CHAPTER XII.
PAINTING THE BUSINESS WAGON: CONSIDERED AS A WORK OF ART
AND AS AN ADVERTISING MEDIUM—VARIOUS PRACTICAL PROCESSES
GIVEN—POPULAR COLOR COMBINATIONS EMPLOYED—PAINTING
CANVAS TOPS, ETC.
Only a prophet of much temerity would attempt to bound the possibilities of business wagon painting. It may be allowable to define it as a limitless art, resourceful, restive, responsive to an admirable degree to the ever-varying side-lights of technical skill. All that art can be anywhere the broad surface of the modern business vehicle invitingly offers to display. The time when the main requirement of a business wagon was symmetry and strength of structure has gone by. The merchant, the man of business, has found it to possess a value beyond its mere capacity as a carrier of merchandise. Its worth as an advertising medium, as an agency through which business stability and enterprise may be widely heralded, has been fully learned. Thus the evolution of the present elaborately painted and decorated business wagon has come about. Is it not stating the truth too strongly to say that the average business man is now quite as exacting and peremptory about the style and appearance of his business wagon as he is of his much prized pleasure vehicle. He aims to have his painter achieve a distinct individuality in the painting of his (the business man's) vehicles, so that so-and-so's delivery wagons are readily distinguished from all others met with along the highways and by-ways. To this end he not only seeks to have his vehicles so painted and decorated that unsurpassed advertising effects are commanded, but he also makes careful selection of a combination of colors, and strictly adheres to that combination throughout the list of his business vehicle equipment. This manifestation of exclusiveness on the part of business men has created a spirit of rivalry that has greatly redounded to the painter's benefit in that more beautiful and dashing color effects are now in vastly greater demand than formerly.
And the gratifying aspect of the case is that these original and artistic styles of painting the business vehicle bid fair to continue in popularity. It furnishes the wagon painter, and most especially the apprentice in the wagon paint shop, an incentive to excel in this branch of painting.
The reader may here note, perhaps, an inclination to separate wagon painting, which we have in preceding chapters treated as an inclusive feature of vehicle painting in its broad interpretation, from other branches of the painting art. Necessarily, in the small provincial jobbing paint shop it is all grist that comes to the hopper; consequently carriage and wagon painting are judiciously included under one head. In the city establishment, however, an abrupt division is made, and we find business wagon painting practiced as a specialty—reduced to a fine art. Many argumentative discussions have been conducted by specialists in the two branches to prove the superior skill required in one branch as against the other, and a wide diversity of opinion remains prevalent as to which side has the best of the controversy.
Certain it is, at any rate, that the exactions of fine wagon painting are at present very pronounced. Granting that elegant general effects take precedence over all other features of wagon painting, the fact remains that the quality of the surface must be carefully looked after. It is seldom needful to obtain as fine and satiny a surface as is required on the panel of the jaunty brougham or the luxurious landau, the color scheme employed, united with dignified and artistic ornamentation, being depended upon as the irresistable attraction. However, this statement is not intended to belittle the importance of the surfacing system. Upon the finest class of business wagons it is a common experience to observe surfaces which in point of smoothness and general excellence are second only to those observable upon heavy pleasure carriages of the finest class.
