SPOTTING.
There are several forms of this ailment, viz., mud spotting, soapy or dirty water spotting, and the spotting caused by strong currents of air beating powerfully upon the varnish surface. Mud spotting is by far the most malignant type of the depravity herein mentioned. An elastic high grade varnish is more susceptible to the poison contained in earthy accumulations than the hard drying or the low grade varnish.
Accumulations of mud allowed to dry upon a freshly varnished surface spot the varnish through the action of the suction or capillary attraction of the dry mud extracting the oil from the varnish. Again, the spotting may be due to actual saponification, by the alkaline mud, not only of the oil, but of the gum constituent of the varnish as well.
City mud strongly charged with ammonia, and the mud of lime districts, is notoriously destructive to varnish lustre. While it rarely happens that any sort of treatment short of rubbing off the surface and re-varnishing proves satisfactory, the trouble may now and then be effaced, temporarily, at least, by first rubbing the spots with a rag moistened with equal parts of linseed oil, turpentine, and alcohol, and then immediately polishing with a soft piece of blotting paper.
Soapy or dirty water spotting, which may be distinguished by the usually correct circle outline, is difficult, if not impossible, of effacement, especially if allowed to long remain upon the surface, as the potash and acid nature of the water takes a ready and sharp hold of the varnish. A prompt washing off with clean soft water will sometimes prove a cure. This failing, rubbing off and re-varnishing must be resorted to.
The gases generated by an ordinary coal stove or blacksmith's forge, if permitted for long to attack a varnish surface, will effect a particularly grievous type of spotting. This will manifest itself in the form of dull, lustreless spots richly suffused with a film of greasiness. The rubbing down and re-varnishing is the only reliable and sure cure for this depravity. Spotting caused by unusual or disturbing currents of air beating with moderate or fierce intensity upon a sensitive surface is met with in the shape and appearance of dull, indistinctly defined spots, irregular in form, sometimes elongated, frequently of conoidical outline. The first indications of this variety of spotting should be met with a prompt washing off with clean water and a careful drying up under the chamois skin.
CHAPTER VIII.
STRIPING: THE PURPOSE OF STRIPING—HOW TO BECOME A STRIPER—PENCILS AND THEIR CARE—MIXING STRIPING COLORS—NAMES OF STRIPES—STRIPING DESIGNS, INCLUDING PANELS AND CORNER-PIECES—ETC., ETC.
The chief and essential purpose of striping is to impart a beautifying effect to the surface upon which it is used. To accomplish this purpose it must be so perfectly and artistically executed that the colors employed in painting the surface are made to reflect their most charming harmonies and contrasts, while the outlines of the surface itself are cast into more graceful relief. The art of striping, when it achieves this result, may be said to have successfully performed its office; and the expert exponent of this art, it need scarcely be added, is accounted an important member of every well-regulated paint shop family.
Fig. 1. Fine Liner.
To be a really skilled striper, the workman needs to be the possessor of a steady hand, or, in the words of another, of "hand magic," of an accurate eye, and plenty of color sense. In point of fact, it is highly necessary that the striper should be a good colorist; one, in short, who is thoroughly conversant with the rules of color harmony and contrast.
Fig. 2. Medium Fine Liner.
The first law with which the novice or learner of the art of striping or ornamenting is confronted is that of color and form. This he must study patiently and persistently, the while practicing with the pencil in order that the purely mechanical part of the art be well mastered. Grace, freedom, sure-handedness, are indispensable factors, as applied to the mechanical features of striping and ornamenting, and these can be attained only through the agency of diligent practice, combined with the help of an eye educated to act quickly and accurately. There can be no arbitrary rules laid down to govern the art of striping in so far as it has reference to style. Style is but the fleeting fancy of "the passing show," and while it is here today it may be gone tomorrow. Hence, the fashion in striping is indefinite and sufficiently elastic to adapt itself to local requirements without departing far from what may chance to be at the time generally accepted as the prevailing style. For, after all, the striping must be subordinate to form, color, and surface, and its lavish or meagre employment, in plain or fancy design, is controlled very largely thereby.
Fig. 3. Heavy or Medium Line.