(2) By the kind of surface to be covered: a porous surface requires more oil than one that is impervious.

(3) By the nature and appearance of the work to be done: delicate tints require colourless oil, a flatted surface must be painted without oil (which gives gloss to a shining surface), paint for surfaces intended to be varnished must contain a minimum of oil.

(4) By the climate and the degree of exposure to which the work will be subjected: for outside work, boiled oil is used, because it weathers better than raw oil; turps is avoided as much as possible, because it evaporates and does not last; if, however, the work is to be exposed to the sun, turps is necessary, to prevent the paint from blistering.

(5) The skill of the painter affects the composition: a good workman can lay on even coats with a smaller quantity of oil and turps than one who is unskilful; extra turps, especially, are often added to save labour.

(6) The quality of the materials makes an important difference in the proportions used: thus more oil and turps will combine with pure than with impure white lead; thick oil must be used in greater quantity than thin when paint is purchased ready ground in oil, a soft paste will require less turps and oil for thinning than a thick.

(7) The different coats of paint vary in their composition: the first coat laid on to new work requires a good deal of oil to soak into the material; on old work, the first coat requires turpentine to make it adhere; the intermediate coats contain a proportion of turpentine to make them work smoothly; and to the final coats the colouring materials are added, the remainder of the ingredients being varied according as the surface is to be glossy or flat.

The exact proportions of ingredients best to be used in mixing paints vary according to their quality, the nature of the work required, the climate, and other considerations. The composition of paint for different coats also varies considerably. The proportions given in the following table must only be taken as an approximate guide when the materials are of good quality:—

Table showing the Composition of the different Coats of White Paint, and the Quantities required to cover 100 yd. of newly-worked Pine.

Red lead. White lead. Raw Linseed oil.Boiled Linseed oil.Turpentine.DryersRemarks
Inside work,
4 coats not flatted.
lb. lb. pt. pt. pt. lb.
Priming ½ 16 6 — — ¼ Sometimes more red lead is used
and less dryer.
2nd coat {*} 15 3½ —1½ ¼ {*} Sometimes more red lead is used
and less dryer.
3rd coat — 13 2½ —1½ ¼
4th coat — 13 2½ —1½ ¼
Inside work
4 coats & flatting.
Priming1½ 16 6 — ½ 1-8
2nd coat — 12 4 —1½ 1-10
3rd coat — 12 4 —0 1-10
4th coat — 12 4 —0 1-10
Flatting — 9 0 —3½ 1-10
Outside work
4 coats not flatted.		 When the finished colour is
not to be pure white, it is
better to have nearly
all the oil boiled oil.
All boiled oil does not
work well. For pure
white a larger proportion of
raw oil is necessary,
because boiled oil is too dark.
Priming 2 18½ 2 2 — 1-8
2nd coat — 15 2 2 ½ 1-10
3rd coat — 15 2 2 ½ 1-10
4th coat — 15 3 2½0 1-10