Chapter II: Part 2

You may find varnish to be full of small grains. This may be due to chill in transit or in storage, or a decided difference in temperature between the varnish and the work. Allow the varnish to reach the temperature of the work before applying. The same appearance may be caused by what painters term a “lousy” brush. USE ONLY AN ABSOLUTELY CLEAN BRUSH.

PAINT FOR STIPPLING

For rough stipple, mix your paint from equal parts of white lead in oil, zinc white in oil and dry plaster of paris (the latter of the finest grade). Thin down with raw linseed oil and turpentine in equal parts, adding two teaspoonfuls of pale japan to each pint of liquid. Make the paint just stout enough to apply with a wall brush and put it on in that consistency. When the surface has been so coated, and before the paint begins to set, use a good size stippler, and see that you do the work uniformly and evenly. You can color the white to any desired tint with finely powdered dry color or you may use color ground in oil, but if much of the latter is required, use one-third raw oil and two-thirds turpentine for thinning. When solid color is desired for wall stippling, use colors ground in oil and the finest bolted whiting, dry to make stout paste. Mix in this paste with one part oil and three parts turpentine and add one part japan. When the paint is applied in stout consistency, it may be stippled or combed and very pretty effects are obtained. Before applying the stipple to unpainted walls, two coats of pure lead in oil should be given.

GOOD BRUSHES GET GOOD RESULTS

Keep brushes out of water. When paint and varnish brushes are not in use, they should be suspended in raw linseed oil away from the bottom of the container by at least two inches and at least an inch above the bottom ferrule or strap. Water is not a paint solvent. When brushes are suspended in linseed oil, the oil will dissolve the pigment which, being heavier, will sink to the bottom of the container, in this way cleaning the brush.

Quantity Needed.

To ascertain the number of gallons of paint required for a building:—add the width of front and rear with the length of both sides, and multiply by the height. A gallon of paint, properly brushed out, will cover 350 square feet, two coats. Do not flow the paint on, but thoroughly brush it on.

By dividing the total feet of surface by 350, you will obtain the number of gallons necessary to paint the house, two coats. The above estimate, owing to the fact that surfaces vary in their natures, is based on a surface of good condition to receive the paint.

EXAMPLE

Front 25 feet
Rear 25 feet
Side 45 feet
Side 45 feet
————
140 feet
Multiply by average Height, 25 feet
Divide by 350 3500 feet —10 gallons

TO REMOVE RUST STAINS FROM CONCRETE OR STUCCO

Rust stains can be removed from concrete or stucco work by scrubbing the spots with a solution of 1 part muriatic acid and 5 parts water. When using this, the hands should be well protected from the acid as it is very strong, and will cause severe burns. After scrubbing the concrete, the acid must be well rinsed off with clean water.

ALUMINUM PAINT MAKES RADIATORS LESS EFFICIENT

The aluminum or bronze paint generally applied to radiators greatly reduces their effectiveness and makes it necessary to have a larger surface for the same heating effect, according to experiments performed by Dr. W. W. Coblentz, of the Bureau of Standards. Dr. Coblentz finds that the heat radiated from an aluminum painted radiator surface is less than a third of that emitted by a radiator of the same size painted with a non-metallic paint, enameled, or simply allowed to rust.

On the other hand, he finds that aluminum paint is a very effective means of reducing the amount of heat transmitted through a thin material. Applied to the under side of a tent or awning, it reduces by three-fourths the amount of heat from the sun which gets through the cloth, while if used on the cover of an automobile or ice wagon it cuts in half the heat let through and makes the temperature inside the vehicle more nearly that found in natural shade, thereby making it much more comfortable.

PAINT AND VARNISH REMOVER

Benzol and denatured alcohol, equal parts applied to a painted or varnished surface, will eat through to the bare wood in less than ten minutes’ time.

