NIIR

Contents

  1.	INKS AND MARKING INKS

Inks

Blueprint Inks

Drawing Inks

Glass, Celluloid and Metal Inks

Gold Ink

Horticultural Ink

Indelible  Inks 

India, China, or Japan Ink

Ink Powders and Lozenges

Lithographic Inks

Marking Or Labeling Inks

Colored Marking Inks

Printing Inks.

Inks For Stamp Pads

Inks For Hand Stamps

Color Stamps For Rough Paper

Indelible Hand-Stamp Ink

White Stamping Ink For Embroidery

Stencil Inks

Blue Stencil Inks

Indelible Stencil Inks

Sympathetic Inks

Typewriter Ribbon Inks.

Coloring Agents:,

Writing Inks.

Copying Ink

Ink—Luminous:

Inlaying By Electrolysis

Ink, Carbon Paper

Hectograph Ink

Hectograph Paste

Safety Ink

Green Ink

Finger-printing Ink

Shading Ink

Red Ink (Eosin Type)

‘’ Emergency’’ Red Ink

Blue Ink, Acid-proof

Blue-black Writing Ink

Magoffin’s Black Ink

Scoville’s Black Ink

Quick-drying (Writing) Ink

Permanent Quick-drying Writing Ink

Printing Composition

Printing Ink Varnishes

Marking Porcelain And Glassware

Ceramic Ink For Marking Glass and  Porcelain

Ceramic Inks For Porcelain

Ceramic Ink

Ink For Writing On Glass, Tin Etc.

Quick-setting Printing Ink

Print On Wax Or Glassine Paper Bags

Textile Printing Ink

Ink For Marking Fabrics

Kayser’s Marking Paste For Fabrics

Silk Screen-printing

Imitation Engraved Printing

Lithographic Ink

Soap Proof Laundry Black Ink

Ink For Printing On Wet Lumber

Intaglio Printing Ink

Copper-plate Ink Varnish

Rotogravure Ink Varnish

Pale-colored Intaglio Ink,

Base Ink,  

Brown Ink From Above Base Ink

Indelible Transfer Ink

Transfer Composition

Mimeograph Ink

Engraver’s Black Stenciling Ink

Stencil Paper

Stencil Sheet

Inks, Writing Ink

Non-corrosive Ink

Gloss Ink

Fountain-pen Ink

Ink Base For Fountain Pens

Ink From Ink Base

Stamp Pad Ink

Recording Inks

Indelible Ink For Documents

Permanent Green Ink

Acid-proof Black Ink

Marking Ink For Shipping Packages

Marking Ink (Alkali And Acid Resistant)

Ink Powder

Concentrated Ink Tablets

Invisible Inks

Transparent Writing Ink Drawing Ink

Solid Stencil Inks

Show Card Inks (Solution Bases)

Oil Stamp Colors

Stamping Inks

Stamp Ink For Eggs

Meat Stamping Ink

Ink To Mark Linen (Black)

Laundry Indelible Ink

Indelible Ink For The Marking of Laundry

Fabric Marking Paste

Textile Marking Crayon (Washable)

Ink For Writing On Photographs

White Ink

Ink For Writing on Celluloid

Cattle Marking Crayons

Sheep Marking Ink

Stamp Ink For Backside of Leather Black

Waterproof Stamp Inks For Backside of Leathers

Ink For Rubber

Stamp Ink For Rubber and Rubber Shoes

Ink For Stamping On Rubber Balloons

Marking Of Uncured Rubber Mixes

Glass Marking Ink

Ink For Glass  

Inks For Glass and Porcelain

Permanent Marking of Glass and Porcelain Vessels

Ink For Ceramics

Ink For Brass

Ink For Zinc or Galvanized Iron

Ink To Write on Iron or Steel

Marking Steel

Crayon For Marking Hot Metal

Carbon Printing Colors

White Printing Ink

Black Printing Ink

Printing Ink for Glassine Paper

Preventing Offset in Printing 

Offset Printing Ink

Printing Offset Compound

Offset Printing Ink Thinner

Reducer For Printing Ink

Extra Slow Drying

Slow Drying

Reducer For Black Printing Ink

Reducing Inks Used With Rubber Rollers

Deodorizing Printing Ink

Newspaper Picture Transfer Fluid

Transferring Colored Newspaper Pictures

Lithographic Plate Resist

Moistening Fluid For Mimeograph Rolls

“Make-ready” For Relief Printing

Mercury Printing Plate Treatment

Printers’ “Make-ready” Composition

Printers’ Roller Composition

Printers’ Rollers

Recovery of Glycerin From Printers’ Rollers

Rejuvenating Typewriter Rollers

Multigraph Inks

Ink For Hectographs

Heliograph Printing Ink

Kymograph Ink

Dispersing Oil For Pigment Inks

Ink For Line-drawing Machines

Watermark Mixture

Carbon Duplicating Papers (Black)

Copying Paper

Impregnation or Coatings For Carbon Papers, Typewriter Ribbons, Etc

Typewriter Ribbon Ink

Typewriter Ribbon, Reviving

Color For “Blue Transfers”

Transfer-ink

Stencil Sheets

Duplicator Stencil Moistening Fluid

Duplicating Machine Stencils

Tracing Cloth

Ink For Tattooing Chickens

Temperature Indicating Inks

Hectograph Composition

Indelible Copying Leads 

Non-offset Compound

Ink: Copying and Record

Ink: Writing

Writing Ink

Duplicating Ink

Stencil Ink

Typewriter Ribbon Ink

Stamp Pad Ink

White India Ink

Water Soluble Aniline Ink

Quick-drying, Non-penetrating Inks

Multigraph Inks

Photomechanical Inks

Autographic Transfer Ink

Tusche

Benday Ink

Developing Inks

Photolitho Transfer Ink

Etching Inks

Hard Etching Ink

Soft Etching Ink

Finishing Ink

Rolling Up Ink

Photogravure Inks

Red Intaglio Printing Ink 

Brown Intaglio Printing Ink

Textile Priting Ink

Fabric Marking Ink

Finger Print Ink

Ink For Printing on Wet Lumber

Celluloid Ink

Ink For Cellulose Acetate

Permanent Glass Marking Ink

Glass Etching Ink

Matt Etching Powder For Glass

Ink For Porcelain

Invisible Ink

Burnishing Ink

Ink Eraser

Removing Ink Spots

Leather, Skins, Furs

Detergent For Hide Hair

Persian Leather Chrome Liquors

Stripping Persian Leather

Writing Ink—Red

Writing Ink— Blue Black

Red Writing Ink

Blue Writing Ink

Jet Black Writing Ink

Directions

Concentrated Ink, Powder and Tablets

Ink: Red

Hectograph Ink

Stamp-pad Ink

Recording Inks

Indelible Marking Ink

Blue-print Ink

Ink For Brass

Printing Ink For Cellulose Acetate Film

Ink, Concentrated Writing

Ink, Gold Bronze,

Writing And Copying Ink

Ink For Glass and Procelain

Ink For Writing On Glass

Waterproof Ink For Glass

Ink, Graining

Hectograph Ink

Hectograph Mass

Ink, Indelible

Intaglio Ink

Printing Inks

Typographic Inks

News Inks

Lithographic Inks

Rotographic Inks

Printing Inks

Yellow Pigments

Chrome Yellows

Invisible Ink

Ink, Invisible

Laundry Marking Ink.

Indelible Laundry Ink

Marking Ink

Marking Ink, Waterproof

Acid Proof Marking For Quartz Thermometers

Marking Ink

Blue Marking Ink

Ink, Meat Branding

Meat Stamping Inks

Inks For Metals

Mimeograph Ink Base

Mimeograph Ink

Ink, Mimeograph

Outdoor Ink

Ink, Recording Instrument

Rubber Stamp Ink

Black Stencil Ink

Ink For Use on Metals

Typewriter Ribbon Ink

Stamp Pad Ink

Ink, Sheep Marking

Sausage Marking Ink

Stamping Ink

Ink, Stencil

Ink, Sympathetic

Ink, Invisible or Sympathetic

Transfer Ink

Waterproof Drawing Inks

Dye Toners For Printing Inks

Ink Eradicator For Tracing Cloth

Ink For Zinc

Blue Copying Pencil 

Anilinle Blue (Water Soluble)

Colored Pencil Leads

Red Indelible Lead

Stencil Sheet

Stencil Sheet Coating

Stencil Paper

Preserving Vegetables And Fish

Preventing Mold On Stored Meats

Inks And Marking Compounds

Ink for Documents

Non-Corrosive Writing Ink

Powdered Writing Inks

Indelible Inks

Ink for Writing on Celluloid

Black India Ink

Non-Coagulating India Ink

Silver Glow Ink

Marking Ink for Chemical Porcelain

Ink Erasing Fluid

Ink for Glass or Polished Metal

Ink for Glass

Stencil and Marking Ink

Ink for Writing on Carbon Paper

Carbon Paper Ink

Transfer Ink

Thermographic Printing Ink

Rotogravure Ink

Offset Printing Ink

Intaglio Printing Ink

Lithographic Bronze Printing Ink Varnish

Printing Lacquer

Solid Color for Rubber Printing Blocks

 Ink for Rotary Press

Typographic Ink for Newspapers

Newspaper Ink

Proxylin Printing Ink

Typographic Ink

Water-Soluble Printing Ink

Lithographic Color Ink

Lithographic Ink for Reproductions

Fusible Lithographic Ink

Fine Lithographic Ink

Typographic Ink for Prints

Lithographic Inks with Oil-Varnishes Thickened by a Resin

Varnish for Lithographic Inks

Varnish for Artistic Prints  Medium Strength

Medium Varnish (for Inks)

Evanescent (Invisible) Inks

Billiard Chalk

Cellulose Transfer Inks.

