INKS AND MARKING INKS
INKS
BLUEPRINT INKS.
1.—For red-writing fluids for blueprints, take a piece of
common washing soda the size of an ordinary bean, and dissolve
it in 4 tablespoonfuls of ordinary red-writing ink, to make a red
fluid. To keep it from spreading too much, use a fine pen to
apply it with, and write fast so as not to allow too much
of the fluid to get on the paper, for it will continue eating until it
is dry.
2.—For red and white solutions for writing on blueprints,
dissolve a crystal of oxalate of potash about the size of a pea in an
ink-bottle full of water. This will give white lines on blueprints;
other potash solutions are yellowish. If this shows a tendency to
run, owing to too great strength, add more water and thicken
slightly with mucilage. Mix this with red or any other colored ink
about half and half, and writing may be done on the blueprints
in colors corresponding to the inks used.
3.—Add to a small bottle of water enough washing soda to
make a clear white line, then add enough gum arabic to it to
prevent spreading and making ragged lines. To make red lines dip
the pen in red ink and then add a little of the solution by means of
the quill.
4.— For white ink, grind zinc oxide fine on marble and
incorporate with it a mucilage made with gum tragacanth. Thin a
little for use. Add a little oil of cloves to prevent mold, and shake
from time to time.
5.—A fluid which is as good as any for writing while on
blueprints is made of equal parts of sal soda and water.
6.—Mix equal parts of borax and water.
Both these liquids, 5 and 6 must be used with a size-pointed
peat a pen with a blunt point will not work well.
DRAWING INKS:
Blue Ruling Ink.—Good vitriol, 4 ounces; indigo, 1 ounce.
Pulverize the indigo, add it to the vitriol, and let it stand exposed
to the air for 6 days, or until dissolved; then fill the pots with
chalk, add fresh gall, ½ gill, boiling it before use.
Black Ruling Ink.—Take good black ink, and add gall as
for blue. Do not cork it, as this prevents it from turning
black.
Carbon Ink.—Dissolve real India ink in common black
ink, or add a small quantity of lampblack previously heated
to redness, and ground perfectly smooth, with a small portion
of the ink.
Carmine.—The ordinary solution of carmine in ammonia
water, after a short time in contact with steel, becomes blackish red,
but an ink may be made that will retain its brilliant carmine color
to the last by the following process, given by Dingler: Triturate 1
part of pure carmine with 15 parts of acetate of ammonia solution,
with an equal quantity of distilled water in a porcelain mortar,
and allow the whole to stand for some time. In this way, a portion
of the alumina, w hich is combined with the carmine dye, is taken
up by the acetic acid of the ammonia salt, and separates as a
precipitate, while the pure pigment of the cochineal remains
dissolved in the half-saturated ammonia. It is now filtered and a
few drops of pure white sugar syrup added to thicken it. A solution
of gum arabic cannot be used to thicken it, since the ink still
contains some acetic acid, which would coagulate the bassorine,
one of the constituents of the gum.
Liquid Indelible Drawing Ink.—Dissolve, by boiling, 2 parts
of blond (golden yellow) shellac in l.6 parts, by weight, of sal
ammoniac, 16°, with 10 parts, by weight, of distilled water, and
filter the solution through a woolen cloth. Now dissolve or grind
0.5 parts, by weight, of shellac solution with 0.01 part, by weight, of
carbon black. Also dissolve .03 parts of nigrosin in 0.4 parts of
distilled water and pour both solutions together. The mixture is
allowed to settle for 2 days and the ready ink is drawn off from the
sediment.
GLASS, CELLULOID AND METAL INKS:
Most inks for glass will also write on celluloid and the metals.
The following 1 and 2 are the most widely known recipes:
1.— In 500 parts of water dissolve 36 parts of sodium fluoride
and 7 parts of sodium sulphate. In another vessel dissolve in the
same amount of water 14 parts of zinc chloride and to the solution
add 56 parts of concentrated hydrochloric acid. To use, mix equal
volumes of the two solutions and add a little India ink; or, in the
absence of this, rub up a little lampblack with it. It is scarcely
necessary to say that the mixture should not be put in glass
containers, unless they are well coated internally with paraffine,
wax, gutta-percha, or some similar material. To avoid the
inconvenience of keeping the solutions in separate bottles, mix
them and preserve in a rubber bottle. A quill pen is best to use in
writing with this preparation, but metallic pens may be used, if
quite clean and new.
2. — In 150 parts of alcohol dissolve 20 parts of rosin, and
add to this, drop by drop, stirring continuously, a solution of 35
parts of borax in 250 parts of water. This being accomplished,
dissolve in the solution sufficient methylene blue to give it the
desired tint.
Ink for Writing on Glazed Cardboard.—The following are
especially recommended for use on celluloid:
1. — Dissolve 4 drachms of brown shellac in 4 ounces of
alcohol. Dissolve 7 drachms of borax in 6 ounces of distilled
water. Pour the first solution slowly into the second and carefully
mix them, after which add 12 grains of aniline dye of the desired
color. Violet, blue, green, red, yellow, orange, or black aniline dyes
can be used.
Such inks may be used for writing on bottles, and the glass
may be cleaned with water without the inscription being impaired.
2.— Ferric chloride ............................................... 10 parts
Tannin ........................................................... 15 parts
Acetone ........................................................ 100 parts
Dissolve the ferric chloride in a portion of the acetone and the
tannin in the residue, and mix the solutions.
3.—Dissolve a tar dyestuff of the desired color in anhydrous
acetic acid.
GOLD INK.
1.—The best gold ink is made by rubbing up gold leaf as
thoroughly as possible with a little honey. The honey is then
washed away with water, and the finely powdered gold leaf left is
mixed to the consistency of a writing ink with weak gum water.