HOW ENAMEL IS APPLIED TO METAL

The basis of all enamels is an easily fusible, colorless glass, to which the desired color and opacity are imparted by mixtures of metallic oxides. The mass, after being fused together and cooled, is reduced to a fine powder, washed and applied to the surfaces to be covered. The whole is then exposed in a furnace till the enamel is melted when it adheres firmly to the metal.

TO RETARD THE DRYING OF PLASTER OF PARIS FOR FIVE HOURS

Plaster of Paris can be retarded by dissolving carpenter’s glue or common paste in the mixing water. To retard it so that it will not set within five hours will require about 2 per cent. of glue, the percentage being based on the weight of the plaster.

CEMENT PANEL PAINT FOR BLACKBOARDS

If you prefer to mix your own paint for cement panel blackboards, use drop black in turpentine, add an equal weight of finest powdered pumicestone mixed in turps and hard oak finish, and thin with enough varnish and turpentine to bind it hard.

PAINTING STUCCO

In painting stucco, the following instructions should be observed. After brushing thoroughly, prepare for the priming coat by mixing one part, by weight, of white lead, red lead, and boiled oil. White lead, stainers, driers, to the extent of one-fourteenth of the mixture, two parts boiled oil, and one part turpentine, form the basis for the second and third coatings. Additional coating should contain less turpentine in proportion to the oil.

A REMEDY FOR LOW CEILINGS

Rooms with low ceilings can be made to appear much higher by using a striped paper, preferably in a pale tint.

TO REMOVE PAINT FROM GLASS

Common washing soda dissolved in water; let it soak a while—if put on thick, say thirty minutes—then wash off. If it does not completely remove, give it another application.

CLEANING PAINTED WALLS

Dissolve two ounces of borax in two quarts of water. Add one teaspoonful of ammonia, put half this mixture into a pail of water. Use no soap.

A GOOD WALLPAPER VARNISH

Dissolve equal parts of borax and shellac in ten times their weight of alcohol; strain. Give two coats. For a very light-colored paper use sandarac instead of shellac. Paper treated with this lacquer can be washed with water, and even with soap, if necessary.

LUMINOUS PAINT FORMULA

Linseed Oil cold compressed and thickened by heat 3 oz., barium sulphate 3 oz., prepared calcium carbonate 3 oz., white zinc sulphide 6 oz., luminous calcium sulphide 18 oz. Mix well and grind in a paint mill, very fine.

FIREPROOF PAINT

Incorporate powdered asbestos into paint to be used on sheds, garages, etc.

TO COLOR CONCRETE

Cinnabar is mixed with cement to produce a bright red concrete and carmine to produce a violet red.

GREASE SPOTS ON WALL PAPER

Grease spots can be removed from wall paper by rubbing with camphorated chalk.

FURNITURE POLISH

Oil of cedarwood 3 ounces, turpentine 2 ounces, hydrochloric acid (commercial) 1¼ ounces, lubricating oil (light) 1½ ounces, gasoline 1½ pint. Mix the turpentine, lubricating oil, and gasoline thoroughly and add oil of cedarwood, mixing thoroughly. Now add the hydrochloric acid, stirring briskly. Allow to set for three days, stirring occasionally until hydrochloric acid is thoroughly mixed. INFLAMMABLE, KEEP FROM FIRE OR OPEN FLAME. Can be colored if desired (any color) by adding a small amount of soluble color.

FURNITURE AND AUTOMOBILE POLISH

(One quart.)

To ⅔ of paraffin oil add two tablespoonfuls of turpentine oil, one tablespoon of ammonia, one tablespoonful of alcohol. Add enough gasoline to make the quart. Keep away from open flame.

WHITE SPOTS ON A SHELLAC SURFACE

Restore the color of a shellac surface which has become white in spots by holding a hot iron over the spot.

DUSTLESS CONCRETE FLOORS

Paint concrete floors several coats with a mixture of boiled linseed oil mixed with gasoline, half and half.

OLD WIDE SOFT FLOORING MADE TO APPEAR AS HARDWOOD

When the cracks have been filled and floor has been stained the desired color grain half of each board differently. Thus the wide boards appear narrow by graining every other half. It resembles two kinds of wood dovetailed together.