Emulsifiable Transfer Ink

Ink Remover

Non-inflammable Ink Remover

Printing Form Cleaner

Printing Roller Cleaner

General Printing Cleaner

Intaglio Printing Press Cleaner

Off-Set Printing Cleaner

Ink Remover

Ink Eradicator

Stencil Coating Paste

Calcium Oleate Solution

Ammonium Oleate Solution

While Stencil Paste

Black Stencil Paste

Red Stencil Paste

Resin

2. PAINTS, LACQUERS, VARNISHES ENAMELS

Kalsomine

Sizing Walls for Kalsomine

Lacquers

Instructions For Making Lacquers

Brushing Lacquer Formulas

Clear Lacquer

Yellow Brushing Lacquer

White Lacquer Brushing

Black Brushing Lacquer

Red Brushing Lacquer

Blue Brushing Lacquer

Brown Brushing Lacquer

Green Brushing Lacquer

 

Thinner Formula For Brushing Lacquer

How to Decorate Furniture Novelties

Furniture Lacquer Enamels

White Lacquer Enamel

Egg Shell White Enamel

High Gloss While Enamel

Colors for Furniture Spraying

Furniture Lacquer Formulas.

Universal Thinners.

Cold Paints, Bronzing Liquids.

Lacquer Formulations

Involving the Use of Glyceryl 

Phthalate Synthetic Resin

Chlorinated Diphenyl Lacquer

Phenolic Resin Solution Lacquer

Vinyl Compounds Lacquers

Dibutyl Phthalate (% of resin content)

 Cellulose Acetate Lacquer

Baking Enamels

Polymerized Acrylic Compounds

Benzyl and Ethyl Cellulose

Lacquer Solvents

Lacquer Plasticizers

Ceramic Insulation Binder

Transparent Siliceous Materials

Acid Resisting Frit

Coating Incandescent Globes Green

Glazes Without Lead for Terra Cotta

Glazed Pottery, Tiles, Etc.

Ceramic Glaze Maturing Below ° C.

 Refractory Articles

Refractories

Modeling Clay

Refractory Paint for Firebrick

Dyes for Coloring Clay Slips or Glazes 

Black Paint for Marking Refractories

Enameling Composition

Enameling or Glazing Metals

Production of Enameled Iron 

Articles

Disinfectant “Paint”

Roof Paint

(Black) Roof Coating

“Silver” Roof Paint

Painting Over Dark-Stained Shingles

Painting Stained Shingles

Wood Preservation Paint Primer

Acid and Water Resistant Coating for Table Tops

Refinishing Damaged Table Top

Filler for Fine Cracks Before Painting

Painting Pine Log Cabin

Paints for Cedar, Cypress and Redwood

Barn Paint

Barrel Paints

Orange Vinsol Barrel Paint

Red Vinsol Barrel Paint

Black Vinsol Barrel Paint

Alcohol Resistant Bar Finishing

Coating for Butter Tubs

Glue Paints

Protective Paint for Stone Surfaces

Artificial Wall Stone Coating

Blackboard Slating Paint

Finishes for Slate

Imitation Marble

Aluminum Paint

Aluminum Printing for wood

Steel Paint

Metal Coating for Paper and Fabrics

Auto Top Dressing

Coating Inside of Latex Drums

Ink Resistant Fountain Pen Barrel

Dental Model Coating

Quick Drying Temporary Protective 

Coating

Fireproof Paint

Fireproofing Coating

Non-inflammable Paint

Peelable Adhesive Protective Coating

Filler, Marking and Coating 

Composition

Cellulose Acetate Cloth Coatings

Sound Insulating Coating

Electrical Insulating Tape Coating

Battery Terminal Coating Compound

Corrosion Proof Cable Coating

Ozone Resistant Cable Coating

Protecting Underground Pipes

Graphite Paints

Acid Resisting Paint

Paint for Chemical Laboratories

Matrix Coating Composition

Coating for Candles

Paint Drier

Stabilized Paint Drier

Cobalt Drier

Silk Screen Stencil Filler

Paint Filler

Furniture Filler

Clear Primer for Polished Surfaces

Zinc White-Paste for Paints

Chrome Green Pigment

Lead Chromate Pigment

Dispersible Carbon Black

Barium Carbonate from Heavy Spar

Lake Colors

Luminous Paints, Pigments

Light from an Argon Bulb

Water Varnish

Staining Gut Leaders for Fishing

Varnish for Flies, Etc.

Brick Coating Varnish 

Varnishes For Paper

Poster Varnish

Cellulose Varnish

Transparent Paper Varnish

Paper Varnishes

Varnishing Wall Paper

Wall Primer Varnish

Varnish for Rubber

“Anchoring” Varnish to Rubber

 Tar Oil Varnishes

Soybean Oil Varnishes

Medium Long Oil Varnish Without  

China Wood Oil

Oiticica Stand Oils and Varnishes

Stand Oil

Pure Stand Oil

Stand Oil from Oiticica and Linseed Oils

Enamels and Industrial Varnishes

General Purposes Varnish

Spar and Boat Varnish

Exterior Varnish

Varnish for Outside Work

Spar and Yacht Varnish

Quick-Drying Interior Varnish

Crystal Varnish (Indoor)

Hard Varnish for Floors

Colored Linseed Oil Floor Dressing

Wrinkle Finish Varnish

Brewer’s Pitch and Keg Varnishes

Undercoat Varnish

Quick Drying Varnish

 Mastic Varnish

Spirit Finish

“EL” Varnish

Glossy Machine Paints and Varnishes

Gasoline Pump Enamel Varnish

Vinsol Pump Enamel Varnish

 Stove-Pipe Varnish

Tough Varnish

Furniture Dye (Stain)

Dark Smoky Brown

Shingle Stains

Flat Lacquer

Clear Lacquer

Clear Furniture Lacquer Base

Wood Lacquer

Lacquer for Wooden. Floors

Floor Polish (Lacquer)

Inside Gloss White Lacquer

Typical Cellulose (Nitro.) Lacquer

Oil Resisting Lacquer

Durable Brushing Lacquer

Ski Lacquer (to Use as Base for Waxes)

Ski Lacqeur

Wax “Lacquer”

“Lacquer” for Furniture, Shellac

Gelva Outside Lacquers

Luminous Outdoor Lacquer

Luminous Lacquer Coating

Crystallizing Lacquer

Clear Auto Lacquer Base

Black Automobile Lacquer

Aluminum Lacquer for Automobile Cylinders

Black Lacquer for Steering Wheels

Clear Metal Lacquer Base

Treatment for Adhering Lacquer to   Chromium Plate

Beer Can Lacquer

Stove Lacquer

Asphaltum Lacquer for Iron

Shellac Lacquers for Tin Foils

Metal Foil Lacquer

Insulating Cable Lacquer

Insulating Lacquer

Rubber Lacquer

Rubbing Clear Lacquer

Latex Dope

Rubber Lacquer

Gloss Rubber Coating Lacquer

Electric Cable Lacquer

Lacquer for Shoe Tips

Suede Finish Lacquer

Cloth Coating Lacquer

“Lacquer” for Glassine Paper

Gloss Paper Coating Lacquer

Bottle Lacquer

Lacquer for Putty

Stencil Correcting-Lacquer

Correcting Lacquer for Multigraph Stencil

Black-Board “Lacquer”

Sealing Lacquer

Black Lacquer

Cheap Black Lacquer

Bronze Lacquer

Bronzing Lacquer, Non-Gelling

Marbleizing Lacquer

Dull Finish Lacquer

Colored Master Batch for Lacquers

Colored Lacquer Chips

Lacquer Finish Rejuvenator

Undercoat for Lacquer

Dental Model Lacquer

Confectionery Lacquer (Glaze)

Lacquers for Chocolate (Glazes)

“Lacquer” for Washable Wall Papers

Lacquering Cardboard for Chair and Floor Coverings

Cumarone Base Lacquers

Cumarone Lacquer Base

Cellulose Acetate Coatings

Spraying” and-Dipping Lacquers

Leather Coating

Wire Coating

Cloth Coating

Hercose C Coatings

Clear Metal Lacquers

Clear Lacquer

Lacquers for Special Metals

Cork Tile Lacquers

Low Flammability

Bronzing Liquids

Sealer Between Coats

Textile and Paper Lacquers

Airplane Lacquer (Dope)

Airplane Fabric “Dopes”

Color Coat Lacquer

Lacquer Primer

Nitrocellulose Solvents

Solvent for Vinyl Lacquers

Thinners for Vinyl Acetate 

Resins (Gelva)

For Spraying Lacquers

For Brushing Lacquers

Barrel Sealing Compound

Sealer for Asphalt Emulsion Coated Walls

Seal for Gasoline, Oil and Water Pipes

Quick Seal for Radiators (External)

Sanding Sealer

Hat Stiffeners, Water Soluble

Hat Sizings or Stiffeners

Low Priced Waterproof Hat Stiffener

Cheap Dope Hat Sizings

Hat Finishing 

Wall Glaze

Stone Sizing Material

Size for Lettering on Galvanized Iron

Gold Size

Applying Gold Leaf on Molding

Liquid Varnish Remover

Varnish and Lacquer Remover

Rubber, Oil Paints

Liquids

Pastes

Paint Remover

Paint and Lacquer Removers Non-inflammable

Removers for Cellulose and “Spirit” Lacquers

Removers for Chlorinated Rubber

Oil Cellulose and  “Spirit” 

Lacquers and Paints

Removers for Lacquers and Paints

Paint Removers (for Oil Paints)

Removers for Oil, Rubber, Cellulose Lacquers or Paints 

Miscellaneous Paint Removers

Paint and Varnish Remover

Care of Brushes

Cleaning Paint Brushes

Paint Brush Cleaner

Paint Deodorizer

Rust Preventing Mixture

Waterproofing Composition

Waterproofing Compound

Waterproofing Adhesive Composition

Transparent, Flexible, Moisture-Proofing

Waterproofing for Casein Finish

Fireproof and Waterproof Coating Composition

Insoluble Albumen Coatings

Moisture Proof Coating for “Cellophane”

Moisture Proofing for “Cellophane”

Waterproof Casein Coating

Waterproof Gelatin Coating

Making a Surface Non-Wettable by Mineral Oil

Waterproof Insulation for Textiles, Paper, Etc.

