CONTENTS.

Introductory[1]
CHAPTER I.
THE SHOP AND ITS EQUIPMENT.
Locating and Fitting up the Shop—System of Ventilation—Furnishing andEquipping the Varnish Room—The "Set Room," Etc.—With FourteenIllustrations of Labor-Saving Devices for the Paint Shop and Varnish Room[3]
CHAPTER II.
BUYING, USING, AND PRESERVING BRUSHES.
How to Select a Brush—How to Care for It—Softening the Hard Brush—BrushKeepers—Preserving Liquids, Etc.—With Seventeen Illustrations[9]
CHAPTER III.
THE SURFACING STAGE OF PAINTING.
Materials Used—Priming—Its Importance—Numerous Formulas for Primers—Whento Prime and How—Lead Coats—Their Office and Significance—RubLead, with Full Directions for Making and Applying—Knifing Lead, withNumerous Formulas for Making It—Putty—Ten Formulas for Making Putty—Directionsfor Using Putty so as to Obtain the Best Results—Sandpapering—Howand How Not to Do It—Sizes of Paper to be Used—Roughstuff—ManyFormulas for Making It—The Mission of Roughstuff, with Full andComplete Directions for Applying and Surfacing It—Six Illustrations Accompanythe Chapter[17]
CHAPTER IV.
COLORS.
Colors Scientifically Analyzed—Prismatic and Objective Color—The Orders ofObjective Colors and their Uses in Vehicle Painting—Harmonizing andContrasting Colors—Testing Colors—Assaying for Opacity, ColoringStrength, Brilliancy, and Durability—With a Practical Working Table forCompounding 95% of the Most Fashionable and Popular Colors Used inModern Carriage and Wagon Painting[28]
CHAPTER V.
THE APPLICATION OF COLORS TO SURFACES.
Detailed Instructions for Preparing the Foundation Colors—How to get the FinestResults in Using the Ever-Popular Greens, Blues, and the Varied ColorsBelonging to the Red Order—Also Yellows, Browns, and Blacks—CompleteInformation Covering the Painting of a White Job[37]
CHAPTER VI.
VARNISH, AND THE MARVELOUS THING ABOUT IT.
Virtues of Varnish—Brief Review of its Mission—Applying Rubbing Varnish—Surfacing It,and the Tools and Appliances Used—Importance of the WaterSupply, Washing Up, Etc.—The Tale of Fine Varnishing Made Easy—Flowingthe Finishing Coat—Varnishing Running Parts—Various MovementsNecessary—Numerous Illustrations[47]
CHAPTER VII.
DEPRAVITIES OF VARNISH.
Their Causes and Cure or Prevention—Graining Out—Cracking—Sweating—Deadening,Sinking In—Enameling, Silking, Etc.—Pitting—Seedy orSpecky—Crawling—Wrinkling, Crinkling—Runs, Sags, Curtains, Draperies—Ridging,Roughing—Perishing, Crumbling, Rusting—Chipping,Flaking, Peeling—Fire Checks—Greening—Blooming—Blisters—Spotting[54]
CHAPTER VIII.
STRIPING AND ITS PURPOSE.
How to Learn the Art—Directions for Making Pencils and Caring for Them—MixingStriping Colors—Names of Stripes—With Thirty-Six Illustrations,including Pencils, Various Styles of Stripes, Panel and Corner Designs, Etc.[61]
CHAPTER IX.
SCROLL PAINTING.
The Passing of the Fine Old Roman Scroll and its Destined Return to Favor—Reliefand Flat Scrolls Fully Described—How to Learn the Art of Scrolling—Scrollsin Gold, Aluminum, and Colors—The Basis of Beautiful ScrollWork—Recipes for Gilding Size—With Eighteen Illustrations, IncludingFive Full-Page Designs of Relief and Flat Scrolls[75]
CHAPTER X.
LETTERING.
Wagon Lettering as Distinguished from Sign Writing—Specific Directions forLearning the Art of Wagon Lettering, Including Laying Out, Spacing,Outlining, Balancing, Shading, Punctuation, Etc.—Roman, Modified Block,Ornamental, and Grecian Alphabets, Numerals, Etc., Shown—With Designsfor Business Vehicle Panels[89]
CHAPTER XI.
MONOGRAMS.
Their Antiquity, Relation to Modern Vehicle Painting, Etc.—Designing andPainting the Monogram—Necessary Tools—Making a Transfer Monogram—Leading Colorsand Engaging Combinations—With Eighteen Illustrations[102]
CHAPTER XII.
PAINTING THE MODERN BUSINESS WAGON.
Considered as a Work of Art and as an Advertising Medium—Practical Instructionswhich Cover the Various Classes of Business Vehicles—The FactoryMethod Explained—Painting Heavy Trucks and Farm Wagons—PopularColors for Painting Business Wagons—Numerous Formulas for PaintingCanvas and Cloth Tops[109]
CHAPTER XIII.
RE-PAINTING AND RE-VARNISHING VEHICLES.
Full Description of Manner of Doing the Various Classes of Work—How toMatch Colors—To Burn Off Paint—Tables of Materials used in PaintingVehicles—Treatment of Tops and Dashes, Formulas for Dressings, Etc.—Methodof Marking Vehicles—Washing Finished Work—Schedule ofPrices for Repainting[117]
CHAPTER XIV.
A PRACTICAL STUDY OF MATERIALS.
White Lead—Importance of its Purity—Quality of Colors in General—Adulterationas Viewed from the Painter's Standpoint—Purity of Raw LinseedOil—Turpentine—Testing Coach Japan—Varnish[130]
CHAPTER XV.
PAINTING CUTTERS AND SLEIGHS.
Decorative Features of the Work—The Various Processes of Painting Fully Detailed—TheAnti-Kalsomine Method—Prevailing Colors—Striping andScrolling—Instructions Bearing upon Re-painting, Re-varnishing, Etc.—WithNine Artistic Ornaments[139]
CHAPTER XVI.
FACTS AND FORMULAS FROM THE PAINT SHOP DIARY.
Many Practical Matters and Methods Briefly Stated—Blending of Colors—SpontaneousCombustion—The Best Varnish Room—Remedy for Rusted CarriageSprings—Painting Metallic Surfaces—Thinning Varnish—Paintinga Natural-Wood Finished Job—Repairing Bruised Surfaces—How to MakeVarnish Go Wrong, Etc., Etc.[148]

INDEX TO ADVERTISERS.

Pratt & Lambert[ix]
Chicago Varnish Company[x]
Murphy Varnish Company[xi]
John W. Masury & Son[xii]
Surrey Varnish Works[xiii]
Standard Varnish Works[xiv]
National Lead Company[xv]
Berry Bros.[xvi]
John Lucas Company[xvii]
The Western Painter[xviii]
Edward Smith & Company[xix]
William Sedgwick[xx]
John L. Whiting & Son Co.[xxi]
Geo. E. Watson Company[xxii]
Valentine & Company[xxiii]

INTRODUCTORY.

In many of its elementary principles the art of carriage and wagon painting as at present exemplified does not materially differ from the art as it was interpreted in the remote past. Processes and systems have changed and adapted themselves to the swifter modes of life, but not a few of the paint materials, especially those used in the foundation and surfacing coats, remain practically the same as used in former times. The P. W. F.'s, as surfacing agents expected to take the place of white lead and oil and their assistant pigments, tossed merrily upon the topmost wave of favor for a brief period some two decades ago, but the fiat of their decline went forth and at the present time the great majority of carriage and wagon painters still adhere to white lead, raw linseed oil, ochres, and regulation roughstuff pigments for their foundation materials, as did their instructors and predecessors.