BRUSHES.
We think it well to include here some information concerning brushes, but may first give a brief description of the way in which they are made, taking the firm of G. B. Kent & Sons, Ltd., as an example, as the author had the pleasure of going over their factory some time since. The following is his account written for “The Decorators’ Magazine”:—
A superficial observer may be inclined to think there is no particular advantage to the painter and decorator in possessing a knowledge as to how the tools he uses are made. Yet such a knowledge may help him considerably in judging as to the quality of those tools, and it will be at once acknowledged that an ability to discriminate in this respect is of considerable value. For brushes vary greatly in quality, far more so, perhaps, than our readers may imagine possible. Everyone knows that there are good brushes that cost more than a trifle, and rubbishy goods, chiefly of foreign make, that can be bought for, perhaps, half the amount. Probably there is not a reader who does not fully understand that it is far better in the end to buy the best quality brushes, that is, that it is cheaper to pay a higher price, because the work with such brushes can be done quicker and better than it can by the inferior ones, and also because the superior quality lasts much longer. Those things are well understood among most painters, and even if some of them will use cheap stainers and lose money in consequence, they have, at least, learned the lesson of the necessity of using only best quality tools.
But it is not a comparison between high grade and low grade brushes that we now want to make, it is rather to direct attention to the difference that exists in the actual quality of so-called first-class tools of different makes. It is this difference than can best be understood after inspecting the process of brush making, and it must be acknowledged that adulteration can be carried on in the manufacture of brushes to a considerable extent. Take a common ground brush as an example. The actual brush part should consist wholly of hog’s bristles, for there is nothing yet discovered that gives better results. Yet there are on the market many brushes marked “pure bristle” which really contain more or less a large proportion of horsehair or other material which makes a poor substitute, but which cannot be easily detected, in fact, it is the difficulty of detection which has probably given rise to the objectionable adulteration referred to.
The objection to horsehair in a painter’s brush is that it is flabby and without spring, but its presence in adulterating brushes can be understood when it is said that approximately the price of horsehair is 1s. 9d. to 2s. 2d., and bristles 8s. to 9s. per pound. It certainly requires an expert to state positively whether horsehair is included or not, but there are certain signs that, with care, will determine the matter, at least to a certain extent. The real bristle has its end split—called a “flag” end—the root end is considerably larger and cannot be mistaken. The spring or elasticity is another indication of the bristle. The horsehair, on the other hand, is the same size both ends, and has no flag end; if the suspected bristles be viewed under a strong reading glass the difference can be told without a great deal of difficulty.
At the works of Messrs. G. B. Kent & Sons, Ltd., the author was shown how suspected brushes sent out had been dissected and the various parts divided up, and it was surprising to see how much horsehair could be included in a brush without giving it any out-of-the-way appearance. There were little piles of horsehair of different lengths, while the bristles were all sorted into other piles, each of different lengths. Photographs of the brushes that have been dissected in this way have been distributed through the trade, and they have no doubt proved of use in showing painters that adulteration in brushes is carried on to almost as great an extent as it is in paint materials. No adulteration whatever in painting brushes is permitted in the factory of G. B. Kent & Sons.
Certainly the brush department in any brush manufactory, which is of the most importance is the bristle room, and it was to this that the author was first taken. There were bristles of many different kinds, most of them tied up into neat bundles ready to be afterwards dealt with. For instance, Siberian Okatka, and perhaps most important to my readers because they make the best paint brushes, having an excellent spring and being stiff. They are very costly and are rarely used by themselves, nor is it necessary, because other varieties of bristles may be mixed in, and it is this mixing or blending that constitutes so important a part in the brush manufacturer’s art. Indeed, the purchase and blending takes years of careful study to learn. One class of bristle is introduced into the mixing to give strength, another straightness, another solidity, another colour, and it is the judicious blending, the knowledge of which is acquired only by much experience, which makes a first-class brush for first-class work, and having the requisite spring and durability and the band of which will not burst.
The process of dividing the bristles into uniform lengths is termed “dragging,” a very interesting process which requires considerable expertness on the part of the operator. A handful of bristles, after being mixed, is placed against a gauge, and the operator, grasping firmly those bristles which project beyond a mark which indicates the required length, withdraws them with his thumb and finger and places them aside. The whole bundle having been gone over in this way, a second dragging to the next mark is made, and so on until the bristles are arranged in little piles of uniform lengths.