Translucent Waterproofing for Paper and Leather

Resurfacing and Waterproofing for Roofs

Moisture Proof Coating for Wood

Waterproofing Brick Walls with Paint

Paints, Enamels, Varnishes Lacquers

White Traffic Paint

Yellow Traffic Paint

Light Yellow Traffic Paint

Medium Yellow Traffic Paint

Orange Traffic Paint

Asbestos Shingle Paint 

Priming Coat

Second Coat

Third Coat—Flat Finish

Third Coat—Gloss Finish

How to Paint Asbestos Shingle

Water-Paint Binder

Distemper Paint From Oil Seed Waste

Waterproof Floor Coating

Water Resistant Zein Composition

Bituminous Coating for Road Rock

Black Tire Finish

Finish for Synthetic Rubber

Water Shellac, Concentrated Fluid

Shellac, Water Soluble

Improving Gloss of Shellac Films

Soluble Rosin

Fire Retardant Paint

Heat Resistant Metallic Paint

Non-Inflammable Airplane Paint

Waterproof Paint

Wash Proof Paint

Washable Wall Coating

Sound Insulating Paint

Paint for Bituminous Articles

Anti-Corrosive Ship Bottom Paint

Stove Paint

Dulling Gloss of Painted Walls

Re-Polishing Gloss Paint

Gasoline Storage Tank Paints Primers

Oil Paints

Two-Coat Exterior Paint System

Waterproof Window Lettering Paint

Weather Resisting Paint

Window Glass Paint

Air-Raid Black Out

Aluminum Paint

Non-Gelling Aluminum Paint

Chlorinated Rubber Paint

Superior Acid and Alkali Resisting Paint (N.B.)

Starch Wall Paint (Protective)

Fluorescent Paints

Tungstate Fluorescent Salts

Phosphorescent Zinc Sulphide

Luminous Paints

Luminous Pigment Paints

Luminous Moldings

Luminous Stones

Luminous Pigment Paints

Plasticizers for Luminous Paints

Vehicles for Luminous Paints

Luminescent Coating for Mercury Vapor Lamps

Conductive Coating for Electron Discharge Devices

Fluorescent Liquids

Phosphorescent Material

Fluorescent Material

Fluorescent Screen

X-Ray Shielding Compound

High Gloss Dammar-Alkyd Architectural White Enamels

Low-Cost White Enamels

Bobbin Enamel

Quick Drying Red Oxide Enamel   Chlorinated Rubber

Alkali Resisting Black Enamel

Enamelling of Iron

Porcelain Enamel Patching

Use and Care of Paint Brushes

Varnishes

Bakelite-Linseed Oil

Bakelite-Soybean Oil

Ester Gum-Linseed Oil

Ester Gum-Soybean Oil

Bakelite-Soybean Oil

Bakelite-Tung-Oil

Bakelite-Linseed Oil

Ester Gum-Tung Oil

Ester Gum-Soybean Oil

Staining Wood for Piano Keys

Fumed Wood Finish

Marbelizing Wood

Wood Primer

Non-Grain Raising Wood Stain

Wood Preservative & Stain

Light Fast Pigment Stain

White Pickled Finish on Birch Wood

Black Stain for Wood Laboratory Desk Tops

Fluorescent Lamp Coating

Fluorescent X-Ray Screen

Ethyl Cellulose Lacquer

Ethyl Cellulose Solvent

Jet Block Lacquer

Medium Jet Black Lacquer

Second Black Lacquer

Lacquer for Sheet Metal Objects

Wood Lacquer Easy Rubbing

Lacquer for Zinc

Wood Lacquer-Check Resisting

Durable, Polished Metal Lacquer

Coating Lacquer-Slow Burning

Hot Melt Paper Lacquer

Lacquer, Esterified Copal

Sanding Sealer Lacquer

Nitrocellulose Lacquer Emulsion

Lacquers for Hot Application

Hot Lacquer Formula Base

Hot Lacquer Thinners

Clear Lacquer, Outside

Automobile Enamel Lacquer

Perspiration Resistant Lacquer

Transparent Waterproof Coating

Lacquer for Glass Fabric

Anti-Shattering Lacquer for Glass Windows

Moisture-Vapor-Proof Lacquers for Paper

Book cover Coating

Straw Hat Coating

Ski Coating

Flexible, Flame-Proof Electrical Insulation

Oilproof Material

Window Shade Filling

Non-Offset Printing Spray

Lacquer Thinner Blends

Non-Chalking Pigments

Mineral Violet Pigment

Molybdenum Orange Pigment

Luminous Pigments

Alkaline Earth Sulphide Type

Luminous Pigments

Technical Batches

Luminous Pigments From Zinc Sulphide

Precipitation of Zinc Sulphide

Zinc Sulphide Pigment

Technical Procedure for Zinc Sulphide

Mixture of Flux and Activating Metal Salt

Lacquers, Paints, Varnishes, Stains

Cotton Solution

Clear Lacquers

Wood Lacquers

Flat Lacquer

Rubbing or Polishing Lacquer

Alcohol Proof Lacquers

Wood Enamels (Pyroxylin)

Metal Lacquers

Automobile Lacquers

Leather Lacquers

Bronzing Lacquer

Specialty Lacquers

Nail Polish Lacquer (Clear)

Olive Green Dipping Enamel

Anti-fouling Lacquer

Lacquer Black Coating

Lacquer Coating, Non-inflammable

Non-Blushing Lacquers

Pearl Wood Lacquer

White Lacquer Enamels

Nitrocellulose Lacquers

Lacquer, Shellac Ester

Lacquer Thinners

Undercoat, Lacquer

Imitation Chinese Lacquer

Non-Gelling Lacquers

Non-Gelling Metallic Lacquers

Artificial Flower Pearl Lacquer

Pearl Dipping Solution

Pearl Enamels

Non-Chalking Lacquer Coating

Lacquer Pigment Base

Pyroxylin and Rubber Lacquer

Lacquer, Quick Drying

Paper Lacquer

“Pearl” Lacquer

Bronze Lacquer, Non-Thickening

Crackle Lacquer Base

Crystallizing Lacquer

Tinting Lacquers, Shellacs, Etc.

Air-Plane Wing Dope

Addition of Pigments

Airship Fabric Dope

Air Plane Dope

Anti-fouling Composition

Paints

Paste Paints

Zinc Oxide

Red Lead

White Lead

Interior Paints

Wall Wash for Neutralizing Free Lime on Fresh Walls

Quick Drying Enamels

Varnishes

Gloss Oil

50 gal. Rosin Varnish

25 gal. Rosin. Varnish

50 Gal. ester Varnish

Ester Cut

4 Hour Varnish (Partial Phenol-formaldehyde) 

Type of Resin

40 gal. Phenol-formaldehyde Type of Gum

25 Gal Ester Varnish

Dammar Cut

Interior Enamel

Interior Flat Paint

Interior Gloss Paint

Exterior House Paint

Black Stoving Enamels or Baking Japans

Air Drying Black Enamels and Varnishes

Wood Paints

Flat Lacquer Paste

Clear Gloss Lacquer

Priming Coat

Second Coat (New Outside Wood)

Third Coat (New Outside Wood)

First Coat (Repainting Outside Wood)

Second Coat (Repainting Outside Wood)

Priming Coat (Soft Wood Floors)

Priming Coat (Hard Wood Floors)

Second Coat (Wood Floors)

Third Coat (Wood Floors)

Underside Porch Floors

Fairly Permanent

Interior Wall Paints

Interior Wood Painting

Priming Coat (Interior Plaster)

Second Coat (Interior Plaster)

Third Coat, Flat, Finish (Interior Plaster

Third Coat, Eggshell Finish (Interior Plaster)

Third Coat, Oil Gloss Finish (Interior Plaster)

Plastic Paint

Priming Coat (New Inside Wood)

Second Coat (New Inside Wood)

Third Coat, Flat Finish (New Inside Wood)

Third Coat, Eggshell Finish

Third Coat, Oil Gloss Finish

First Coat Over Shellac

Interior Wood Stains

Stain Formulas

Painting Stucco, Concrete, Brick Etc.