AUTOMOBILE POLISH

This produces a fine luster that does not collect dust or show rain streaks. Although not a cheap polish, it is less costly than some now on the market. It consists of ½ gal. turpentine, ½ pt. paraffin oil, 2 oz. oil of citronella, and 1 oz. cedar oil. These are thoroughly mixed, applied with a soft cloth, and rubbed lightly and briskly until dry.

LIME WHEN NOT IN USE IN WHITEWASH

Lime will lose its value as a whitewash after long exposure to the air, but is ideal when used as fertilizer.

TO FROST A PANE OF GLASS

After the glass has been painted white, and still is wet, gently tap it all over with a soft cloth which has been wadded into a ball or puff.

YELLOW PIANO KEYS

To clean, a paste made from whiting and a solution of potash is laid on, and allowed to remain for twenty-four hours. The ivories will be restored very nearly, if not quite, to their original color without removing them from the keys.

PAINTING ON GLASS

Paints will adhere to glass better if colors are ground in oil. Thin with pale japan and turpentine.

REMOVE INK STAINS FROM WOOD

Prepare a mixture of 8 ounces of concentrated sulphuric acid and 1¾ pints of water. Scour the stain thoroughly with water and sand and then pour some of the mixture upon it and rub until the stain disappears.

TO CLEAN SMOKED OR BLACKENED WALLS AND CEILINGS

Wash with a cloth wrung out of a strong solution of baking soda and water or use vinegar and water. If the stain is not all removed, dissolve gum shellac in alcohol to the consistency of milk or cream, and with it cover the sooty parts. Paint or whitewash over the shellac. The black will not show through.

COMMON WHITEWASH

Ordinary whitewash is made by slaking 10 lbs. of quicklime in 2 gals. of water. The lime is placed in a pail, the water added, and the bucket covered with a piece of old carpet, or an old bag, and allowed to stand for about an hour; the whitewash is then ready for application.

WEATHERPROOF WHITEWASH

For exterior use, a weatherproof limewash is made by slaking 1 bu. (62 lbs.) of quicklime in 15 gal. of water. A solution consisting of 2 lbs. of ordinary salt and 1 lb. of zinc sulphate, dissolved in 2 gals. of boiling water, is prepared, and 2 gals. of skim milk is provided. The salt and zinc-sulphate solution is added to the lime and water, the skim milk being put in last.

LINOLEUM CEMENT

A mixture of glue, isinglass and dextrin, which dissolved in water and heated, is given an admixture of turpentine. The strips pasted down must be weighted with boards and brick on top until the adhesive agent has hardened.

WEIGHT OF PAINT

Good paint weighs 18 pounds and upwards to the gallon. Ordinary paint weighs 15–16 pounds.

HINTS FOR PRESSMEN

COVER WHITE

When cover white is too short or stiff to be workable, add a small amount of mixing white.

PROCESS COLOR PRINTING

For the very best results in this fascinating art, print the lighter colors first, as follows: Yellow, red, blue and black unless otherwise instructed by the engraver.

When dark colors are run first contrary to progressive proof, the full richness and detail are lost and hues altered. Light colors printed over the dark detail, modify and subdue the sharpness which is not always desirable.

Use opaque yellow for the first color when printing on tinted stock; follow with transparent colors.

GOLD SIZE FOR BRONZE POWDER

All pigment that enters into the manufacture of gold size must be earthen. Yellow ocher is admirably adapted for this purpose, as in hue it ranges from a pale yellow to light brown. It is insoluble in oil and will not dull the luster of bronze powder or bleed through.

Gold size for pale gold bronze should be pale yellow; for deep rich gold bronze use medium light orange brown size.

Deep rich gold when applied over pale yellow size produces a medium gold cast.

STREAKING AND SHADOWS

Streaking or shadows which occur when running heavy solids, can oftimes be overcome on three roller platen presses by using a steel vibrator, also expansion trucks which trip third roller. If expansion trucks are not available use vibrator and remove third roller, as in most cases this roller is causing the trouble.

