PRIMING.
Priming is the agent required to go into and saturate the minute cells and pores of the wood, getting a firm grip of the fibers, sealing them against moisture, and affording the painter a tough, elastic ground for his leveling materials to follow.
Primer No. 1.—White lead and raw linseed oil, darkened to a lead color with lampblack. A teaspoonful of coach japan to be added to each pint of the mixture, or omitted, as the time limit may impose.
No. 2.—White lead, 2 parts; yellow ochre, 1 part. Liquid, raw linseed oil. The use of japan to depend upon circumstances.
No. 3.—White lead, 1 part; yellow ochre, 2 parts. Liquid, raw linseed oil.
No. 4.—White lead, 1 part; yellow ochre, 2 parts. Liquids, rubbing varnish 1/4; turpentine 1/4; raw linseed oil 1/2. A tablespoonful of japan to each quart of the mixture. This is a very quick primer, that can be sandpapered the day following its application.
No. 5.—White lead, shaded with lampblack. Liquids, rubbing varnish 1 part; raw linseed oil 5 parts.
In the above formulas keg lead is referred to.
Priming should contain just enough pigment to stain the oil. Only in this form does it perform the functions of a primer. Some hardwood surfaces, negative in composition, require a priming thinned somewhat with turpentine; otherwise such close textured spaces of wood are not sufficiently penetrated by the oily particles of the priming. The durability of the priming rests largely upon the penetration of the oil into the arteries of the wood along with a certain necessary per cent. of the pigment.
It is a good plan not to follow the surfacing of a job in the wood shop too closely with the priming. Immoderate pressure of the wood fibres usually results from the pressure of the wood worker's leveling methods. Give the wood time to expand before priming, but not time to absorb moisture. Graining out of surfaces often results from priming a surface too soon as well as too late. Many factors must necessarily be considered in order to have the priming coat do all that it should do. The condition of the wood, the climate, season, atmosphere, etc., all require diligent study. The application of the priming to the surface deserves particular attention. Granted that first-class filling and surfacing pigments, combined with liquids rich in gummy resinous matters, make the ideal primer, the coating fails of its mission when practices of neglect mark its application to the surface. Therefore, apply the priming smoothly and in a uniform film to the surface. Coat all parts of a job, outside, top, bottom—everywhere. Insist upon its being well brushed out—just as any coat of paint should be.
Putty-holder.