The wagon painter is confronted by many difficulties concerning which the carriage painter pure and simple, knows little. He must know well how to build beautiful and durable surfaces. He should be a first-class colorist, understanding all the features of color mixing and fully conversant with the laws of harmony and contrast. He will likewise find it necessary to be an unexcelled master of the varnish brush, a skilled striper, wagon letterer, and decorative painter of established ability. The chief disadvantage under which the wagon painter labors is presented to him through the agency of the many lead-weighted colors which he is usually compelled to employ. Many of the light colors extensively used in wagon painting at this time contain keg lead, or lead of another form, as the main ingredient. In doing jobs with light colors containing much lead, roughstuff is not generally used, the lead medium being relied upon to furnish a sufficiently smooth, compact, and close-textured surface; and naturally, therefore, this surface is freely flexible and elastic. Amid the stress and strife of competition and swift processes, these coats are often crowded on so fast that reliable drying is not assured, and then to lend additional uncertainty to the outcome of the work, rather quick and fairly unelastic varnish coats are employed, so that at the completion of the work a thread of weakness gleams through the whole paint and varnish structure. Surface building fallacies of this nature the wagon painter is forced to contend with, and his ability to surmount them is repeatedly shackled by rigid contrary decisions coming from the business office. By this token, then, it is plain beyond the need of further demonstration, that wagon painting is an art that bespeaks for its successful practice technical knowledge and skill of a high order. Its varied phases, none of which are uninteresting and most of which are really fascinating, invite study, and the cultivation of talents, both artistic and mechanical, not required in any other recognized branch of painting. Probably the
PAINTING OF A FULL-PANELED TOP BUSINESS WAGON
offers more difficulties than any other style of wagon. The workman first proceeds to clean off all the grease smears, and then takes full care to get the job thoroughly sandpapered. Then prime job throughout, running parts and body inside and out, top, bottom, etc. If the job is to be painted in dark colors use the priming formula No. 1, given in Chapter III. of this series, and if light colors are desired prime with white (keg) lead thinned to working consistency with raw linseed oil, tempered as to drying with a teaspoonful of japan to each pint of the primer. If no time limit intervenes omit the japan. The running parts, in due time, are next given careful sandpapering, and then rub lead, as fully detailed in Chapter III., is applied. The body receives sandpapering and a lead coat adapted to the final color, mixed, if the job is to go roughstuffed, with 3/8 oil to 5/8 turpentine, half and half. Apply to inside as well as outside of body and top, then when these applied mixtures are dry, putty, using as mixture ingredients dry white lead, 3 parts; keg lead, 1 part; and rubbing varnish and japan, equal parts.
For the running parts, if to be painted in light colors, use the next coat of pigment mixed to a brushing consistency with a trifle less than 3/8 oil and a corresponding increase over 5/8 turpentine. Thus gradually reduce the percentage of oil as the final color is approached. In case dark colors are to prevail, apply over the red lead a coat of lead pigment carrying a firm binder of oil, say one-sixteenth.
Upon the body, if it is to be painted in dark colors, next apply four coats of roughstuff, choosing from among the formulas given in Chapter III. one suited to the time allowance to be reckoned with. If light colors are to be used, and stuff coats tabooed, all the open, coarse-grained sweeps of the surface require an application of knifing lead (again refer to Chapter III.) put on with a bristle brush and then pressed into the minute wood orifices with a broad blade putty knife. Then in the next coat of pigment, colored fittingly to meet the final color, reduce the oil to the proportion of one-fourth oil to three-fourths turpentine. In the next coat which will have practically a full percentage of the desired color the quantity of oil used, as compared to that contained in the preceding coat, should be cut in twain. The next reduction should bring the pigment down to possessing simply a good binder of oil. Then, in easy procession, follow the final color coat, color-and-varnish, if the system permits it, clear rubbing, and finishing.
On large top paneled jobs, however, when strictly high class results are desired, it will be quite necessary, regardless of the colors employed, to employ roughstuff as the body surfacing agent. The surface is brought up to the roughstuff stage as above advised, and then, in case of a white job, resort is had to the white roughstuff, formulas for mixing which will be found in Chapter V. of this work. The colors used over the stuff coats are either japan ground or washed with benzine to free them as much as possible of the oil carried.
THE CHEAPER CLASS WAGON
is painted by various processes in all of which the several knifing-in pigments are esteemed factors. A moderate cost method affording very neat surface results upon small paneled bodies, ribbed ones, etc., is executed by first giving the body a coat of some P. W. F., the filler being applied freely and at the proper time removed and the surface dried and cleaned up nicely with clean rags. The chamfers on ribbed bodies are gone over with the filler. The day following, the surface is given an application of knifing-in lead, the chamfers getting the same treatment as the flat surface. This knifing-in lead receives a very clean and smooth knifing, the labor of sandpapering being thus reduced to the minimum. This coat having dried, the nail holes and other indentations are next puttied. Sandpapering, first with No. 1/2 paper, lastly with No. 0, follows. This is made to suffice for a base to color upon, if a light color is desired. If a dark color is wished, a coat of lead, colored to a full slate color and mixed to dry "dead" or gloss free, is put on with a camel's-hair brush. This effectually dresses over and obliterates surface irregularities which might command attention upon dark surfaces, whereas upon light colored ones, built with a strong percentage of lead, they would pass unheeded.