Coach varnish adds lustre to printers’ ink.

MOTTLING AND PICKING

Mottling of printers’ ink is largely due to an over-abundance of reducer, which separates the pigment from the mordant. This difficulty is sometimes overcome by adding silicate of soda (water glass), magnesia, etc. These absorb some of the superfluous oil and force the pigment into a solid mass.

Reducing to eliminate picking is the principal cause of mottle. Before mixing reducer with ink, add a little soft ink, such as halftone; if straight halftone picks, add 00 varnish.

Inks are made for all purposes. Best results are obtained by using them without adulteration. Oftentimes a drop or two of linseed oil distributed on press will do the trick. If ink mottles from the start with no other inks at hand, use less ink and double roll.

Picking and mottling on platen presses is more prevalent than on cylinders. The reasons are obvious. The cylinder requires less ink, has ample distribution and the printed sheet is peeled from the form.

Every printing press has its capacity. You can not successfully print a solid oversize form just because it can be locked in a platen chase. Even with a good vibrator, this kind of form requires double or triple rolling. Taking into consideration the fact that friskets jerk printed sheet from the form, you need not look farther for the cause of picking.

By cutting stock two or more up, and inking form the narrow way with enough of the sheet to be printed protruding for a good hand hold, you can peel it from the form. Do not allow friskets to touch the sheet.

WASH FOR DIRTY TYPE OR CUTS

Crude carbolic acid and turpentine, equal parts. Let stand over night. Rinse off with gasoline.

Color Printing—Some very pretty effects are obtained by printing transparent yellow and crimson or scarlet over black. The black being so modified as to yield greenish hues under yellow and purple hues under red.

GENERAL PURPOSE GLUE

Always Ready for Use.

Fill a quart glass jar with good broken glue; then fill up with acetic acid (which is vinegar in a strong form); set jar in hot water for a few hours to dissolve.

PADDING GLUE (any color) FOR PRINTERS

Requires no heating.

In addition to the above formula purchase ten cents’ worth of analine (any color desired) from your druggist, dissolve this in two ounces of glycerine. Then stir all together. The glycerine keeps the glue flexible and prevents cracking. This formula, in print for the first time, means the saving of a great many dollars.

MIXING GLASS

Before mixing colors on glass, glue or lay a sheet of white paper to the back. Or paint it white.

WHEN TO USE OPAQUE PROCESS INK

When printing process colors on tinted stock, use an opaque yellow, follow with transparent colors.

PROTECTIVE VARNISH FOR PRINTERS’ PLATES

Printing plates, especially etchings which are chiefly composed of zinc, may be kept free from corrosion by dipping or painting with a liquid solution of gum arabic, which is soluble in water.

MISCELLANEOUS

BLACK AND WHITE AS COLORS

Figuratively speaking black and white are colors but technically they are not. Pigments that are jet black and pure white either vegetable or mineral are unknown. It takes the addition of blue to alter the yellowish cast of white, and blue to deepen the brownish cast of any so called black pigment.

White being a neutral color, will harmonize with most any color combination.

NEUTRAL HUES AND TINTS

Neutral hues are made by a 50–50 mixture of warm and cold colors. White added to neutral hues produce neutral tints.

Whiting—Chalk pulverized and freed from impurities.

VARNISH FOR THE BACK OF SILVERED MIRRORS

Dammar gum, 20 parts; asphalt, 3 parts; gutta-percha, 5 parts; benzol, 75 parts; mix and dissolve. To use this varnish, pour it over the silvered surface and move the plate back and forth until it is distributed evenly over the surface.

Soft toned (flat finish) colors and tints are very desirable in the modern home. The flat or dull finish prevents the reflection of light, and makes a desirable back ground for pictures and draperies.

COLOR IN SOAP BUBBLES

The beautiful colors of an ordinary soap bubble are caused by light shining through the thin filament and being reflected from its inner surface.

