Something about painting and varnishing by Masury John W

Author:Masury, John W. [from old catalog]
Language: eng
Format: epub, pdf
Tags: Carriage and wagon painting. [from old catalog], Varnish and varnishing
Publisher: [New York
Published: 1881-03-25T05:00:00+00:00

marine blue, carmine, emerald green, scarlet and crimson lakes, etc. All are familiar with the beautiful colors reflected from the vases placed in the windows of apothecary shops. This results from the depth of colored fluid. A thin, flat glass vessel would not reflect such hues, though filled with the same substance. The principle is the same in carriage painting. To show the best possible colors, the light must be reflected, not from a flat, opaque surface, but from a surface which has beneath it a depth of continuous colored particles reaching away down through the successive coats of varnish to the groundwork. To be sure, this mode of proceeding is expensive, both in labor and material, but who ever gained any good thing without working for it ? Black should be put on one coat of clear flat color ; after that, every coat of varnish should contain more or less of the same black as used for the first coat, up to the finishing coat, which should be clear varnish. In this mode the black holds its color, and does not take on the greenish tinge, which otherwise it is impossible to avoid. All work, of course, is good or bad only by comparison. Any carriage is black enough in a dark night, and almost any tolerably good black looks well enough when viewed per se. It is only when placed in comparison with the best, that its inferiority is apparent ; and men who strive to excel in their productions are not content to occupy inferior positions in any particular. " Excelsior " is a good motto for coach painters.

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