The running parts get a primer consisting of lead, 2 parts; yellow ochre, 1 part; floated in raw linseed oil. The outer or more exposed parts are next draw-puttied with the regulation knifing lead, this to be followed in due course with regular carriage putty, being smoothly placed in nail holes and other cavities. Sandpapering next ensues and this, in turn, is followed with a gloss-lacking lead coat in which the final color is well represented.
Perhaps a still cheaper system, as practiced in a factory shop, may be wanted. If so, prime job throughout, body and gear, with a pigment strongly colored with the color to be used in painting the vehicle. This primer, for its liquid ingredients, should have raw linseed oil, 3/4; turpentine, 1/4; japan, 1 teaspoonful to each quart of the mixture. Stand the work aside in a warm room for at least 48 hours. Then thoroughly sandpaper with No. 1 paper, after which putty holes, etc. Now take the body surface and give it a coat of knifing lead made of dry white lead, 5/8; keg lead, 1/4; finely ground roughstuff filler, 1/8; rubbing varnish, 1/2; japan, 1/4; turpentine, 1/4; color this lead to meet final color. Exercise great care in cleaning off all surplus lead so that a very light polish with No. 1/2 sandpaper will suffice to insure adequate surface smoothness. This knifing lead will require thirty-six hours in which to dry reliably. Then reduce the consistency of quick rubbing varnish somewhat with turpentine, and apply a coat to the surface. With clean linen cloths wipe off the surface immediately. This varnish coat serves to act as a stopper and sealer-up of the knifing lead and putty, in addition to holding forth the subsequent color and varnish coats becomingly. One day after putting on this varnish coat rub the surface lightly with No. 0 sandpaper to flick off dirt atoms, etc., dust carefully, and lay the first coat of color, a strong binder of varnish being used in both the first and second coats of color. From this out, color, ornament, and finish in the usual way.
The running parts are draw-puttied on the priming coat, puttied, sandpapered in good shape, colored, and from thence out carried rapidly to a finish. This method affords a pretty acceptable finish, especially if tricked out with a neat turn of ornamentation and a fine show of varnish.
Again the practice is observed in some establishments of painting the running parts as just described and doing the body as follows: After priming as usual, a coat of roughstuff mixed of lead and filler, equal parts by weight, and rubbing varnish and japan, equal parts, thinning to an easy brushing consistency with turpentine, is applied. After giving this coat twenty-four hours to dry, sandpaper with No. 1/2 paper to clear off lumpy substances, etc. Clean off surface carefully and draw-putty with a mixture composed of dry white lead, 2/3; keg lead 1 1/3; liquids, rubbing varnish 2/3; japan, 1/3. This coat can be worked over in ten hours if necessary. Then apply two coats of roughstuff mixed as above suggested, the two coats being applied in one day if the limitations of time so demand. If it is wished to avoid the use of a guide coat, and at the same time enjoy whatever advantages are afforded by such a coat, give the last coat of roughstuff a strong dash of yellow ochre.
PAINTING HEAVY TRUCKS AND FARM WAGONS.
At present this class of vehicles is painted in a way differing considerably from that practiced formerly. Then durability was the chiefly considered virtue. Now that fickle and flighty feature of painting is an attainment no more earnestly worked for than is a high degree of excellence in color effects.
