There is another method of painting white practiced by many first-class painters, which was first published in Varnish and written by that reliable and experienced authority, Mr. J. G. Cameron. It consists of priming the wood with the best white lead, mixed with as much oil as the wood will absorb, and turpentine. This is given five days in which to dry. Then white lead is made up to dry with a gloss, and two coats of the mixture is given, with an interval of one day between coats. The surface is then puttied with a putty made of white keg lead, dry white lead and whiting, equal parts by bulk, and japan. The putty used for knifing in is made softer than that used for stopping holes and cavities. The putty is given one day to harden. Then a filling composed of keg lead, 1 part; whiting, 1 part; flour of pumice stone, 1/5 part; made into a stiff glazing pigment with japan and a small percentage of turpentine, is brushed over the surface, a second workman following with a broad putty knife and skillfully removing the superfluous filler. This glazing is intended only for panels and flat work generally. Permit this filling to dry forty-eight hours. It is then rubbed lightly with pumice stone. Moldings and carved work are sandpapered. Next, to 5 lbs. of white keg lead, highest quality, 1/2 pint of good wearing body varnish that dries quickly and reliably is added. The mass is then thinned with turps and strained. This dries to a little more than an egg-shell gloss. Five coats of this color are applied on five consecutive days, no rubbing or sandpapering being done between coats. This foundation of white is given a week, to harden, after which it is thoroughly rubbed down with about No. 1 1/2 pulverized pumice stone. It is then allowed to stand two days before being polished and cleaned up with flour of pumice stone. A coat of high grade and practically colorless finishing varnish (now procurable of the leading varnish makers) is now flowed on and the work is complete. The color for the five coats is made up at one time, so that it dries and hardens equally and uniformly throughout. Mr. Cameron vouches for the durability, fullness, and solidity of a white surface painted by this method, having employed it in painting hundreds of street cars, in addition to a great many hearses, delivery wagons, etc. It is a well-known practical fact that a first-class finishing varnish and white lead carefully mixed solidifies amazingly throughout. And the one coat of very pale or colorless finishing varnish over all produces the effect of a high grade finish.
CHAPTER VI.
APPLYING RUBBING VARNISH—SURFACING VARNISH—CARE OF THE FINISHING ROOM WASHING THE RUBBED SURFACES—FLOWING THE FINISHING COAT.
One well-known varnish maker has said that the marvelous thing about carriage varnish is that it must be one garment suited to all kinds of weather. As a material destined to shine in the public eye, its proper manipulation and treatment is manifestly of the first importance to the carriage painter. No other material with which the painter has to do is so sensitive to the robust variety of influences constantly attacking it as varnish. The virtues of a first-class varnish which add to its durability, increase its brilliancy, and in other ways enhance the beauty of a surface over which it is used are the ones that impart to it a peculiar sensitiveness characteristic of no other material. Briefly, then, we may sum up the task of applying and manipulating varnish upon a carriage surface as a delicate job. A workman of fine notions, intelligent, painstaking and highly skilled in the handling of the proper tools, is the only successful varnisher. Such a workman is required to get all that is true and fine and lasting and lovely out of the employment of varnish. In the varnishing of a vehicle the first kind of varnish we are required to use is rubbing varnish. The duty of putting on rubbing varnish is less difficult, practically considered, than that of flowing the finishing coat, but rubbing varnish bespeaks deft and skillful handling. The first coat of rubbing demands to be applied quite as precisely, and with the same thoroughness as to details, as would mark the application of any of the later coats. In the application of the first and second rubbing coats to body surfaces, the bodies, when of a build to permit of the practice, should be tipped so as to offer a flat, upturned surface, a device for holding the bodies in this position having been illustrated in [Chapter I]. Fuller and finer rubbing coats may be flowed on when the bodies are tipped. Tipping of all the lighter forms of vehicle bodies is practiced in leading shops when applying the first and second rubbing coats.
The writer, therefore, advises observance of the practice in even the smallest of shops. There is less chance for brushmarks and other defects manifesting themselves. With the heavily flowed on rubbing coats, the round, full surface which distinguishes the product of the best varnish rooms is obtained at a less expenditure of time and labor, than when the thinner coats are employed. I would suggest the full, heavy rubbing coat as the most effective aid in avoiding brushmarks and in drowning out the dust motes and flocculent matter to be noted as part and parcel of the skimpy brushed on coat of varnish. The modern ethics of carriage painting affirms the excellence of heavy rubbing coats of varnish as the most enduring base for heavy finishing coats.
The final rubbing coat may best be applied with the vehicle body occupying its natural position or, rather, the position it is to occupy when the coat of finishing goes on. This is the coat that is depended upon to reflect the outline and round out the fullness of the finishing varnish. The necessity of its being perfect in all the respects that it is possible to make a rubbing coat of varnish, is, therefore, apparent. The fact that varnish goes on pretty nearly everything, brightens it, keeps it clean and cleanable, covers it, takes the wear, prolongs its life, and increases its beauty and usefulness, furnishes the carriage painter with a substantial reason for insisting upon having his rubbing coats, from first to last, deftly placed and shrewdly balanced.
THE SURFACING OF RUBBING VARNISH.
When a rubbing varnish has been given the full limit of time recommended by the manufacturer in which to harden, surfacing should ensue. To permit such varnish to remain unprotected from the atmospheric impurities common to the average paint shop may be accepted as an actual detriment to the durability of the surface. The gums used in rubbing varnish and which unite to give it a surfacing property render the varnish when spread upon a surface peculiarly susceptible to the attacks of all forms of impurities. Hence the necessity of surfacing the rubbing coats as soon as they have been given adequate time to harden. The supporting strength and ability of such coats are thereby promoted.