Priming Coat (Stucco, Concrete, Brick, Stone)

Second Coat (Stucco, Concrete, Brick, Stone)

Third Coat, Gloss Finish (Stucco, Concrete, Brick, Stone)

Third Coat, Flat Finish (Stucco, Concrete, Brick, Stone)

Second Coat (Concrete Floors)

Third Coat (Concrete Floors)

Metal Painting

Priming Coat (Exterior and Interior Metal)

Second Coat (Light Brown) (Exterior and  Interior Metal)

Third Coat (Dark Brown) (Exterior and  Interior Metal)

Third Coat (Light Green)  (Exterior and  Interior Metal)

Third Coat (Dark Green) (Exterior and Interior Metal)

Third Coat (Black) (Exterior and Interior Metal)

Second Coat (Exterior Metal)

Third Coat (Exterior Metal)

Third Coat (Light Gray) (Exterior Metal)

Priming Coat (Interior Metal)

Second Coat (Interior Metal)

Third Coat, Flat Finish (Interior Metal)

Third, Eggshell Gloss. Finish (Interior Metal)

Priming Coat (Galvanized Iron)

Second Coat (Galvanized Iron)

Third Coat (Galvanized Iron)

Boat Painting

Priming Coat (Boat Exterior)

Second Coat (Boat Exterior)

Finishing Coat (Boat Exterior)

Gloss Finishing Coat  (Boat Exterior)

Priming Coat (Boat Interior)

Second Coat (Boat Interior)

Finishing Coat, Eggshell Gloss (Boat Interior)

Metal Work on Boats

Row Boats—Exterior and Interior

Canoes

White Enamel Paint, Outdoor

Decorators' Varnish 

Long Oil Outdoor Varnish

Flatting Varnish

White Tin-printing Enamel

White Enamel Paint Indoor

White Enamel Paint, Tin Printing

Decorator’s Varnish

Quick-drying Outdoor Varnish by the American Method

Water Paints

Silicate Water Paint

Fireproof Paint

Water Paint

Water Soluble Shellac Solution

Matt Finish Distemper

Oil-bound Distemper

Water Paint

Paint, Oil Emulsion

Railroad Water Tank Paint

Paint for Interior Plaster

Black Walnut Stain

Ebony Stain

Clear Shingle Stain

Colored Shingle Stain (Red)

Grind and add

Mahogany Stain

Traffic or Road Marking Paint

Vehicle for Ready Mixed Aluminum Paint

Vehicles for Aluminum and Bronzing Liquids

Vehicle for Outside Aluminum Paints

Vehicle for Interio-Aluminum Paints

Wall Sealers

Glazing Composition

Candy Glaze

Acid Resistant Paint

Antifouling Paint

Paint, Automobile Top

Auto Top Dressing

Blackboard Paint

Bridge Paint

Paint, Cement

Cement  Water Paint 

Cold  Water Paint, Outside

Enamel Paint Remover

Enamel Paint (Outdoor)

Flexible Paint for Marking or Stencil Work

Freight Car Paint

Galvanized Iron, Treatment before Painting

Paint Grinding

Heat Resisting Paint

High Light Reflecting Paint

Priming Coat

Second Coat

Third Coat

Paint, Hydrocarbon Resistant

Paint, Iron Protective

Latex Paints

Heat Sensitive Paints

Luminous Paints

Marine Paint

Marine Paint

Paint, Oil Emulsion

Olive Drab Paint

Outside White Paint Base

Paint, Outside

Outside White Paint

Cheap Outside White Paint

Fresh Plaster, Painting On

Paint, Cold Water

New Plaster Wall Size

Varnish Formula No. LV-112

Rubbing Varnish

Varnish

Varnish Formula No. LV-89

Varnish Formula No. LV-93

Varnish Formula No. LV-107 

Varnish Formula No. LV-111 

Ester Gum Mixing Varnish (L.V.-151)

LV-150 Oil

White Enamel

Drier

White  Enamel

Varnish

White Enamel

Varnish Formula No. LV-66

Four Hour Varnish

Medium Oil Varnish

Procedure

Remarks

Cobalt Drier

Manganese Drier

Short Oil Varnish

Procedure

Remarks

Medium Oil Varnish

Procedure

Remarks

Four Hour Varnish

Procedure

Remarks

Concrete Silos, Varnish for Interior of

Alkali Resisting Varnish

Varnish, Medium Oil-China Wood Oil

Long Oil—China Wood—Linseed—Rosin Type

Long Oil—China Wood Oil—Cumar Spar Type with Litharge

Long Oil—China Wood—Spar with Rosin and Litharge (Regular 34 gallon type)

Long Oil—China Wood Oil—Spar with a Resinate (25 gallon Quick Drying)

Short Oil—China Wood Oil Alone

Short Oil—China Wood Oil with a Holding Agent

Medium Oil—China Wood—Linseed Oil (Low Cooking Temperature)

75-Gallon Rosin Varnish Formula

25-Gallon Ester Gum Varnish Formula

50-Gallon Ester Gum Varnish Formula

75-Gallon Ester Gum Varnish Formula

25-Gallon Amberol F-7 Varnish Formula

50-Gallon Amberol F-7 Varnish Formula

75-Gallon Amberol F-7 Varnish Formula

25-Gallon Amberol 226 Varnish Formula

50-Gallon Amberol 226 Varnish Formula

75-Gallon Amberol 226 Varnish Formula

25-Gallon XR-254 Bakelite Varnish Formula

50-Gallon XR-254 Bakelite Varnish Formula

75-Gallon XR-224 Bakelite Varnish Formula

XK-944 Lead Manganese Drier

Varnish Formula

Baking Varnish for Wrinkle-Finish on Metal

Light Fast Colored Varnish

Bookbinder’s Varnish

Anti-Rust Varnish

Varnish, Anti-Skinning Agent for

Amberol Varnish

Bakelite Varnish

Bottle Varnish

Bakelite Type Varnish

Bakelite-Nevindene-Ester Gum

Bakelite-Nevindene Varnish for Maximum Adhesion

Bakelite-Nevindene Floor Varnish

Typical Blended Oil Esterified Rosin Mixing Varnish

Typical Example of an Enamel Varnish, Using Modified Phenol   Formaldehyde Resin

Crystallizing Varnish

Varnish, Electrical Conducting

Varnish Emulsion

Varnish, Flat

Hard Cold Made Varnish

Varnish, Insulating

Insulating Varnish

Orange Shellac Varnish

Quick Drying Rubbing Varnish

Liquid Drier

Quick Drying Floor or Interior Varnish

Quick Drying Spar Varnish

Heavy-Bodied Oil

Typical Resinate Varnish

Rubber Shoe Varnish

Short Oil Varnish (Wood Oil)

Short Oil Varnish (Linseed Oil)

Medium Oil Varnish

Long Oil Varnish (Linseed)

Spar Varnish

Straw Hat Varnish

Transfer Varnish

Violin Varnish

Water Shellac Varnish

Varnish, Water Resistant

Whitewash

Whitewash (Without Glue)

Plastic Paint

Paint, “Raised Surface”

Caking of Crystals, Prevention of

Roof Paint

Paint, Rust Proofing

Structural Steel Paint

Shellac Paint, Metallic

Ship Paint

Paints, Phosphorescent

Paint, Plastic

Paint Base for Textiles

Water Paint

Water Paint for Stucco

Cheap White Paint

Liquid Paint Drier

Wood Paint Primer

25-Gallon Rosin Varnish Formula

50-Gallon Rosin Varnish Formula

Paint and Varnish Remover

Wood Bleaches

Wood, Plastic

Wood Filler Powder

Acid Proof Wood Stain

Wood Stains, Non-Grain Raising

Putty

Preparing Zinc for Painting

Oil Soluble Stain

Synthetic Resin Finishes

Fused Manganese Resinate

Limed Rosin

Phthalic Anhydride Varnish Resin

Waterproof Shellac

Water Solution of Shellac

Laboratory Table Finish

Acid Proof Coating

Bituminous Coating

Butter Tubs, Coating for

Cellulose Coatings

Concrete Coating

Corrosion Resistant Coating

Pipe Coating

Pipe Line, Coating for Petroleum

Protecting Coating for Wax Finishes

Rubber Pyroxylin Coatings

Wall Coating

Wrinkled Finish Coating

Filler for Cast Iron

Filler for Automobile-Body Work

Crack Filler

Milk Bottle Caps

Dispersions of Casein and Shellac

Treating Concrete Oil Tanks

Precipitated Cobalt Linoleate (Drier)

Lead Drier

Nitrocellulose Emulsion

Urea Resin Stoving Finishes

Paint Remover

Varnish for Wax Coated Surface

Wood-Oil Stand-Oil (Thickened Wood-Oil)

Medium Long-Oil Varnish for Inside and Outside Use

Enamel Varnish

Long-Oil Boat Varnish (Yacht Varnish, Marine  or Submersible Varnish, Non-Spotting Outside 

Varnish)

Sample Chapters

 INKS AND MARKING INKS

INKS

BLUEPRINT INKS.

1.—For red-writing fluids for blueprints, take a piece of

common washing soda the size of an ordinary bean, and dissolve

it in 4 tablespoonfuls of ordinary red-writing ink, to make a red

fluid. To keep it from spreading too much, use a fine pen to

apply it with, and write fast so as not to allow too much

of the fluid to get on the paper, for it will continue eating until it

is dry.

2.—For red and white solutions for writing on blueprints,

dissolve a crystal of oxalate of potash about the size of a pea in an

ink-bottle full of water. This will give white lines on blueprints;

other potash solutions are yellowish. If this shows a tendency to

run, owing to too great strength, add more water and thicken

slightly with mucilage. Mix this with red or any other colored ink

about half and half, and writing may be done on the blueprints

in colors corresponding to the inks used.

3.—Add to a small bottle of water enough washing soda to

make a clear white line, then add enough gum arabic to it to

prevent spreading and making ragged lines. To make red lines dip

the pen in red ink and then add a little of the solution by means of

the quill.

