In 75 parts of alcohol dissolve 15 parts of shellac, 2 parts of Venice turpentine, and 8 parts of sandarac.
II.—For Trays and Other Tinware.—The ground is prepared by adding to the white lead the tinting colors ground in good rubbing varnish and half oil of turpentine. For drier an admixture of “terebine” is recommended. With this lean and dull paint, coat the tins 2 or 3 times and blend. Next, grain with water or vinegar glaze, and varnish with pure Zanzibar copal varnish, or finest amber table-top varnish. There are other tried methods for varnishing tin, which are applicable for new goods, manufactured in large quantities, while they are less advantageous for the restoration of old, repeatedly used articles.
Varnish Substitutes.
A substitute for varnish is produced by adding to 100 parts of casein 10 to 25 parts of a 1 to 10 per cent soap solution and then 20 to 25 parts of slaked lime. The mixture is carefully kneaded until a perfectly homogeneous mass results. Then gradually add 25 to 40 parts of turpentine oil and sufficient {728} water for the mass to assume the consistency of varnish. If it is desired to preserve it for some time a little ammonia is added so that the casein lime does not separate. The surrogate is considerably cheaper than varnish and dries so quickly that paint ground with it may be applied twice in quick succession.
Zapon Varnishes.
For the production of zapon or celluloid varnish, pour 20 parts of acetone over 2 parts of colorless celluloid waste, allowing it to stand for several days in a closed vessel, stirring frequently until the whole has dissolved into a clear, thick mass. Admix 78 parts of amyl acetate and clarify the zapon varnish by allowing it to settle for weeks.
VARNISH, HOW TO POUR OUT: See Castor Oil.
VARNISHES, INSULATING: See Insulation.
VARNISHES, PHOTOGRAPHIC RETOUCHING: See Photography.
VARNISH REMOVERS: See Cleaning Preparations and Methods.