  The Artistic Application of Paint Spraying. Some of the smaller and more delicate types of spraying apparatus are largely employed for such purposes as the following:—Black and white and water-colour drawing, photograph finishing, preparing pictures for process blocks, Christmas cards, window tickets, embossed cards and small stencil and shaded work on fabrics, wood, glass, metal, leather, etc., lithographic work, picture painting in oils, decoration of pottery and stencil and shaded work of all kinds. They are also employed for producing very charming effects in wallpaper. The writer has seen most creditable examples of work done in this way on menu cards, lamp shades, and even stencilled ornaments on men's ties. A few examples of this class of work are given in the accompanying illustrations. It may be pointed out that when decorative work is required on metal work or engineering appliances, it can in most cases be done by spraying without much difficulty, aided in some cases by stencils specially cut for the purpose. Thus the outline of a trade mark, a monogram or a coat-of-arms, or heraldic device can be easily sprayed and be then finished by hand. Again, the lining on a motor or carriage can, if care is taken, be done by the same means, although it must be said that the result is never quite equal to that produced by the hand of a skillful worker. In relief work, such as ornamental iron, pressed paper, etc., some pretty effects may be produced by spraying a different colour to that of the ground in such a manner that only one side of the relief receives the second colour. This is effected by directing the spray from the side. Most readers will be familiar with these effects produced on Another series of effects in which brilliancy of colouring is required may be referred to in passing. Sometimes a bright red or a bright green is desired for the finish of a particular piece of work. In such cases a use of the process known as "colour glazing" is recommended. For example, an agricultural implement or any other article which it is desired should have a bright crimson finish can be first painted with Venetian or Indian red, by either spraying or dipping, and then have a coat of crimson lake, which will give an excellent effect. As the crimson lake is somewhat fugitive a protecting coat of varnish will be required. All glazing colours may be applied by dipping, because, being semi-transparent, they are all very fine, and the coats may be thin, but the varnish should be applied by spraying or by hand. It may of course, be of a variety suitable for baking or stoving if required. This process is an alternative to using coloured enamels, and in some cases gives better results. Much depends upon the colour and the constituents of the enamels. Many of the lakes are very sensitive to a high heat, which changes the colour to a dirty brown. In such cases a final coat of stoving varnish, if carefully handled, will be safer than some grades of enamel. Scumbling and Colour Glazing. For convenience of reference we include a short list of glazing colours taken from Andrew Miller's "Scumbling and Colour Glazing," published by the Trade Papers Publishing Co., Ltd., 365, Birkbeck Bank Chambers, London, W.C. Glazing. The principal colours used for glazing are cadmium, crimson lake, Prussian blue, lemon and orange, chrome, yellow, Brunswick green, carmine, madder lake, Chinese blue, cobalt, indigo, gamboge, terra verte and emerald green. These colours may be used ground in either linseed oil, turpentine or water. Some of them are rather expensive, but the coat being very thin a little colour goes a long way. Following is a list of ground colours with the glazing which may be used in conjunction with them. They by no means exhaust the range of effects, but are given as suggestions:— Fig. 115.—Designs for Lamp Shades (Opened Out) Done by Spraying.