4.— For white ink, grind zinc oxide fine on marble and

incorporate with it a mucilage made with gum tragacanth. Thin a

little for use. Add a little oil of cloves to prevent mold, and shake

from time to time.

5.—A fluid which is as good as any for writing while on

blueprints is made of equal parts of sal soda and water.

6.—Mix equal parts of borax and water.

Both these liquids, 5 and 6 must be used with a size-pointed

peat a pen with a blunt point will not work well.

DRAWING INKS:

Blue Ruling Ink.—Good vitriol, 4 ounces; indigo, 1 ounce.

Pulverize the indigo, add it to the vitriol, and let it stand exposed

to the air for 6 days, or until dissolved; then fill the pots with

chalk, add fresh gall, ½ gill, boiling it before use.

Black Ruling Ink.—Take good black ink, and add gall as

for blue. Do not cork it, as this prevents it from turning

black.

Carbon Ink.—Dissolve real India ink in common black

ink, or add a small quantity of lampblack previously heated

to redness, and ground perfectly smooth, with a small portion

of the ink.

Carmine.—The ordinary solution of carmine in ammonia

water, after a short time in contact with steel, becomes blackish red,

but an ink may be made that will retain its brilliant carmine color

to the last by the following process, given by Dingler: Triturate 1

part of pure carmine with 15 parts of acetate of ammonia solution,

with an equal quantity of distilled water in a porcelain mortar,

and allow the whole to stand for some time. In this way, a portion

of the alumina, w hich is combined with the carmine dye, is taken

up by the acetic acid of the ammonia salt, and separates as a

precipitate, while the pure pigment of the cochineal remains

dissolved in the half-saturated ammonia. It is now filtered and a

few drops of pure white sugar syrup added to thicken it. A solution

of gum arabic cannot be used to thicken it, since the ink still

contains some acetic acid, which would coagulate the bassorine,

one of the constituents of the gum.

Liquid Indelible Drawing Ink.—Dissolve, by boiling, 2 parts

of blond (golden yellow) shellac in l.6 parts, by weight, of sal

ammoniac, 16°, with 10 parts, by weight, of distilled water, and

filter the solution through a woolen cloth. Now dissolve or grind

0.5 parts, by weight, of shellac solution with 0.01 part, by weight, of

carbon black. Also dissolve .03 parts of nigrosin in 0.4 parts of

distilled water and pour both solutions together. The mixture is

allowed to settle for 2 days and the ready ink is drawn off from the

sediment.

GLASS, CELLULOID AND METAL INKS:

Most inks for glass will also write on celluloid and the metals.

The following 1 and 2 are the most widely known recipes:

1.— In 500 parts of water dissolve 36 parts of sodium fluoride

and 7 parts of sodium sulphate. In another vessel dissolve in the

same amount of water 14 parts of zinc chloride and to the solution

add 56 parts of concentrated hydrochloric acid. To use, mix equal

volumes of the two solutions and add a little India ink; or, in the

absence of this, rub up a little lampblack with it. It is scarcely

necessary to say that the mixture should not be put in glass

containers, unless they are well coated internally with paraffine,

wax, gutta-percha, or some similar material. To avoid the

inconvenience of keeping the solutions in separate bottles, mix

them and preserve in a rubber bottle. A quill pen is best to use in

writing with this preparation, but metallic pens may be used, if

quite clean and new.

2. — In 150 parts of alcohol dissolve 20 parts of rosin, and

add to this, drop by drop, stirring continuously, a solution of 35

parts of borax in 250 parts of water. This being accomplished,

dissolve in the solution sufficient methylene blue to give it the

desired tint.

Ink for Writing on Glazed Cardboard.—The following are

especially recommended for use on celluloid:

1. — Dissolve 4 drachms of brown shellac in 4 ounces of

alcohol. Dissolve 7 drachms of borax in 6 ounces of distilled

water. Pour the first solution slowly into the second and carefully

mix them, after which add 12 grains of aniline dye of the desired

color. Violet, blue, green, red, yellow, orange, or black aniline dyes

can be used.

Such inks may be used for writing on bottles, and the glass

may be cleaned with water without the inscription being impaired.

2.— Ferric chloride ............................................... 10 parts

Tannin ........................................................... 15 parts

Acetone ........................................................ 100 parts

Dissolve the ferric chloride in a portion of the acetone and the

tannin in the residue, and mix the solutions.

3.—Dissolve a tar dyestuff of the desired color in anhydrous

acetic acid.

GOLD INK.

1.—The best gold ink is made by rubbing up gold leaf as

thoroughly as possible with a little honey. The honey is then

washed away with water, and the finely powdered gold leaf left is

mixed to the consistency of a writing ink with weak gum water.

Everything depends upon the fineness of the gold powder, i.e.,

upon the diligence with which it has been worked with the honey.

Precipitated gold is finer than can be got by any rubbing, but its

color is wrong, being dark brown. The above gold ink should be

used with a quill pen.

2.—An imitation gold or bronze ink is composed by grinding

1,000 parts of powdered bronze of handsome color with a varnish

prepared by boiling together 500 parts of nut oil, 200 parts of

garlic, 500 parts of coconut oil, 100 parts of Naples yellow, and as

much of sienna.

HORTICULTURAL INK.

1.—Chlorate of platinum. 1/4 ounce; soft water, 1 pint.

Dissolve and preserve it in glass. Used with a clean, quill to write

on zinc labels. It almost immediately turns black, and cannot be

removed by washing. The addition of gum and lampblack, as

recommended in certain books, is unnecessary, and even prejudicial

to the quality of the ink.

2.—Verdigris and sal ammoniac, of each ½ ounce; levigated

lampblack, ½ ounce; common vinegar, ¼ pint; mix thoroughly.

Used as the last, for either zinc, iron, or steel.

3—Blue vitriol, 1 ounce; sal ammoniac, ½ ounce (both in

powder); vinegar, ¼ pint; dissolve. A little lamp-black or vermilion

may be added, but it is not necessary. Use No. 1, for iron, tin, or

steel plate.

INDELIBLE INKS.

These are also frequently called water proof, incorrodible, or

indestructible inks. They are employed for writing labels on bottles

containing strong acids and alkaline solutions. They may be

employed with stamps, types or stencil plates, by which greater

neatness will be secured than can be obtained with either a brush

or pen.

The following is a superior preparation for laundry use:

Aniline oil ............................................................. 85 parts

Potassium chlorate................................................. 5 parts

Distilled water ...................................................... 44 parts

Hydrochloric acid, pure

(specific gravity, 1.124) ............................... 68 parts

Copper chloride, pure 6 parts

Mix the aniline oil, potassium chlorate, and 20 parts of the

water and heat in a capacious vessel, on the water bath, at a

temperature of from 175° to 195º F., until the chlorate is entirely

dissolved, then add one-half of the hydrochloric and continue

the heat until the mixture begins to take on a darker color. Dissolve

the copper chloride in the residue of the water, add the remaining

hydrochloric acid to the solution, and add the whole to the liquid

on the water bath, and heat the mixture until it acquires a fine redviolet

color. Pour into a flask with a well-fitting ground-glass stopper,

close tightly and set aside for several days, or until it ceases to

throw down a precipitate. When this is the case, pour off the clear

liquid into smaller (one drachm or a drachm and a half) containers.

This ink must be used with a quill pen, and is especially good

for linen or cotton fabrics, but does not answer so well for silk or

woolen goods. When first used, it appears as a pale red, but on

washing with soap or alkalies, or on exposure to the air, becomes

a deep, dead black. The following is a modification of the foregoing:

Blue Indelible Ink.—This ink has the reputation of resisting

not only water and oil, but alcohol, oxalic acid, alkalies, the

chlorides, etc. It is prepared as follows: Dissolve 4 parts of gum lac

in 36 parts of boiling water carrying 2 parts of borax. Filter and set

aside. Now dissolve 2 parts of gum arabic in 4 parts of water and

add the solution to the filtrate. Finally, after the solution is quite

cold, add 2 parts of powdered indigo and dissolve by agitation. Let

stand for several hours, then decant, and put in small bottles.

PRINTING INKS.

Black printing inks owe their color to finely divided carbon

made from lamp-black, pine-wood, rosin oil, etc., according to the

quality of the ink desired. The finest inks are made from flamelampblack.

There are however, certain requirements made of all

printing inks alike, and these are as follows: The ink must be a

thick and homogeneous liquid, it must contain no solid matter

but finely divided carbon, and every drop when examined

microscopically must appear as a clear liquid containing black

grains uniformly distributed.

The consistency of a printing ink must be such that it

passes on to the printing rollers at the proper rate. It will be

obvious that various consistencies are demanded according to

the nature of the machine used by the printer. For a rotary machine

which prints many thousands of copies an hour a much thinner

ink will be necessary than that required for art printing or for slow

presses. As regards color, ordinary printing ink should be a pure

black. For economy’s sake, however, newspaper printers often use

an ink so diluted that it dors not look deep black, but a grayish

black, especially in large type.

The question of the time that the ink takes to dry on the

paper is a very important one, especially with ink used for printing

newspapers which are folded and piled at one operation. If then

the ink does not dry very quickly, the whole impression smudges

and “sets off” so much that it becomes illegible in places. Although

it is essential to have a quick drying ink for this purpose, it is

dangerous to go too far, for a too quickly drying ink would make

the paper stick to the forms and tear it. A last condition which

must be fulfilled by a good printing ink is that it must be easy of

removal from the type, which has to be used again.