INVISIBLE WRITING INK

Dissolve two teaspoonfuls of white sugar in half cup full of boiling water. Write in the ordinary manner. Holding to the fire will cause the saccharine to turn brown.

INK FOR RUBBER STAMP PADS

Dissolve ten cents’ worth of red analine (or any other color) in two ounces of glycerine and apply to stamp pad with stiff brush; smooth it on as evenly as possible.

FRESHEN RUBBER STAMP PADS

To freshen up old rubber stamp pads, scrape surface of pad with a dull knife or edge of stiff cardboard to remove dust. Then apply clear glycerine. Pad is now almost as good as new.

BLACK TRACING PAPER

Lamp black mixed with cold lard to the consistency of thick paste. Apply to thin paper with a piece of cloth. Then take a flannel cloth and rub until the color ceases to come off. If red is desired use Venetian red. For blue use Prussian blue, and for green use chrome green.

COMMON BLACK WRITING INK

One ounce extract of logwood; pour over it two quarts of boiling soft water. When dissolved add one drachm of yellow chromate of potassa. Put in clean bottles. This formula will cost about 15 cents.

EVERLASTING BLACK WRITING INK

Two gallons of rain water, ¼ pound gum arabic, ½ pound copperas, ¾ pound powdered nut-galls, ¼ pound of brown sugar. Bruise all and mix. This is valuable for copying deeds, etc., as it will last for hundreds of years. Shake the mixture occasionally for the first ten days, then it is ready for use.

PAINTING WATER-COLORS ON PARCHMENT SHADES

To prevent water-color paints and india inks from crawling on the greasy surface of parchment, rub gently with finely powdered pumice, using a soft cloth or cotton. Pulverized emery is equally efficient.

TO COLOR FLOWERS

One method of coloring flowers is to cut them with long stems and let them stand for awhile in water containing dye of the desired color. There are some species of dry, strawlike flowers, which are merely dipped in dye.

TO TURN A HYDRANGEA BLUE

It is claimed that putting a couple of lumps of alum at the roots of the hydrangea will cause it to turn blue.

DRAWING PAPER MADE TRANSPARENT

To render ordinary drawing paper transparent for tracing purposes, sponge paper with a solution of 2 parts absolute alcohol to 1 of castor oil.

The alcohol soon evaporates and tracing paper is ready for use. Drawing or tracing may be made with india ink or lead pencil.

Restore paper to its original state by immersing in absolute alcohol.

DRIER FOR PAINTS ON PARCHMENT LAMP SHADES

Japan drier is used almost exclusively as a paint medium for coloring parchment lamp shades. Pale Japan is almost colorless and will not alter hues.

TO CLEAN SOILED PHOTOGRAPHS

Lightly sponge with cotton dipped in alcohol.

TO OXIDIZE COPPER AND BRASS

A solution for oxidizing copper or brass is composed of 2 ounces of nitrate of iron and 2 ounces of hyposulphite of soda to 1 pint of water. Immerse the article until the desired shade is acquired: then wash, dry and brush.

GREASE AND PAINT REMOVER

Oil of turpentine, fluid oz. 5; water of ammonia, fluid oz. 4; wood alcohol, fluid oz. 5; ether drops 25, acetic acid, fluid dr. 4; water, fluid oz. 5. Apply a little to stained parts with a brush, rubbing briskly for a moment or two. Rinse out with clear water.

TO REMOVE OIL STAINS FROM LEATHER

Dab the spot carefully with spirits of sal ammoniac, and after allowing it to act for awhile, wash with clean water. This treatment may have to be repeated a few times, taking care, however, not to injure the color of the leather.

BLEACHING TALLOW

Dissolve alum, five pounds, in water, ten gallons, by boiling; and when it is all dissolved, add tallow, twenty pounds. Continue the boiling for one hour, constantly stirring and skimming. When sufficiently cool to allow it, strain through thick muslin; then set aside to harden. When taken from the water, lay it by for a short time to drip.