For trucks, while a wide range of colors are popular, radiant reds and yellows are apparently in the greatest favor. The wheels of such vehicles are best given a coat of raw linseed oil before the tires are set. The remaining running parts and the body parts are likewise coated with oil before the irons are fitted, whenever it is possible so to do. It is then easier to clean off grease daubs and finger marks left by the athletic blacksmith and his coy young assistant. Moreover, there is a saving of time gained by this method. The next coat should be a half-oil, half-turpentine lead coat tinted or shaded stoutly with the color to be used in painting the vehicle, unless the color is to be a yellow, in which case a pure white will be an entirely correct ground. If a better job is desired apply an extra coat of lead and an additional coat of rubbing varnish. Beautiful canary yellows are now seen on a great number of city truck running parts. These yellows can be purchased of the manufacturers ready for use, barring a simple thinning down with turps and the addition of a little varnish for a binder. Upon the first coat of lead, puttying should occur. If red or some equally positive color is to be used, color putty accordingly. If yellow, let the putty go white. Sandpaper and smooth surface down finely upon the first, and, if used, the second coat of lead. In using light colors, the mechanic will find it needful to keep clean hands, as the slightest smear makes a disfigurement not easily remedied. For first-class, solid jobs of canary or other delicate yellow, two coats of the flat color, and one coat of color-and-varnish will quite surely be required. The varnish coats when used clear should be very pale, in fact, colorless. Happily, it is now a comparatively easy matter to obtain varnishes specially adapted to light, sensitive yellow and white surfaces.
Many of my readers located in the provincial jobbing paint shop will have more or less of farm wagon painting to do. As a possible means of aiding them somewhat in getting the job ready for the color stage of the process, it may be said that when the job arrives at the paint shop, the first and most important thing is to prepare the surface for the first coat of oil and pigment. When possible it is advisable, as in case of heavy trucks, to coat the job, prior to fitting the irons with raw linseed oil. If anything, the average country blacksmith is given to a more lavish surface adornment of soot smears, valve oil chromos, and scorched quarter-sections than his city brother of hammer and tongs. Such surface defacements are all violent enemies of durability. Their sleek and clean removal is therefore imperative. To banish the oil and grease and soot smears, saturate a cloth in benzine and lightly wash the surface. This fluid will loosen and quickly remove, with the aid of a clean cloth for a final drying up, all the greasy substances. The scorched patches require a very thorough cleaning out, a piece of glass nicely answering, usually, for slicking off the carved wood. When the parts are freed from the burnt particles, touch them lightly with raw linseed oil, wipe dry with a bit of cloth, subsequently touching the places with shellac. The priming coat, or first pigment coat, rather, should be controlled by whatever color the job is to be painted. Putty on this coat. Then a lead coat still more heavily fortified with the final color is in order. A coat of color-and-varnish should suffice for a suitable base to stripe and finish upon, save in case an extra color coat and an extra varnish coat will be needed.
Farm wagon bodies may get priming, a coat of knifing lead, a very smooth sandpapering on this coat, then a coat of color, one of color-and-varnish, then finishing varnish. If a little better surface is wished, a coat of clear rubbing varnish, surfaced closely, will give the desired result. Dark rich browns for the bodies harmonize effectively with almost any of the popular yellows for running parts. Indian red, five parts; Prussian blue, one part; with a dash of yellow to tone the mixture, give a beautiful brown. Chocolate, maroon, and wine color, also furnish strikingly handsome results for farm wagon bodies, when shown over running parts attired in gay coats of yellow.
COLORS FOR BUSINESS WAGONS.
