when the same fine evidence of solidarity is more generally displayed by men and women who are receiving the benefits accruing from their affiliation with organized labor is shown in the same marked degree as our members have displayed, then no power in TH They Helped the Needy Miners Both With Money and Clothing HAT the appeal to the membership in the December issue of THE PAINTER AND DECORATOR did not fall upon deaf ears is getting to be quite in evidence. Of course, any number of locals and individual members of our splendid International Brotherhood gave, and gave generously, and of these cases the General Headquarters has no first-hand information, since all funds were directed sent to Brother Frank Morrison, Secretary of the American Federation of Labor, A. F. of L. Building, Washington, D. C., and clothing to Brother William Hargest, 408 Columbia Bank Building, Pittsburgh, Pennsyl S vania, though it just happens that another fine letter came in from Brother H. P. Lord, Recording Secretary of Local Union No. 237, Portland, Maine, in which the pleasing information was given that in addition to a money contribution sent for the relief of the striking miners, there was also sent two cases of clothing, weighing more than 200 pounds, and upon which the express charges alone were $6.65. When it is to be considered, as Secretary Lord wrote, "Eighty per cent of the members of that local was idle" it is a superb manifestation of true brotherly spirit which was shown. Stippling Furniture By A. ASHMUN KELLY TIPPLING as a finish not only for furniture, but for lighting fixtures, etc., is new and popular. It leaves the surface raised in slightly uneven spots, which may be worked into any desired design. The variety of surface effects and colors are almost without limit. By this method, everything from wrought iron to hammered gold, silver or brass may be imitated with remarkable fidelity. It depends on how heavy your material is, and according to the design and roughness of surface left in the stipple material at the time of application. This uneven surface is well adapted to high lighting, antiquing, shading, frosting and blending in many color effects. In stippling furniture, fine effects are attained by treating the borders of tables, the panels and drawer fronts, and other portions. Newer designs in furniture lend themselves to a touch of color, and stippling admirably meets this condition. Stippling itself is an old type of finish, long resorted to in wall painting. The paint employed consists of white lead or other suitable pigment, thinned with oil and turpentine, and made heavy enough to stand up when spread and stippled with the proper brush. After the material has been applied, and while it is still wet, perform the stippling with a brush, stiff bristle tool, or with crumpled cheese cloth or sponge-or anything that will produce the desired effect. If an unusually rough stippled effect is sought, make the material quite thick or heavy, or apply in a heavy coat. Twisting the brush over the surface will result in a rough effect and large stipples. When a smoother or finer effect is wanted, apply a lighter coat, and stipple lightly with a bristle stippler, using a good sized, fairly stiff tool. Allow the stuff to dry-say overnightwhen it may be sandpapered with rather coarse sandpaper, to modify the sharp edges. Dust off, then brush on the desired paint or other material as many coats as are required to attain the right color effect, and allowing each coat to dry, of course, before applying the next. By applying colors that harmonize or contrast with the surface color, and wiping off here and there while still wet, antique and shaded effects are arrived at. Daily Helps for Daily Needs IPEUS 643 Hollow clay building tile form one of the important units in modern building construction. Because of the appearance of the joints and the nonuniform color of the tile, it is customary to either plaster or stucco the surface of the wall so that a pleasing surface is produced. The adhesion of the plaster or stucco to the tile is of importance as this factor determines whether the plastering will be permanent or whether a failure will result when the wall is subjected to unusual jars or strains. The Bureau of Standards has measured this adhesion in several cases so that from the data thus obtained the best type of surface for receiving plaster might be determined. Three types of plaster, namely, cement, cement-lime, and gypsum, were tested on three grades of tile, hard, medium, and soft, with five types of surface, combed, grooved, wire cut, smooth, and glazed. It was found that on all types, with the exception of the glazed surface, the adhesion was sufficiently great for any normal use. Plaster should not be applied directly to the surface of a glazed tile. OF Synthetic Wood Alcohol F late American industry has been disturbed by the immense influx of methanol, otherwise called methyl alcohol or wood alcohol. It is a great solvent. The duty on it is considerable, but German producers do not mind, they pay it and send more. This cheap alcohol is made by passing water, gas and steam over a newly discovered substance which is now used for alcohol making called zinc oxide. The yield is a 100 per cent pure methanol. Compare the cost of this alcohol made this way with alcohol made by distilled hard wood. Competition is impossible. Methanol is poisonous when used as a beverage. The sad part is that many a poor fellow has found this to be true after an enforced stay at a hospital. The fake fancy labelled bottles of "Scotch" or "Kentucky Derby Rye" are only samples of this undertaker's friend called methanol. Methanol is valuable where required in industry. As a thirst