WHEN LEATHER BECOMES STICKY

Either sponge the leather thoroughly with a mild suds of borax soap, and when perfectly dry, apply thin coat of white shellac, or else clean the leather with some solvent such as gasoline.

COMMON BLUE WRITING INK

Sulphate of indigo and soft water. Color to suit.

WATER PROOFING PAPER

Dissolve 2 parts of borax and 2 parts of shellac in 2 parts of water, and strain through a fine cloth. With a brush or sponge apply this to the surface of the paper, and when it is dry, polish it to a high gloss with a soft brush.

TO MAKE ORNAMENTAL GRASSES GLISTEN

Make a brine by boiling one quart of common salt in 1½ quarts of water for fifteen minutes. Tie bunches of ornamental grasses together and pour the solution over them while it is hot. Place in a dark room or cellar, where it will not be disturbed and allow the grasses to stand for 24 hours, then lift them out and hang them up to dry. In a few hours they will be white and glistening.

INDELIBLE MARKING INK

100 grains nitrate of silver, 1 ounce distilled water, 2 drachms gum arabic, 1 scruple of indigo. Thoroughly mix.

EYE STRAIN

Eye strain can be eliminated while printing yellow forms under artificial light by using blue eye glasses. This causes the yellow to appear green.

MARBLIZING

Marbling Show Cards, Backgrounds For Photo Engravers, Lampshades, Box Tops, Paper, Etc.

Halftone illustrates three different cards marbled and cut to form a diamond shape. Process is fully described in the following pages.

FRENCH OCHRE

16 parts deep chrome yellow, 4 parts medium purple and 4 parts bright red.

HINTS FOR ARTISTS

MARBLIZING

Marbling Show Cards, Backgrounds For Photo Engravers, Lampshades, Box Tops Paper, Etc.

Figure 1.
]

Very little practice is required in this most fascinating art.

1. Thin any oil paint or printer’s ink to the consistency of water with turpentine, gasoline or kerosene, any number of colors. Mix each separately.

2. Fill a pan, wash basin, or bath tub two-thirds full with water. Size of vessel to be determined by size of card to be marbled.

3. A teaspoonful or more of each color which will readily float on the water is the next step. (See Fig. 1.) A little black used along with certain colors produce very satisfactory results.

4. With your hand or paddle agitate the mixture of water and color and before the turbulent waves subside, immerse card face down (See Fig. 2) being careful to wet entire surface.

To avoid air pockets (wide open colorless spaces) bend card or paper slightly as shown in figure 2. Mottled marble effects are obtained when waves are nearly settled or quite still.

Figure 2.
]

The coloring adheres to the sheet instantly and it is needless to hold it under water. Colors will run if used in excessive quantity or failure to thin enough. If air pockets form, wait until thoroughly dry before redipping in solution.

White oil paint or printer’s ink may be mixed with colors to form tints before same is thinned. More thinning of colors also make lighter shades.

Over painting on these backgrounds should be executed with color ground in Japan to better adhere to the slightly greasy surface.

Show card writers may obtain rather unique effects with the following:

On a blank card paint or draw all or part of the lettering and border with show card writer’s white which is soluble in water.

When thoroughly dry dip into marbling solution as has been previously described, when dry, place in running water until all show card writer’s white is washed free. A clean soft brush will help loosen it.

The marbling colors should be a trifle darker with less agitation. The darker background will help show to better advantage the pure white border and lettering.

White material is best for marbling. White, a neutral color will not alter the various colors and tints applied in this process. However, colored board may be used to good advantage for certain purposes.

DRAWINGS RESEMBLE PRINTING

To Make Drawings Resemble Printing—Black and White or a Variety of Colors

First—Make light pencil sketch of subject on any good paper or cardboard such as is used when water-colors are employed. Outline all high lights and other portions which are to remain white.

Second—With brush or pen fill in all high lights and other portions which are to remain white with show card writer’s white, which is soluble in water, and let dry.

