Commercial Paints & Painting (Paperback)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1914 edition. Excerpt: ...matter whether the pound brush is new or old; the fine black brush will remove the brush marks. Another and most important point is the fact that one cannot lay off paint finely with a brush which is charged with colour. The final touch must be done with a practically dry brush, and for this reason much time used to be spent in rubbing out the brush, generally on the wall if available, in order to bring the brush to a fit condition for laying off. There was no need of a secondary brush when the number of coats allowed was sufficiently ample to allow of each one being spread out to its utmost limit. By the time a panel was covered the brush was nearly dry and fit for laying off. No such brushing out is possible now, and the successful painter is one who can apply a good round coat and still get it fine and free from brush marks; and the use of a secondary brush, with its fine black bristles kept almost dry, will help him to do so. It is quite on a par with the grainer and his " badger softener," and is at the same time a splendid way of preparing these brushes for use afterwards in enamel or varnish. The application of flat enamel, on the other hand, is altogether different. Here we have a material which is possessed of the property of flowing out rendering the fine laying off unnecessary. The principal aim must be to spread it as quickly and evenly as possible, and then leave it severely alone. Small sections, such as panels, etc., should be laid in freely, crossed once horizontally and laid off vertically with a firm hand. Walls and other large surfaces should not be crossed horizontally at all. The edge should be kept alive and the laying off done in a slanting direction from the edge inwards, and never in the opposite direction, or...