quencher, Mr. Man, Stop! Look! and Listen and Detour to the old oaken bucket or the town pump. Repainting Concrete Block House The job of repainting concrete block buildings is one that many times "gets the Painters' goat", but our esteemed contemporary, The American Painter and Decorator, answers the query of one of their subscribers who told them that he had cleaned the surface of a concrete block house with steel wire brushes and scrapers, and enquires as to what would be the best paint to use in order to insure a first class permanent job, and this is the solution to the vexatious problem given their correspondent: When all the scaling paint has been removed and the surface thoroughly dusted, apply a coat of high-grade cement and concrete paint, brushing it well into the surface. When thoroughly dry, lead in oil or any other good paint may be applied. This should produce a satisfactory job, and one that would "stay put". Before applying any paint to the surface, examine the roof and other places where there might be a leak. If water gets behind the outer walls of the concrete blocks, scaling will be sure to occur again. If the surface is perfectly dry and there is no chance for the blocks to get wet, your paint ought to stay on and wear satisfactorily, if it is of good quality. Watch Your Motor-Heat If you have put on your automobile a radiator shutter, a hood cover, or simply a piece of cardboard in front of the radiator, it should also be equipped with a good engine-heat indicator. Within reasonable limits, the hotter an engine becomes, the more efficient its operation; yet if it is allowed to become too hot and remain so, it is likely to be injured. Without a heat indicator the driver has no accurate check on his engine. If experienced, he knows when it is cold, and if it boils, that it is overheated; but of the wide range between these two points at which his engine is operating and which may be injurious, he knows nothing; therefore, the importance of a good heat indicator in connection with some form of radiator protection that enables the driver to control the engine temperature. The Meaning of Colors Nature has given to the world the beautiful colors, which exist, all through the seasons of the year. The inspirations of the glorious sunrises and the magnificent sunsets, are enjoyed by all of the Nature Lovers. The numerous shades of green seen in the springtime, prove that nature has awaked. Our faith in the crops are fulfilled. The summer time gives us repose, and great prosperity is assured us for the beautiful autumn season. Color may either make or mar one's personality. "Colors reveal every vibration of the soul." Children love all pretty colors. A child's room should never be papered or painted in red. The child's bed room should be in a restful shade because red surroundings will have a great tendency to cause your child to be very serious. Yellow is the best color to use either in a child's bedroom, or its parents'. It creates cheer and poise and reminds one of the sunshine. Blue should not be used in a room unless combined with some other color, as a plain blue finished room causes great depression. Violet is called the modest color. We all love the violets whether they be wild or cultivated. The violet color is a symbol of healing. The high priest in conducting his "healing services" usually wears a violet robe. White robes are also considered as healing robes during the healing services. Heliotrope signifies intuition and far-sightedness. It also expresses royalty always used in the palaces of the kings and queens. A robe of heliotrope velvet is a magnificent one. A room furnished in heliotrope furnishings is a very attractive place to enter. Orange signifies power. Some "healers" wear orange robes when they demand power. Often an orange ribbon bow tied in your room or worn will help you to gain more power. Scarlet helps to restore vitality. However, it should not be worn alone, it is better to combine it with white. Chronic Eczema Chronic eczema means keeping away from soap and water. Cleanse the part with warm olive-oil and apply locally the following: Phenol, gr. 30; acid salicylic, gr. 15; calomel, drams 2; petrolatum sufficient to make oz. 2. To Sweeten Paste A. Ashmun Kelly wonders if any of his readers have tried his discovery of making paste that will not change in any way, except to become drier, even in "the dog days", as he expresses it. He says further, that it is an everlasting joy to him, for it is a good sticker, and to try it. A few drops of formalin. That's all! -f White Paint Turning Yellow The cause of white paint, made from white lead and linseed oil, turning yellow on inside work is stated by The Painters Eagle as being due to the oil in the paint and the absence of strong light, causing the yellowing. Flat paints do not yellow so badly as glossy ones, because they contain less oil, but even these show some tendency to become yellow. When white paint yellows on the inside of a house, the admittance of strong sunlight will quickly restore its original whiteness. Since this is sometimes impossible, preventive measures are more practical and desirable. When a gloss finish on white inside work is desired, thin the white lead to the consistency of skimmed milk with turpentine or benzine, let stand over night, then pour off all the liquid. Add pale or white enamel mixing varnish to the white lead to replace the oil, add turpentine, if necessary, and use this for the final coat over flat undercoats. This white paint will stay white if a good grade of varnish is used. If the point of a nail or screw is dipped in glue before setting or driving in place, its hold will be more secure. Approximately eighty per cent of