As already suggested, a wide variety of colors of striking brilliancy are being used in painting business wagons. Perhaps the prevailing colors may be referred to as the various shades of yellow, reds, and greens. Chocolates, maroons, browns, and rich shades of blue are also extensively employed. Many light delivery wagons are painted solidly throughout, body and running parts, with some one of the beautiful shades of canary yellow. The lettering and ornamental work upon the body may be done in aluminum leaf, the shadings and striping being placed in green or blue. A full-paneled top business wagon may be painted in this way and the color effects will be handsome. The main body panel, lower and front panel, rich wine color; center panel, moldings and other spaces, medium carmine; inside edge of moldings go black, striping white. Letter in gold and shade in blue, light and dark. Running parts, carmine; striped 1/4 inch black line, and fine line of white. Or the body panels may be done in deep ultramarine blue, moldings black, with letters in gold and ornaments and striping in gold and white. Running parts, light ultramarine blue striped two round lines of white, five-sixteenths of an inch apart. Again the main panel of body may go sage green or a fine cream yellow. If sage green, paint lower panels merrimac green; running parts still lighter shade of green. Lettering done in fine gold outline, striping and ornamenting done in gold. In case main panel is done in cream yellow, throw lower panels in carmine. Letter in gold. Running parts go a lighter tint of cream, and stripe black to correspond with black moldings on body. The fine line should be carmine. If desired, paint body and running parts carmine, letter in gold or aluminum, and stripe with vermilion. Moldings on body, black. Another combination shows the upper panel black, lower panels and running parts, cherry red; or upper panel black, lower panels amber brown, or deep green, with belt panel olive green; running parts, a trifle lighter green. The upper and lower body panel, in case of a three-panel job, may go Indian red, center panel white; running parts Indian or Tuscan red. Letters and striping done in gold and white.
A popular style of painting the ribbed body wagon is to paint body panels dark, rich green; chambers, black; running parts, vermilion. Panels of body striped primrose or orange yellow; running parts, black.
However, to mention in detail a very small part of the charming color schemes which are sought and displayed in painting the modern business vehicle would reach beyond the alloted limit of this chapter. Suffice it to say that the painter has a richly blossoming and variegated field of colors from which to select those combinations sanctioned by the esteemed and appropriate standard of the colorist's art.
PAINTING CANVAS AND CLOTH TOPS.
Formula No. 1.—Use of white vitriol one-quarter lb. in three quarts of soft water, adding whiting until a good spreading consistency is reached. Prime outside of top and curtains. This leaves the material nicely flexible and coats the texture up so dense and full that a couple of coats of paint are saved. Then with an elastic paint coat and finish in the usual way.
Formula No. 2.—Coat the canvas, barring curtains, with rye flour paste, inside and out. Permit this paste to dry thoroughly. With No. 1/2 sandpaper polish cloth lightly to knock off nibs, etc. Then coat with white lead paint mixed with one-third raw linseed oil and two-thirds coach japan, the mixture cut a little with turpentine. Next coat reduce the oil to a trifle less than one-quarter oil to one-half japan, one-quarter rubbing varnish, the remainder, turpentine. Next give coat white color-and-varnish. Rub this coat lightly with water and pumice stone (pulverized), letter, ornament, and finish with a durable finishing varnish.
Formula No. 3.—Size with hot glue water, using two coats twenty-four hours apart. Then apply coat of keg white lead mixed two-thirds raw linseed oil, the remaining one-third being japan and turpentine, equal parts. After five days apply coat of lead containing three-eighths oil, two-eighths japan, three-eighths turpentine. Then apply white color-and-varnish. Rub lightly, letter, and finish. This is not adopted to a limited time allowance.
Formula No. 4.—Sponge with water top and side panels or curtains; permit to partly dry and then coat with lead and oil coloring strongly in the direction the final color is to be. Reduce the quantity of oil in the next coat, and in lettering use enough oil in the colors employed to give the requisite elasticity.
To paint on enameled drill, mix the pigment with raw linseed oil and gold size japan, equal parts, and thin to the proper consistency with turpentine. In judging the quantity of oil used, a close determination of the percentage of oil contained in the lead should be made, otherwise an excessive quantity of oil is apt to be used.
The wagon painter frequently has to letter on canvas, duck, or some other material of similar texture not dressed in the raiment of paint. To do this successfully various expedients are resorted to. Some workmen practice moistening the cloth with water and then putting on the letters in paint having plenty of oil in it. Others draw the cloth tight and firm and size it with a solution of starch and water. Proportions, 3/4 water; 1/4 starch. Allow this size to dry considerably before beginning to letter. Mix the lettering pigment to a paste form in elastic rubbing varnish and thin with turpentine. Still others make a size of cooked starch and glue water, and sponge the parts that are to be lettered. After the letters have been placed, if the cloth should prove to be stiff and inelastic, sponge with moderately warm water, in this way abstracting the surplus size.