Third—Partly fill any shallow tray or dish with (water proof) ink, black or colored, if desired. Now dip drawing and let dry.

Fourth—When black or colored water proof inks are thoroughly dry place into running water until the white is washed free from drawing, exposing the clean surface of material. Place between blotters which have been weighted and let dry.

With this process your drawings can show no brush marks. The solids will remain smooth and dense as though printed. If plates for printing purposes are to be made from drawings, you will obtain splendid clean cut results by using this dipping process.

Show card writer’s white and (water proof) black or colors may be obtained at any art shop.

SPATTER

Most everyone is familiar with spatter work. Shading and background effects for drawings, show cards, art candles, etc., may be treated with spatter in one or more colors.

Color in the form of fine dots is thrown upon the unprotected portions of material by rubbing the inked bristles of a brush on a sieve or with a knife blade.

Necessary materials: India or common writing ink, a tooth brush, pocket knife, rubber cement, cardboard and some thin transparent tracing paper. The latest and most effective method is to spatter through a sieve, with a round medium stiff brush as shown in the accompanying illustration.

With point of knife cut out letters which are traced from painted show card and paste with rubber cement, or weight with small objects to prevent color from running under the edges, directly on the face of each corresponding letter and apply spatter. Remove these masks when the work has dried.

High lights may be added to spatter drawings with touches of Chinese or show card writers white with a pencil brush.

Gold ink spatter shows well on dark materials; white is effective on black material. Pleasing backgrounds are produced by thinly covering material with rice, flax seed, leaves, sawdust, etc. Apply spatter and let thoroughly dry before disturbing to prevent smearing.

INDEX

Art of Color Mixing, 4

Altering Color, 5

Color-Blindness, 5

Color Harmony, 7

Color Mixtures, 28

Color Mixtures by Parts, 21

Complimentary and Harmonious Color Combinations, 18

Colors as Seen by Individuals, 27

Extremes of Warm and Cold, 4

Good Greens, 41

Hints for Artists, 65

Hints for Painters and Decorators, 47

Hints for Pressmen, 57

Meaning of Colors, 3

Matching Special Colors, 9

Miscellaneous Colors by Parts, 44

Miscellaneous, 60

Nature’s Color Chart, 6

Origin and Definition of Colors, 10

Pigment, 6

Tint Mixing, 8

Tint Mixtures by Parts, 24

Two Color Mixtures by Parts, 41

What Is Color, 3

Warm and Cold Colors, 3

------------------------------------------------------------------------

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By JACQUES H. BUSTANOBY

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The Color Chart
]

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TABLE OF CONTENTS

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This book contains 128 pages with 100 illustrations, including 25 full page illustrations, is bound in cloth, with jacket printed in colors. Price, $1.25 Net. Postage 10 cents additional.

Learn How to MAKE MONEY as a COMMERCIAL ARTIST or CARTOONIST

Have you ever wished that you were the one who made comic drawings for the Daily and Sunday Newspapers, and received the enormous salary that some of those artists make?

Or have you wanted to draw illustrations for books, magazines, cover designs, posters, car cards, advertisements, etc.?

If you have, and still want to do so, don’t fail to get the book.

COMMERCIAL ART and CARTOONING

By E. C. MATTHEWS

Author of the book “How to Paint Signs and Sho’ Cards”

This book contains a practical course designed to lead you from the
simplest elementary drawing to the higher branches of illustration and
is more complete and up-to-date than many “courses” selling at many
times the price of this book.

It contains 122 pages, 12 chapters with over 125 illustrations, size
5½ x 7⅛ inches, printed on coated paper and bound in cloth. =Price
$1.25. Postage 10 cents additional.=

J. S. OGILVIE PUBLISHING COMPANY
57 ROSE STREET NEW YORK

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TRANSCRIBER’S NOTES

1. Silently corrected obvious typographical errors and variations in spelling. 2. Retained archaic, non-standard, and uncertain spellings as printed. 3. Enclosed italics font in _underscores_.