with cer-
tain chemical agents also exercises a bad effect on
white lead, under certain conditions. What ap-
pears to be a dirty blackened condition of the paint
may also be due to dust particles adhering to the
surface of the paint. In this case, washing with a
very weak solution of sal soda will renovate the
surface, the paint underneath being found to be in
good condition. In a small way, the blackening can
be removed by the use of a strong solution of Hy-
drogen Peroxide with 5 per cent, of ammonia
water added, applied with a sponge. This chemi-
cal converts the blackened lead into lead sulphate
which is white. Sunlight also tends to bleach
darkened white lead paint.
White lead is adulterated with lead sulphate, (a
poorly covering white, which mixes badly with oil),
chalk, clay, barytes, gypsum and silex.
These adulterations, in most cases, being neu-
tral pigments, rather increase the durability of the
paint. The objection to these substances is that
they detract from the covering power of the paint,
give it a tendency to crack, and are very much
cheaper than the white lead you are paying for.
Indeed, in the writer's experience, a case was
10
Paint and Varnish Facts and Formulae.
noted where pure lead and oil were used and mil-
dew and blackening occurred, whereas, on part of
the same work, the same lead and oil, with 50 per
cent, paris white added, was applied at the same
time the pure lead was used. The latter work
showed a white, glistening and perfect surface
when the pure lead paint was in a deplorable con-
dition. The only favoring condition given the
adulterated paint, was its exposure to the direct
sunlight, while the other painted work was shaded
by surrounding trees.
It is likely that the neutralizing action of these
cheap pigments do reduce the chemical action of
the white lead on the oil, preventing the binder of
the pigment from perishing so soon as it would
without them, but producing brittleness and lack
of elasticity.
Tests.— Subject the suspected sample of lead to
the blow pipe flame on charcoal. Pure white lead
is readily reconverted into metallic lead without
residue. Any residue present in the form of white
powder is likely to be sulphate of lead or barytes.
Pure white lead is perfectly soluble in dilute nitric
acid and the addition of caustic potash solution
should not form a precipitate. A residue in the
nitric acid solution indicates gypsum, barytes, or
lead suphate.
11
Paint and Varnish Facts and Formulae.
Oxide of Zinc.
White zinc as a pigment is next in importance
to white lead. It is made by strongly heating me-
tallic zinc in fireclay retorts in a reverberatory
furnace. The heat vaporizes the metal, which va-
por is brought into contact with air heated to 300
degrees Fahrenheit. Oxidation results. The oxide
is a very loose flocculent material and is carried
by the hot air into condensing chambers where it is
deposited ready for use.
Zinc white is often prepared directly from its
ores. The roasted ores are pulverized and heated
in a furnace on a bed of coal, and when fully ig-
nited are submitted to a current of air from be-
neath the grate. The vapors formed are kept
strongly heated along with a current of air and led
into condensing chambers. Zinc made direct from
the ores varies in whiteness, but is, for the most
part, a good commercial product, the off grades
produced being sold for other purposes where col-
or is not an object.
It is also produced by the action of lime water
on a solution of zinc chloride. Zinc white takes
much more oil than white lead to make a suitable
paint and, hence, will cover more surface, but is
more transparent and, therefore, requires more
coats to produce the same dense covering given by
white lead. It is practically a neutral pigment in
12
Paint and Vaknish Facts and Formulae.
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