REDS. Apricot.—Ground made up with zinc white, middle chrome, and vermilionette, glazed with crimson lake. Begonia.—White zinc, vermilionette and Prussian blue, glazed with brown madder lake. Carnation.—White zinc and vermilion, glazed with crimson madder lake. Claret.—Zinc oxide, Venetian red and vermilion glazed with brown madder lake; or zinc oxide and ultramarine blue, glazed with carmine. Coral.—White zinc, vermilion and lemon chrome, glazed with crimson lake. Flesh Colour.—White zinc, yellow ochre and Venetian red, glazed with burnt sienna. Geranium.—Bright Derby red and orange chrome, glazed with crimson lake. Lilac.—White lead, vermilion and ultramarine blue, glazed with brown madder lake. Magenta.—Zinc oxide and ultramarine blue, glazed with crimson lake. Peach.—Zinc oxide, vermilion and lemon chrome, glazed with cadmium (deep); or white lead and Venetian red glazed with carmine. Plum.—Zinc white, Indian red, and ultramarine blue, glazed with carmine; or white lead and Indian red, glazed with ultramarine blue. Pomegranate.—Zinc white, Venetian red and lemon chrome, glazed with burnt sienna. Russet.—Venetian red, orange chrome, lemon chrome, glazed with emerald green (thin). Rose.—Zinc oxide and vermilion, glazed with crimson lake; or white lead and lemon chrome, glazed with carmine. Terra-cotta.—White zinc and Venetian red, glazed with burnt sienna. BLUES. Azure Blue.—Zinc oxide and ultramarine blue, glazed with cobalt. Bronze Blue.—Zinc white and Prussian blue, glazed with black japan. China Blue.—Zinc white, cobalt and raw sienna, glazed with indigo. Gobelin Blue.—White, blue black, Prussian blue, glazed with emerald green. Marine or Sea Blue.—Ultramarine, ivory black, glazed with cobalt; or white, raw sienna and cobalt, glazed with indigo. Metallic Blue.—Zinc white and cobalt, glazed with emerald green; or zinc oxide, Prussian blue, black, glazed with indigo. Mauve.—Zinc oxide and cobalt glazed with carmine; or zinc oxide and celestial blue glazed with carmine. Peacock Blue.—Zinc oxide and ultramarine, glazed with emerald green; or zinc oxide and Prussian blue, glazed with cobalt. Turquoise.—Zinc white and cobalt, glazed with emerald green. Wedgwood.—Zinc white, Prussian blue, glazed with terra-verte. YELLOWS. Amber.—Zinc white, golden ochre, glazed with cadmium (deep); or white lead and lemon chrome, glazed with cadmium. Antique Brass.—Zinc white lead, orange chrome, glazed with Vandyke brown or black japan. Brass.—Yellow ochre, white lead, orange chrome glazed with Vandyke brown. Canary.—Zinc white and Naples yellow, glazed with emerald green (thin). Chamois.—Zinc white and middle chrome, glazed with terra-verte. Citron.—Zinc white and middle chrome, glazed with brown madder lake (thin); or white lead, Venetian red, lemon chrome, glazed with Prussian blue. Daffodil.—Zinc white, lemon chrome, glazed with burnt sienna. Gold.—Zinc oxide, golden ochre, vermilionette, glazed with raw sienna. Old Gold.—Middle chrome, vermilion, burnt sienna glazed with cobalt (thin); or zinc oxide, Oxford ochre, glazed with burnt sienna. Primrose.—Zinc oxide, lemon chrome, Naples yellow, glazed with emerald green. Topaz.—Zinc oxide, raw sienna, lemon chrome, glazed with cadmium (deep). GREENS. Apple Green.—Zinc oxide, Prussian blue, glazed with cadmium (middle); or lemon chrome, zinc oxide, celestial blue, glazed with lemon chrome. Duck-Egg Green.—Zinc oxide, lemon chrome, glazed with Prussian blue. Eau-de-Nil.—Zinc oxide, lemon chrome, Prussian blue, glazed with emerald green. Grass Green.—Zinc oxide, Oxford ochre, glazed with cobalt. Ivy Green.—Zinc oxide, lemon chrome, burnt sienna, glazed with Prussian blue. Myrtle Green.—Zinc oxide and ultramarine, glazed with emerald green. Olive.—Zinc oxide, lemon chrome, burnt sienna, glazed with emerald green. BROWNS. Chestnut.—Yellow ochre and middle chrome, glazed with burnt sienna; or burnt sienna and orange chrome, glazed with Vandyke brown. Chocolate.—Burnt sienna, vermilion, ultramarine glazed with crimson lake; or burnt sienna and Indian red, glazed with Vandyke brown. Cherry.—Raw sienna and burnt sienna, glazed with raw umber. Nut Brown.—Venetian red, lemon chrome, zinc oxide, glazed with burnt sienna. GRAYS. Cool Gray.—Zinc oxide and ivory black, glazed with Prussian blue. Dove.—White, ivory black, Prussian blue, glazed with terra-verte. Fawn.—White, raw sienna, glazed with raw umber. Heliotrope.—Zinc oxide, vermilionette, glazed with ultramarine. Lavender.—Zinc oxide, ultramarine and carmine, glazed with cobalt. Mouse Gray.