No one composition will answer every purpose and a number

of different inks are required. Makers of printing inks are obliged,

therefore, to work from definite recipes so as to be able to turn out

exactly the same ink again and again. They make newspaper ink

for rotary presses, book-printing inks, halftone inks, art inks, etc.

As the recipes have been attained only by long, laborious, and

costly experiments, it is obvious that the makers are not disposed

to communicate them, and the recipes that are offered and

published must be looked upon with caution, as many of them

are of little or no value. In the recipes given below for printing

inks, the only intention is to give hints of the general

composition, and the practical man will easily discover what, if

any, alterations have to be made in the recipe for his special purpose.

Many different materials for this manufacture are given in

recipes, so many, in fact, that it is impossible to discover what use

they are in the ink. The following is a list of the articles commonly

in use for the manufacture of printing ink:

Boiled linseed oil, boiled without driers.

Rosin oil from the dry distillation of rosin.

Rosin itself, especially American pine rosin.

Soap, usually rosin-soap, but occasionally ordinary soap.

Lampblack and various other pigments.

STENCIL INKS

1.—Dissolve 1 ounce of gum arabic in 6 ounces water, and

strain. This is the mucilage. For Black Color use drop black,

powdered, and ground with the mucilage to extreme fineness; for

Blue, ultramarine is used in the same manner; for Green, emerald

green; for White, flake white; for Red, vermilion, lake, or carmine; for

Yellow, chrome yellow. When ground too thick they are thinned

with a little water. Apply with a small brush.

2. Triturate together 1 pint pine soot and 2 pints Prussian

blue with a little glycerine, then add 3 pints gum arabic and

sufficient glycerine to form a thin paste.

Blue Stencil Inks.—The basis of the stencil inks commonly

used varies to some extent, some preferring a mixture of pigments

with oils, and others a watery shellac basis. The basis:

1.— Shellac ............................................................. 2 ounces

Borax ............................................................ 1 ½ ounces

Water.............................................................. 10 ounces

Boil together until 10 ounces of solution is obtained. The coloring:

Prussian blue ........................................................... 1 ounce

China clay .............................................................. ½ ounce

Powdered acacia ................................................... ½ ounce

Mix thoroughly and gradually incorporate the shellac

solution.

2.— Prussian blue .................................................. 2 ounces

Lampblack ...................................................... 1 ounce

Gum arabic ..................................................... 3 ounces

Glycerine, sufficient.

Triturate together the dry powders and then make into a

suitable paste with glycerine.

Indelible Stencil Inks.—1.—Varnish such as is used for

ordinary printing ink 1 pound; black sulphuret of mercury,

1 pound; nitrate of silver, 1 ounce; sulphate of iron, 1 ounce;

lampblack, 2 tablespoonfuls. Grind all well together; thin with

spirits turpentine as desired.

2.—Sulphate of manganese, 2 parts; lampblack, 1 part; sugar,

4 parts; all in fine powder and triturated to a paste in a little

water.

3.—Nitrate of silver, ¼ ounce; water, ¾ ounce. Dissolve, add as

much of the strongest liquor of ammonia as will dissolve the

precipitate formed on its first addition. Then add of mucilage, 1½

drachms, and a little sap green, syrup of buckthorn, or finely

powdered indigo, to color. This turns black on being held near the

fire, or touched with a hot iron.

TYPEWRITER RIBBON INKS.

1.—Take vaseline (petrolatum) of high boiling point, melt it

on a water bath or slow fire, and incorporate by constant stirring

as much lamp or powdered drop black as it will take up without

becoming granular. If the vaseline remains in excess, the print is

liable to have a greasy outline; if the color is in excess, the print

will not be clear. Remove the mixture from the fire, and while it is

cooling mix equal parts of petroleum, benzine, and rectified oil of

turpentine, in which dissolve the fatty ink, introduced in small

portions, by constant agitation. The volatile solvents should be in

such quantity that the fluid ink is of the consistence of fresh oil

paint. One secret of success lies in the proper application of the ink

to the ribbon. Wind the ribbon on a piece of cardboard, spread on

a table several layers of newspaper, then unwind the ribbon in

such lengths as may be most convenient; and lay it flat on the

paper. Apply the ink, after agitation, by means of a soft brush, and

rub it well into the interstices of the ribbon with a toothbrush.

Hardly any ink should remain visible on the surface. For colored

inks use Prussian blue, red lead, etc., and especially the aniline

colors.

2.— Aniline black .................................................. ½ ounce

Pure alcohol .................................................. 15 ounces

Concentrated glycerine ................................ 15 ounces

Dissolve the aniline black in the alcohol, and add the

glycerine. Ink as before. The aniline inks containing glycerine are

copying inks.

3.— Alcohol............................................................. 2 ounces

Aniline color ................................................... ¼ ounce

Water................................................................ 2 ounces

Glycerine ......................................................... 4 ounces

Dissolve the aniline in the alcohol and add the water and

glycerine.

4.— Castor oil .......................................................... 2 ounces

Cassia oil ....................................................... ½ ounce

Carbolic acid ................................................. ½ ounce

Warm them together and add 1 ounce of aniline color.

Indelible typewriter inks may be made by using lampblack in

place of the aniline, mixing it with soft petrolatum and dissolving

the cooled mass in a mixture of equal parts of benzine and turpentine.

Watermark Mixture

Formula No. 1

A mixture of castor oil and wood alcohol used in place of ink

will make a perfect watermark in any kind of hard finish sulphite

or rag bond when applied to a perfectly clean press with good

rollers. Any form or cut will appear as an ordinary watermark

when allowed to dry thoroughly.

No. 2

An emulsion of a suitable printing ink consistency comprises

Canadian balsam 8-20, turpentine 5-17, finely divided substantially

colorless mineral matter such as diatomaceous silica 8-25 and

castor oil 12-30%, emulsified with a slightly alkaline solution

of borax and contains a substantially colorless indicator such as

phenolphthalein reactive to both acids and alkalies, so that it is

suitable for “safety paper” for checks, etc.

Carbon Duplicating Papers (Black)

Formula No. 1

Petroleum Jolly ..................................................... 21 lb.

Japan Wax .............................................................. 6 lb.

Drop Black (Ground in Turpentine) .................. 4 lb.

Ceylon Graphite ..................................................... 4 lb.

Soft Soap .................................................................. 1 lb.

Oil Black Dye ......................................................... 2 oz.

Melt petroleum jelly, wax and soap together, remove from

the fire and stir in oil black when cooler, then grind to a fine

paste with the others. The composition may be applied to the

paper either hot or cold with a fairly stiff brush, then

wipe off the superfluous paste and hang up papers with clips

to dry.

No. 2

Lard Oil .................................................................... 1 gal.

Blacklead ............................................................... 3½ lb.

Lampblack............................................................. 2½ lb.

Oil Black Dye ........................................................... 1 oz.

Dissolve oil black in the warmed lard oil, then mix with

others to a non-lumpy state.

No. 3

Raw Linseed Oil ...................................................... 2 gal.

Tallow ...................................................................... 8 lb.

Lampblack................................................................ 4 lb.

Ceylon Graphite ................................................... 2½ lb.

Oil’ Black Dye ...................................................... 2½ oz.

Warm the oil sufficiently to dissolve the tallow, stir in oil

black and well mix with the others.

No. 4

Methylated Spirit .................................................... 1 gal.

Castor Oil ................................................................. 1 gal.

Lampblack............................................................. 2½ Ib.

Frankfort Black ..................................................... 2½ lb.

Prussian Blue ....................................................... 1½ oz.

Mix as before, previously thoroughly working Prussian blue

into the blacks.

No. 5

Carbon Black ......................................................... 20 g.

Milori Blue ............................................................... 6 g.

Violet Blue ................................................................ 5 g.

Paraffin Oil ............................................................ 32 g.

Montan Wax, Crude ............................................. 15 g.

Montan Wax, Double Bleached ............................. 3 g.

Paraffin Wax (50/52° C.) ...................................... 3 g.

No. 6

Violet

Methyl Violet-Base .................................................. 5 g.

Oleic Acid ............................................................. 10 g.

Montan Wax, Crude ............................................. 60 g.

Petrolatum ............................................................. 90 g.

Copying Paper

Formula No. 1 No. 2

Carnauba Wax 9 g. 31 g.

Montan Wax 6 g. 24 g.

Violet Dye 7 g. 7 g.

Mineral Oil 63 g. 23 g.

Lampblack 15 g. 15 g.

Impregnation or Coatings for Carbon Papers,

Typewriter Ribbons, Etc

Cellulose Nitrate ..................................................... 5 oz.

Acetone ................................................................... 20 oz.

Methanol ................................................................ 20 oz.

Amyl Acetate ......................................................... 40 oz.

Amyl Alcohol ........................................................ 15 oz.

Oleyl Alcohol ........................................................ 25 oz.

Fatty Oil ................................................................... 3 oz.

Stencil Sheets

Formula No. 1

45 g. of gelatin are soaked and dissolved in 200 g. of water.

150 g. of Turkey red oil are well mixed with 80 g. of oleic alcohol,

and 30 g. of chlorinated naphthalene. The mixture is heated to

about 60º C. and is added while being constantly stirred to the

solution containing the gelatin.

To this mixture of gelatin and softening agents 400 g. of

alcohol, in. which 1 g. of dye stuff is dissolved and which are

heated to about 30-40° C., are added and thoroughly mixed

therewith. The composition thus obtained, the solid ingredients of

which are in extremely fine dispersion, is spread out upon the

tissue paper sheets in the usual manner, and is then left to dry

and solidify.