colored exterior jobs are painted in grays, yellows or browns, but occasionally a property owner wants a tint a little out of the ordinary run, somewhat different, and yet in harmony with the surroundings. Sometimes he knows just what he wants; more often he doesn't, and then the painter is expected to offer suggestions. There is no reason why the lighter shades of green should not be more commonly used. It is a warm and pleasing color effect, attractive on the outside of a small house or bungalow and harmonizes well with houses painted in any of the shades of gray or yellow. One reason often advanced against the use of green is that it is a fugitive color and liable to fade badly when exposed to sunlight, but there are many brands of permanent or light-proof greens, which cost but little more than the ordinary brands, and which hold their color fairly well on exposure. Considering the small amount of tinting color used and the results achieved this small additional cost is a good investment. The student of color mixing is urged to experiment with greens. Lay a sheet of glass on a table or bench and along the top of the glass deposit small amounts of white lead, medium chrome green, raw umber, burnt umber, chrome yellow, yellow ochre, Prussian blue, lamp black and raw sienna. With a small spatula or putty knife work a little of the green into a small amount of the lead, using only enough color to get a light green tint. Now add a small amount of burnt umber or other tinting color and mix on the glass as before. The student can spend a few hours very profitably this way as he will soon become accustomed to the results achieved by the use of different combinations of tinting colors and also learn more about color mixing than by reading books on the subject. It will also help him to reproduce any color shown him. There is another class of colors used for exterior painting called "drabs". It is somewhat difficult to exactly define the word drab. Any color that can't conscientiously be called a gray or yellow is referred to usually as a drab, yet there are many shades and tints of this color that are lively and interesting and are used frequently on all kinds of houses. Usually they are made with a combination of white, yellow ochre and brown. Here is another opportunity for the student to experiment on his sheet of glass. Mix these colors in varying proportions and note the results achieved. Dark greens and drabs may be used as trim ming colors for buildings painted in any of the lighter colors of yellow, brown or gray, or may be used with lighter shades of green. Medium chrome green is used on outside blinds, lattice work and flower boxes without the addition of white lead, but may be changed a bit in color for any of these uses by toning with some other color. A little raw sienna, for instance, will lighten it while burnt umber will darken the green to a very pretty shade. The following formulas for greens and drabs are given in the order of the importance of the tinting colors. The first one mentioned is used the most and the others in decreasing proportion: Greens Aloes-White lead, Brunswick green, chrome yellow, black. Artichoke White lead, French ochre, medium chrome green, toned with black. Autumn (a dark trimming color). Black, emerald green, chrome yellow. Blue Grass-White lead, emerald green, Prussian blue. Blue Green (For trimming). Equal parts deep chrome green and cobalt blue. Bottle Green-(For sash or doors). Drop black, Prussian blue, medium chrome yellow, yellow ochre. Brilliant Green-White lead, emerald green. Bronze Green Lamp black, medium chrome green, orange chrome yellow. Cedar White lead, medium chrome green, black, deep chrome yellow. Cypress Medium chrome green, medium chrome yellow, toned with black. Egyptian White lead, lemon chrome yellow, raw umber, Prussian blue to suit. Emerald-White lead, 8 parts; medium chrome green, I part. Grass Green-(Bright yellow green.) Deep chrome green, 6 parts; medium chrome yellow, 1 part. Gray Green-White lead, Prussian blue, lemon chrome yellow, black. Green Slate-Tint white lead with bright green toned down with yellow ochre and lamp black. chrome green, Prussian blue, medium chrome yellow, lamp black. Moss Green-Tint white lead with French ochre, bright green, and a little black. Mountain Green-Medium chrome yellow, cobalt blue, a little white. Muscovite-(Dark sage of a yellow greenish shade.) Chrome green, 13 parts; white lead, 8 parts; Prussian blue, 6 parts; orange chrome yellow, 3 parts; lamp black, 8 parts. Myrtle-Chrome green, ultramarine blue, a little white. Nile-White lead, emerald green, Prussian blue. Quaker-White lead, French ochre, burnt sienna, black. Russet-White lead, pale Brunswick green, medium chrome yellow. Sage-White lead, medium chrome green, raw umber. Sea Green-Tint white lead with Prussian blue and raw sienna. Velvet Green-White lead, light chrome green, burnt sienna. Verdigris-White lead, medium chrome green, medium chrome yellow. Veronese-White lead, emerald green, Prussian blue. Willow-White lead, medium chrome green, burnt umber. Yellow Green-Orange chrome yellow, medium chrome green. Drabs Brownish Drab-White lead, burnt sienna, burnt umber, toned with black. Dark Drab-White lead, lamp black, Indian red. Drab White lead, yellow ochre, lamp black, raw umber. Drab (Reddish.) White lead, yellow ochre, burnt umber. Freestone-White lead, yellow ochre, Venetian red, black. Gray Drab-White lead tinted with black, then use burnt umber to get shade wanted. Pearl Drab-White lead, Prussian blue, drop black, Venetian red, yellow ochre. Quaker Drab-White lead, yellow ochre, medium chrome green. Van Dyke Drab-Van Dyke brown, white lead, yellow ochre, drop black.-Carter Times. |