—Zinc oxide, Prussian blue, glazed with burnt umber. Pearl Gray.—White, Prussian blue, and vermilion, glazed with terra verte; or zinc oxide, vermilion, glazed with emerald green. Silver Grey.—Zinc oxide, ivory black, glazed with indigo. Opal.—Zinc oxide, celestial blue, glazed with burnt sienna. Warm Gray.—Zinc oxide, Venetian red and ivory black, glazed with Vandyke brown. Wedgwood Gray.—Zinc oxide, Prussian blue, glazed with terra verte. Note.—The terms "Zinc white," "White zinc" used above, all mean pure zinc oxide. Scumbling and Graining. It is sometimes desired to obtain a different effect from plain paint or enamel, and to either imitate graining, such as old oak or to give mottled effects. Both processes are produced by scumbling, which means that the ground and finishing colours are different in hue or in intensity, and that portions of the latter are removed to show part of the ground. Thus, in imitating oak, the ground might be painted with a mixture of zinc oxide and yellow ochre, and the graining colour be made of burnt umber and raw sienna. Both coats could be applied either by dipping or spraying, but while the latter is wet, portions should be removed by combs and by the thumb held over a piece of rag, both marks being intended to represent the grain of the wood. In other cases, the colours may be applied as before, and the last coat, while wet, be wiped away at the edges, or in the case of relief metal work, at the highest parts. Again, some excellent effects are obtained by using different colours for the two coats, as suggested, and stippling the second, while wet. Space will not permit of a more lengthy reference to this part of the subject, but full information can be obtained from Mr. Miller's book already mentioned. Something should be said, however, about Brush Graining, because it is so very well suited for work of this character, and by its use some very pleasant effects may be produced. In this case, a material such as "Matsine," or "Scumblette" is applied by spraying over a different coloured ground, and, while wet, this is "flogged," or a dry brush is drawn over the surface, removing hair-like parts which expose the ground colour beneath. Thus a very dark green or even black may be used over a white or nearly white The actual graining can be done in the ordinary way by an expert artisan, but as a rule this would be too costly when perhaps thousands of iron or other goods are to be turned out in a short time. In such a case transfer graining paper is sometimes employed, but this also is somewhat costly. Bellamy's graining rollers are found to be very economical. This tool consists of a cylinder on the outside of which is engraved the grain of various woods, such as oak, mahogany, maple, satin wood, birch, walnut and ash. All that is necessary in working it, is to pass the roller over the surface immediately after the graining colour has been applied, when it will be found to remove some of the paint and give the appearance of graining. This appearance is considerably enhanced if the parts are softened after the roller is used by going over the work with a badger softener. Marble Grounds. For the convenience of those who are called upon to imitate marble for any class of work, the following information is given as to the colours to be employed for the ground colours. White.—A dead white ground should be used mixed to dry hard and smooth. Sienna.—White blended with a mixture of white and raw sienna in irregular patches. Pink Marble.—The ground may be the same as that used for sienna, but a little Venetian red should be added to give it a pinkish cast. Alabaster.—Light cream ground made by adding a little middle chrome and vermilion to white. Rouge Grotte.—This is a very beautiful marble which contains a large number of different colours. The ground may be either white or Venetian red, mixed with a little chrome yellow. Granite.—There are several varieties of granite, the principal being termed "grey" and "red" respectively. To mix the former ground, add a little black and Prussian blue with just a touch of Indian red to white. The grounds for red granites can be produced by mixing Venetian red and white. Rouge Royal.