No. 2

45 g. of gelatin are dissolved in 200 g. of water and while the

solution is heated to about 50-60° C., there is added first a

dispersion containing 150 g. of Turkey red oil, 50 g. of oleic

alcohol, 25 g. of chlorinated naphthalene and 50 g. of glycerolmono-

oleate; thereafter there is added 1 g. of dissolved dye stuff

under constant agitation.

No. 3

Yoshino paper is impregnated at 37.7° C. with a liquid

prepared by mixing boiling solutions of gelatin 13 g. and

soap 42.6 g. in water 284 cc. each, and adding almond oil

56.8 cc.

Duplicator Stencil Moistening Fluid

Alcohol ................................................................... 25 cc.

Ethylene Glycol Mono Ethyl Ether .................... 60 cc.

Water ...................................................................... 15 cc.

Duplicating Machine Stencils

The wax-composition used should not be brittle and hard,

but must be tough and elastic.

The paper used is a very fine, thin, fibrous, but tough tissuepaper.

Impregnation: Very thin.

Suggested Mixture:

Beeswax ................................................................. 20 kg.

Soft Ozokerite (60/620 C.) ..................................... 15 kg.

Paraffin Wax (50/52° C.) .................................... 30 kg.

Melt together; mix; apply hot.

Tracing Cloth

Suitable material is impregnated with

Cellulose Acetate ................................................... 20 oz.

Acetone ................................................................... 70 oz.

Water ...................................................................... 10 oz.

This produces a dull frosted film on drying.

Ink for Tattooing Chickens

Pyrogallol ................................................................ 1 g.

Alcohol ................................................................... 10 cc.

Solution of Ferric Chloride ................................... 2 cc.

Acetone .................................................................. 20 cc.

Ink: Writing

Except for the phenol and dye, thin ink is half as concentrated

as the record and copying ink. It is similar to some of the commercial

writing fluids and fountain pen inks. The standard is made in the

same way as the preceding ink, and from materials of the same

quality. If made with slightly more hydrochloric acid than the formula

calls for it will keep longer without depositing sediment, but it will

be more corrosive to steel pens.

The standard formula is:

Tannic Aid .......................................................... 11.7 gm.

Gallic Acid Crystals ............................................. 3.8 grn.

Ferrous Sulphate ................................................ 15.0 gm.

Hydrochloric Acid, Dilute ................................. 12.5 gm.

Phenol (Carbolic Acid) ........................................ 1.0 gm.

Soluble Blue .......................................................... 3.5 gm.

Water to make 1 liter at 20° C. (68° F.).

Writing Ink

(8 times concentrated)

The ingredients are best dissolved as follows:

.................................................... Dissolved in

2 ounces Ferrous sulphate 12/3 oz. of dil. Hydrochloride

3 oz. of Water

0.47 oz. of Soluble Blues 3 oz. of Water

0.13 oz. of Phenol

1.55 oz. of Tannic Acid 6 oz. of Water

0.50 oz. of Gallic Acid

For washing, etc. 21/3 oz. of Water

Dissolve first the Dye and Phenol; pour into this mixture the

acid solution of Iron and then the Tannic-Gallic Acid solution. All

solutions should be heated to about 180° F. and the final mixture

stirred well for some time and then allowed to cool. Let stand

quietly for 1 or 3 days and decant.

Writing Ink

1. Nutgalls Powd. ............................................... 8

2. Logwood Chips .............................................. 8

3. Iron Sulfate ..................................................... 4

4. Gum Acacia ..................................................... 4

5. Aniline Black ................................................... 1

6. Water ............................................................ 167

Dissolve (4) in ½ gal. water and, (5) in 3 gal. water; filter

and mix these two solutions. Boil (1), (2) and (3) in remaining

water for 2½ hours and strain. Mix this liquid with previous

solution.

 

PAINTS, LACQUERS,VARNISHES, ENAMELS

Kalsomine

Sodium carbonate. ................................................. 3 parts

Linseed oil......... ................................................... 32 parts

Hot water.......... .................................................... 8 parts

White glue......... ................................................... 12 parts

Whiting........... .................................................... 160 parts

Dissolve the sodium carbonate, in the hot water, add the oil

and saponify by heating and agitation. Cover the glue, broken

into small pieces, with cold water and let soak overnight. In the

morning pour the whole on a stout piece of stuff and let the

residual water drain off, getting rid of as much as possible by

slightly twisting the cloth. Throw the swelled glue into a capsule,

put on the water bath, and heat gently until it is melted. Add the

saponified oil and mix well; remove from the bath, and stir in

the whiting, a little at a time, adding hot water as it becomes

necessary. When the whiting is all stirred in, continue adding hot

water, until a liquid is obtained that flows freely from the kalsomining

brush.

The addition of a little soluble blue to the mixture increases

the intensity of the white.

Sizing Walls for Kalsomine.—A size to coat over “hot

walls” for the reception of the kalsomine is made by using shellac,

1 part; sal soda, ½ part. Put these ingredients in ½ gallon of water

and dissolve by steady heat. Another size is made of glue size prepared

in the usual way, and alum. To ½ pound of white glue add

¾ pound of alum, dissolving the alum in hot water before

adding it to the glue size.

Various processes have been recommended for making the

odor of kerosene oils, artificial oil of mirbane, etc., but none of

them seems entirely satisfactory. The addition of amyl acetate in

the proportion of 10 grams to the liter (1 per cent) has also been

suggested, several experimenters reporting very successful results

therefrom. Some years ago Beringer proposed a process for

removing sulphur compounds from benzine, which would

presumably be equally applicable to Kerosene.. This process is as

follows:

Potassium permangnate ....................................... 1 ounce

Sulphuric acid ....................................................... ½ pint

Water..................................................................... 3½ pints

Mix the acid and water, and when the mixture has become

cold pour it into a 2-gallon bottle. Add the permanganate and

agitate until it is dissolved. Then add benzine, 1 gallon, and

thoroughly agitate. Allow the liquids to remain in contact for

24 hours, frequently agitating the mixture. Separate the benzine

and wash in a similar bottle with a mixture of

Potassium permanganate ..................................... ¼ ounce

Caustic soda .......................................................... ½ ounce

Water........................................................................ 2 pints

Agitate the mixture frequently during several hours; then

separate the benzine and wash it thoroughly with water. On

agitating the benzine with the acid permanganate solution an

emulsion-like mixture is produced, which separates in a few

seconds, the permanganate slowly subsiding and showing

considerable reduction. In the above process it is quite probable

that the time specified (24 hours) is greatly in excess of what is

necessary, as the reduction takes place almost entirely in a very

short time. It has also been suggested that if the process were

adopted on a manufacturing scale, with mechanical agitation, the

time could be reduced to an hour or two.

Lacquers

(See also Enamels, Glazes, Paints, Varnishes, and

Waterproofing.)

INSTRUCTIONS FOR MAKING LACQUERS

You will note that the formula for Clear Lacquer calls for 3

ounces of Di-Butyl Phthalate which we call the plastisciser.

When making up a batch of Clear Lacquer which you are going

to put in cans and sell as Clear Lacquer you need to put in this

Di-butyl Phthalate. But if you are going to mix the various colors

with the clear lacquer to make the finished Brushing lacquer to

make the finished. Brushing Lacquer Enamels, DO NOT put in

the Di-Butyl Phthalate. The reason is this. The colors are ground in

a mixture of gum solution and plasticiser, therefore already contain

enough Di-Butyl Phthalate to give the film flexibility. It must GO

IN when using the clear lacquer for Clear Lacquer but not when

using the clear lacquer to mix with colors.

Practically any desirable shade can be obtained by mixing

together in various proportions the colors. You can in this way

make up certain shades of your own and get out a pretty color

card showing your own shades.

When mixing the colors with the clear lacquer be sure to

stir long and thoroughly until all mixed together. Also stir up the

batch before you begin to fill the small cans.

The Brushing Lacquers can be sold to all of the dealers in

your vicinity if you desire, or you can have agents out to sell

them direct to the consumer.

The furniture Lacquer formulas can be sold for all purposes

where a spraying lacquer is required. Furniture factories,

or where woodwork is built and finished Lacquers are often

used.

To make a colored spraying lacquer simply add the colors

to the spraying lacquers instead of to the clear Brushing Lacquer.

For spraying you will probably need to add about one ounce

more black, 2 ounces more yellow, 2 ounces more red, 2 ounces

green, 4 ounces more white and 2 ounces more blue to the gallon

of clear than you would to a gallon of Brushing Clear Lacquer. In

others increase the amount of each color as given above so

that when adding Black Ground Color to the furniture Lacquer

you will have three ounces instead of two ounces. Spraying

Lacquers require a little more pigment to the gallon to get

coverage.

In making up the clear lacquer you first dissolve the cottons

in the Butyl and Ethyl Acetates. Then you add slowly to this the

Damar and Ester Gum solutions which we tell you how to make

is another instruction paper. Then yon can slowly and the alcohol,

Butyl propionate and last of all the Petrol or L.D. Naptha. When

adding each item do so very slowly and stir rapidly. This is

IMPORTANT.

Luminous Outdoor Lacquer

Formula No. 1

¼ kilogram of polystyrene is dissolved in a mixture of ¼

kilogram each of toluene, xylene and butyl acetate; about 40

grams of tricresyl phosphate are added as a softening agent and

about 1 kilogram of a luminous paint, for instance on the base of

strontium sulfide/bismuth and rubidium, is carefully introduced,

while stirring. The lacquer of luminous paint thus obtained can

be applied on ceiling-plaster and wall-plaster, porcelain, glass,

wood, aluminum, metallic supports, paper, pasteboard, artificial

foils or the like, i.e., on any desired base. In some cases it is

advisable to apply a suitable first coating, for instance titanium

white or lithopone in a lacquer of polystyrene, previously to the

application of the luminous paint in order to secure a well

reflecting and weatherproof support.