The operation of “mixing” is also interesting. This is done in order to obtain an uniform colour and quality in the bristles. First, all the bristles of different colours are piled on the top of one another, varying considerably in colour in the different layers from top to bottom. Perhaps there will be one layer nearly white and another nearly black. If these were all mixed up indiscriminately to make a brush, the result would be a very patchy appearance that would not be liked. The object, therefore, is to have an equal admixture of black and white throughout. A workman takes in his hand a portion of the bristles from top to bottom, cutting through all at once. These he holds in his two hands and ‘jabs’—for the want of a better word—through a steel comb which is fixed upright before him. This mixes the different coloured bristles, and at the same time pulls out inferior or woolly parts that may have been left in. As each handful of bristles is dressed in this way it is laid aside, and when the whole is completed the second dressing is gone through in the same way as the first, the result being that the admixture is perfect, and the appearance of any one part of the pile is exactly the same as that of the other. It is essential also that all the bristles should lie the same way, and, as in the rough an uncertain small proportion of the bristles arrive with their heads the wrong way, to extract them another small comb, termed an ‘engine,’ with teeth very close together, is used; the ‘flag’ end of the handful is combed over this, and the roots of the ‘turned’ hairs catch in the comb.
| OLD ROSE | MOSS GREY |
| IVY GREEN | WARM GREY |
| GREEN SLATE | LEAD |
| SEA FOAM | SILVER GREY |
| APPLE GREEN | STONE |
| SLATE | MIDDLE STONE |
| GRANITE | DARK OAK |
| ASH GREY | IVORY |
It will be unnecessary to describe in detail how every brush is made, but an ordinary ground brush will serve as an example. The actual manufacture is not difficult. First the bristles are carefully weighed out so that every brush of the same grade has exactly the same quantity of bristle in it as a corresponding brush; great care being taken not to disturb the way in which the bristles lie. They must all point one way, and naturally they have a certain bend. The outside of the brush is usually made of white bristles, while the inside is grey and yellow. This is almost a universal rule, for although the inside bristles are of equal spring to those outside, still trade demands white bristles outside and has them. The reader will understand that the bristles that are to form the ground brush about to be made are lying on the scale, these having been weighed they are taken off, the white bristles being underneath, so as to form the outside of the brush. The workman takes all the bristles carefully, but firmly, in both hands, and turns the bristle round his thumb in such a way that the bend of the bristles all turn inward towards the centre, and the white bristles or ‘cappings’ lie in an even rim round the rest, and the ‘knot’ is then tied round with string. The knots are then dipped in hot cement and kept warm standing upon a hot plate.
The next process is ‘driving,’ which consists in forcing the handle through the bristles, which has been previously inserted in its binding, and this tightens the brush by compression.
Varnish brushes, as a rule, are shaped in a manner somewhat similar to the method of making artists’ pencils, that is to say, the wedge shape is produced by placing the bristles into a small circular box, the bottom of which is concave. Hence, it will be seen that the bristles, if even they are all of the same length, have the necessary chisel-edge for a varnish brush. Pegged brushes are made under a patent of Messrs. G. B. Kent & Sons. Speaking roughly, it consists of driving pegs into the back woodwork of the brush so as to throw the parts into greater compression and to hold the bristles tighter. After the brush is made, the bristles are thoroughly scoured on a stone with soap and water. After the brush is finished, the bleaching chambers are reached where, by means of sulphurous fumes, the bristles are bleached to the required degree of whiteness.
The Care of Brushes.
—However good a brush may be it will soon be ruined unless it is properly treated when out of use. The following hints will suffice as a guide in this respect:—
Writing Pencils, etc.—Wash in turpentine until quite clean, and if they are not to be used for some time dip in olive oil and smooth from heel to point.
RED SABLE.
Stipplers.—Wash thoroughly in pure soap and hot water rinsing with cold water. Place point downwards to dry.
STIPPLER, WITH BRIDGE HANDLE.
Varnish Brushes.—The best method of keeping varnish brushes, in the opinion of the author, is to suspend them in the same description of varnish as that they are used for. As this is not always possible boiled oil may be used instead.
VARNISH BRUSH—GALVD. WIRE BOUND.
Paint Brushes.—Mr. Ernest N. Kent gives the following instructions in “Specifications”:—
SASH TOOL.
FLAT OVAL GROUND BRUSH.
Brushes made for Use in Colour should first be soaked well in water to swell the bristle in the binding. This applies also to whitewash brushes which are bound either by wire or leather.
A Brush after Use should be thoroughly cleansed out in turps or soap and water. If left in water any length of time they are liable to twist, and the bristles lose their elasticity.
A Brush made for Paint should not be used in varnish, the spirit of which dissolves the cement with which it is set, and loosens the bristles. When a ground brush has been well worn down in colour, it may, however, be used in varnish.
A Brush made for Varnish must on no account be put into water as the water destroys the cement.
Varnish Brushes when not in use should be suspended in either varnish or oil, the brush not resting on the bristles. No brushes should on any account be kept in turpentine.
Stippling Brushes should be well cleaned and dried after use, the bristle being carefully kept from crushing; a box in which they can be slid, allowing the bristle to hang downwards is recommended.
Should a Brush become quite hard with Paint it should be soaked for twenty-four hours in raw linseed oil, after which time in hot turpentine.