—A mixture of Indian red, Venetian red and vegetable black, with a little white, will make the correct colour for the ground of this beautiful marble. It is very necessary that the ground be quite "solid," and to produce this, two, or even three, coats may be necessary. Egyptian Green.—The ground should be a dead black. Verd Antique.—The same as above. Devonshire Marble.—Venetian red and ochre with a little white to produce a light terra-cotta ground. Black and Gold.—A dead black ground should be used. Dove.—In this case a white ground without gloss may be employed, but a grey is better, such as that produced by tinting white with Prussian blue, a little black and a very little Indian red. Grey.—The same as "dove." St. Anne's—A dead black ground should be used. Graining Grounds. Pollard Oak.—The ground colour is prepared with a mixture of Oxford ochre, Venetian red and white lead in proportions, to form a rich buff; or white lead, chrome yellow and vermilion may be used. Knotted or Root of Oak.—This ground is exactly the same as the above. Birch.—The ground is prepared with white lead, a little Oxford ochre and a little Venetian red, of which latter, however, only sufficient must be used to make a very light buff colour. Mahogany.—The ground colour is prepared with the best Venetian red, yellow ochre and a little white lead (or orange chrome may be substituted for the yellow ochre). If it is desired to increase the brilliancy of the colour, substitute vermilion for Indian red. If a light ground is required use the same colours as above, adding more white. The addition of a little vermilion will increase the richness of the colour. Rosewood.—The ground colour is mixed in the same manner as above described for mahogany, but a little burnt Turkey umber and Victoria lake is added. Satinwood.—A little Oxford ochre added to white lead gives the proper ground for this wood. Fig. 118.—Showing the Beautiful Shaded Effects which may be Produced by Spraying (Strong). Walnut.—The ground is prepared with white lead, Venetian red and Oxford ochre, with a small quantity of burnt Turkey umber, but not so much as to destroy the appearance of the other colours and make them poor. Bird's Eye Maple.—This ground may be prepared with either white lead and a little Oxford ochre, Venetian red or vermilion, but care must be taken not to use too much. Satinwood.—The ground should be a yellowish white, obtained by adding yellow ochre to white lead. Note.—Those who desire to obtain copies of marbles and woods printed in colour, from which to copy, should obtain either or all of the following books:—"The Art of Graining and Marbling," by James Petrie. Price 25s. The Trade Papers Publishing Co., Ltd., 365, Birkbeck Bank Chambers, High Holborn, London, W.C.; "The Art of Graining," by W. Sutherland. Price 25s. A. M. Sutherland, 26, Oxford Road, Chorlton-on-Medlock, Manchester; "Graining," by A. R. Van der Burg, 26s., Crosby Lockwood and Co., Stationers' Hall Court, London, E.C. In Fig. 119 is given an illustration of a fruit dish, the ornamentation of which has been done by spraying. In Fig. 120 is shown a portion of a table cover done by the "Airostyle" on a fine art fabric. There is, of course, no limit to the number of artistic designs which may be produced by applying the paint by compressed air; indeed, the air brush or spraying machine for this class of work produces results which cannot be obtained in any other way. Several of the engravings illustrate forms of advertising cards all done by spraying, while Fig. 118 illustrates very well indeed the different effects in form which may be produced by the spray properly used, such as the raised panels, the sphere in the middle and the convex and concave portions of cylinder. These examples are reproduced, with full acknowledgments, from the "Book of Designs" by Chas. J. Strong, of the Detroit School of Lettering, Detroit, Mich., U.S.A. The price of this book is £1 ($5.00), and it contains an immense number of useful designs suitable for the use of sign painters, show card writers and commercial artists. It may be had in London from the office of the "Decorator," 365, Birkbeck Bank Chambers, London, W.C. |
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