No. 2

Into a solution consisting of 200 grams of vinyl naphthalene

in a mixture of 200 grams of toluene, 200 grams of xylene, 200

grams of butyl acetate and 30 grams of tricresyl phosphate there

are introduced about 0.8 kilogram of a luminous paint, for

instance a well luminescent zinc sulfide or an organic boric acid

luminous substance. The lacquer of luminous paint thus obtained

is applied on any desired surfaces or articles which are to be

made luminescent.

No. 3

For the preparation of fluorescent and phosphorescent

shaped bodies and foils or the like, about 2½ kilograms of a

luminous paint, for instance on the base of calcium sulfide,

strontium sulfide or zinc sulfide, are introduced into about 12

liters of styrene; a small quantity of sulfuric acid is added and

the whole is heated for about 4 hours to about 140° C. in order

to produce polymerization. As soon as the required consistency is

obtained, the mass is poured into the desired moulds and allowed

to solidify. Foils can likewise be sprayed or rolled from this

product.

Metal Painting

Preparing the Surface.—To obtain the best results with red-lead,

care should be exercised in applying as well as mixing the paint.

A vital point is to clean off all loose rust, dirt and other foreign

material before commencing to paint. Wire brushes and scrapers

will be found to be effective in removing rust and scale. The sand

blast will give good results and is strongly recommended, but

thorough scraping and brushing will usually be satisfactory.

Rust, the great enemy of iron and steel, is an accelerator of

further rusting when it is loose enough to retain moisture. If rust

is allowed to remain it will work disaster even after the paint

has been applied. Besides, rust and dirt are likely to cause

peeling.

Number of Coats.—Three coats of paint are necessary on all

outside work. Two coats will do for metal indoors. In no case

will one coat of paint completely cover bare metal. To the naked

eye, the metal may appear to be covered but under the microscope

it is another story. Many small pinholes and air bubbles will be

found. Even a second coat will not absolutely cover all these

pinholes. A third coat is really necessary. Of course, the more the

paint is brushed out, the more the pinholes and air bubbles are

worked out. Plenty of good brushing effort is essential to a firstclass

job.

Mixing the Paint.—Paint is made with paste red-lead exactly

as white-lead paint is made with heavy pista white-lead, by

simply adding linseed oil a little at a time and stirring constantly

with a wooden paddle. Dry red-lead is mixed with oil in the same

manner, the only difference being that it is less easy to incorporate

with the oil.

first with just enough linseed oil to make a workable paste; then

add the coloring material and finally the remainder of the oil.

When drier is used, put it in after the coloring material and before

adding the final oil.

Applying the Paint.—Steel and iron should never be painted

during wet weather nor when covered with dew or frost. Early

morning painting during the late summer months is not

recommended as a usual thing. It is always better to wail until

the sun has had time to dry everything out. It is bad practice to

attempt painting in freezing weather.

Red-lead paint can best be applied with a round or

oval brush. Be sure to use plenty of paint, covering the surface well

and not attempting to make a gallon of paint go too far. Pay

particular attention to bolts, rivet heads, edges and corners, as

they are more subject to destructive influences than perfectly flat

surfaces.

The priming coat is the most important. Extra care and

precaution should be taken during its application.

Allow plenty of time between coats for the previous coat to

dry thoroughly. A week is not too long, especially for the priming

coat.

Boat Painting

The practice in painting boats is regulated largely by one

thing—the type of craft. If a boat is a yacht or a launch the owner

aims to keep it always clean and bright. Its appearance is a

matter of pride with him. Hence the handsomest job obtainable

is none too fine, and coat upon coat of paint is often applied in

order to get an unusually fine finish.

A rowboat, on the other hand, is not a show boat. While the

possessor of one or a fleet of them wants a job that looks well,

only an ordinarily good finish is called for.

When it comes to canoes an altogether different problem

is presented. A high-class finish is wanted, but it is not

obtained in the same way, because a canoe is usually built of

canvas.

For present purposes, therefore, boats have been classified

into three groups: Power and Sail Boats; Row Boats;

Canvas Canoes. In this order, directions for painting them are

taken up.

Power and Sail Boats.—The outside of the hull, deck-House

and some parts of the interior are proper subjects for the paint

brush. Some of these parts should receive attention, at least

every year.

Preparing the Surface.—If the wood is new, dust it off

carefully and cover all knots and sappy streaks with orange

shellac. The shellac can be made by thinning dry orange gum

shellac with good quality denatured alcohol, proportioned on the

basis of three pounds of shellac to one gallon of alcohol, or the

liquid shellac may be purchased as “3 pound cut pure orange

shellac.” Brush the shellac on thin. If it is put on too thick the

paint will alligator, leaving the knots bare.

Galvanized Iron, Treatment before Painting

Some people, before painting it, wash the galvanized metal

with vinegar. This is said to be good. Others scrub it well with

burlap wet with benzine. Scrubbing the surface with soap and sand

can be recommended. The best method seems to be, however, to

leave the galvanized metal exposed to the weather for a few

months.

Still others report good results from washing the wellcleaned

surface with a one per cent solution of copper chloride,

acetate or sulphate. The solution is left on for a time and then

brushed off before painting is attempted. A few months of

 exposure is probably better, however, even than this treatment.

Light sand-blasting is also said to have been used for cleaning

galvanized iron and putting it in condition to take paint. No

doubt this would accomplish the purpose.

Even in the case of perfectly clean zinc, it is not easy to get

paint to stick always. No paint yet invented adheres to it as well

as in the case of iron or wood. What chemists call ‘’the surface

tension” is different. Not that any good paint invariably all comes

off. Generally most of it stays on but that is not very satisfactory.

If galvanized iron is weathered and then well cleaned,

there is seldom any trouble encountered when the paint is redlead.

Probably most of the difficulties in painting galvanized

surfaces are traceable to improper preparation done by not too

expensive labor. This is why weathering, which does not skip

anything, is best.

Synthetic Resin Finishes

Oxidizing rezyl solutions make excellent vehicles for

aluminium-bronze finishes for either interior or exterior work, the

powder being mixed just prior to application. For general decorative

work, rezyl 114 is recommended as giving a. quick and harddrying

gloss. Rezyl 1102 is exceptionally resistant to heat, hence

well adapted for use on steam pipes, radiators and the like, as

well as for prolonged baking at high temperatures. For oil refinery

and filling station equipment, aluminium finishes made from

rezyl 1102 are recommended, because resistant to petrol. Typical

formulas follow:

Rezyl 114, 100 lb. and coal-tar naphtha 100 lb. (J and 33 lb.

of xylol); mineral spirits, 70 lb.; lead linoleate, 2 lb.; cobalt

linoleate, ¾ lb.; aluminium-bronze, 70 lb.; total, 342¾ lb. or 38¾

gal. This is an air-drying finish for brush application.

A baking finish for spray application is made as follows:

Rezyl 1102, 100 lb.; xylol, 150 lb. (same as Solution A, 250 lb.);

toluol, 150 lb.; cobalt linoleate, ½ lb.; aluminium-bronze, 70 lb.;

total, 470½ lb. or 55¼ gal.

A harder and quicker-drying, but somewhat brittle, vehicle

for indoor use can be obtained by blending rezyl 114 with

cumarone resin. Rezyl 113 in equal parts of coal-tar naphtha and

mineral spirits is recommended as an aluminium-bronze vehicle for

outdoor use. Its adhesion, toughness, rapid drying, durability

make it superior to the long-oil spar varnish ordinarily used for

this purpose. It works more easily than rezyl 1102, dries a trifle

more slowly but forms a more flexible film, and hence is well

adapted for all types of exposed metal work. Rezyl 110 dries

somewhat more slowly than rezyl 113, but brushes more easily

and permits of the use of mineral spirits with aluminium-bronze

for priming wood, for which its elasticity, adhesion and durability

recommend it. When used in metal paints, the vehicle should

contain 10 per cent of coal-tar naphtha and 10 per cent raw

linseed oil to insure proper floating and leafing of the aluminiumbronze.

Although rezyl 1103 is still slower drying than rezyl 110,

it makes aluminium paints with excellent working qualities for

brush application.

Good adhesion and elasticity make the oxidizing rezyls

excellent for quick-drying undercoats. The following are typical

formulas in addition to the primer formulas already given:

Baking primer: Iron oxide, 150 lb.; rezyl 110, 100 lb. and

xylol, 43 lb.; V. M. and P. naphtha, 155 lb.; lead linoleate, 2 lb.;

manganese linoleate, ¾ lb.; total, 450¾ lb. or 38¼ gal. For best

results, this primer is applied in a thin film and baked at least one

hour at 200° F.

A surfacer which has given good results in both air-drying

and baking is formulated as follows: Iron oxide, 50 lb.; lithopone,

50 lb.; black mineral filler, 300 lb.; silica, 100 lb.; rezyl 114, 100 lb.

and xylol, 100 lb.; mineral spirits, 50 lb.; turpentine, 30 lb.; lead

linoleate, 2 lb.; manganese linoleate, ¾ lb.; total, 782¾ or 57¾

gal. Several coats of this surfacer can be applied in rapid

succession, and the whole film baked hard in one operation. It has

good water-resistance, elasticity and toughness, yet sands easily

and lacquer can be applied over it without lifting.