Everything depends upon the fineness of the gold powder, i.e.,
upon the diligence with which it has been worked with the honey.
Precipitated gold is finer than can be got by any rubbing, but its
color is wrong, being dark brown. The above gold ink should be
used with a quill pen.
2.—An imitation gold or bronze ink is composed by grinding
1,000 parts of powdered bronze of handsome color with a varnish
prepared by boiling together 500 parts of nut oil, 200 parts of
garlic, 500 parts of coconut oil, 100 parts of Naples yellow, and as
much of sienna.
HORTICULTURAL INK.
1.—Chlorate of platinum. 1/4 ounce; soft water, 1 pint.
Dissolve and preserve it in glass. Used with a clean, quill to write
on zinc labels. It almost immediately turns black, and cannot be
removed by washing. The addition of gum and lampblack, as
recommended in certain books, is unnecessary, and even prejudicial
to the quality of the ink.
2.—Verdigris and sal ammoniac, of each ½ ounce; levigated
lampblack, ½ ounce; common vinegar, ¼ pint; mix thoroughly.
Used as the last, for either zinc, iron, or steel.
3—Blue vitriol, 1 ounce; sal ammoniac, ½ ounce (both in
powder); vinegar, ¼ pint; dissolve. A little lamp-black or vermilion
may be added, but it is not necessary. Use No. 1, for iron, tin, or
steel plate.
INDELIBLE INKS.
These are also frequently called water proof, incorrodible, or
indestructible inks. They are employed for writing labels on bottles
containing strong acids and alkaline solutions. They may be
employed with stamps, types or stencil plates, by which greater
neatness will be secured than can be obtained with either a brush
or pen.
The following is a superior preparation for laundry use:
Aniline oil ............................................................. 85 parts
Potassium chlorate................................................. 5 parts
Distilled water ...................................................... 44 parts
Hydrochloric acid, pure
(specific gravity, 1.124) ............................... 68 parts
Copper chloride, pure 6 parts
Mix the aniline oil, potassium chlorate, and 20 parts of the
water and heat in a capacious vessel, on the water bath, at a
temperature of from 175° to 195º F., until the chlorate is entirely
dissolved, then add one-half of the hydrochloric and continue
the heat until the mixture begins to take on a darker color. Dissolve
the copper chloride in the residue of the water, add the remaining
hydrochloric acid to the solution, and add the whole to the liquid
on the water bath, and heat the mixture until it acquires a fine redviolet
color. Pour into a flask with a well-fitting ground-glass stopper,
close tightly and set aside for several days, or until it ceases to
throw down a precipitate. When this is the case, pour off the clear
liquid into smaller (one drachm or a drachm and a half) containers.
This ink must be used with a quill pen, and is especially good
for linen or cotton fabrics, but does not answer so well for silk or
woolen goods. When first used, it appears as a pale red, but on
washing with soap or alkalies, or on exposure to the air, becomes
a deep, dead black. The following is a modification of the foregoing:
Blue Indelible Ink.—This ink has the reputation of resisting
not only water and oil, but alcohol, oxalic acid, alkalies, the
chlorides, etc. It is prepared as follows: Dissolve 4 parts of gum lac
in 36 parts of boiling water carrying 2 parts of borax. Filter and set
aside. Now dissolve 2 parts of gum arabic in 4 parts of water and
add the solution to the filtrate. Finally, after the solution is quite
cold, add 2 parts of powdered indigo and dissolve by agitation. Let
stand for several hours, then decant, and put in small bottles.
PRINTING INKS.
Black printing inks owe their color to finely divided carbon
made from lamp-black, pine-wood, rosin oil, etc., according to the
quality of the ink desired. The finest inks are made from flamelampblack.
There are however, certain requirements made of all
printing inks alike, and these are as follows: The ink must be a
thick and homogeneous liquid, it must contain no solid matter
but finely divided carbon, and every drop when examined
microscopically must appear as a clear liquid containing black
grains uniformly distributed.
The consistency of a printing ink must be such that it
passes on to the printing rollers at the proper rate. It will be
obvious that various consistencies are demanded according to
the nature of the machine used by the printer. For a rotary machine
which prints many thousands of copies an hour a much thinner
ink will be necessary than that required for art printing or for slow
presses. As regards color, ordinary printing ink should be a pure
black. For economy’s sake, however, newspaper printers often use
an ink so diluted that it dors not look deep black, but a grayish
black, especially in large type.
The question of the time that the ink takes to dry on the
paper is a very important one, especially with ink used for printing
newspapers which are folded and piled at one operation. If then
the ink does not dry very quickly, the whole impression smudges
and “sets off” so much that it becomes illegible in places. Although
it is essential to have a quick drying ink for this purpose, it is
dangerous to go too far, for a too quickly drying ink would make
the paper stick to the forms and tear it. A last condition which
must be fulfilled by a good printing ink is that it must be easy of
removal from the type, which has to be used again.
No one composition will answer every purpose and a number
of different inks are required. Makers of printing inks are obliged,
therefore, to work from definite recipes so as to be able to turn out
exactly the same ink again and again. They make newspaper ink
for rotary presses, book-printing inks, halftone inks, art inks, etc.
As the recipes have been attained only by long, laborious, and
costly experiments, it is obvious that the makers are not disposed
to communicate them, and the recipes that are offered and
published must be looked upon with caution, as many of them
are of little or no value. In the recipes given below for printing
inks, the only intention is to give hints of the general
composition, and the practical man will easily discover what, if
any, alterations have to be made in the recipe for his special purpose.
Many different materials for this manufacture are given in
recipes, so many, in fact, that it is impossible to discover what use
they are in the ink. The following is a list of the articles commonly
in use for the manufacture of printing ink:
Boiled linseed oil, boiled without driers.
Rosin oil from the dry distillation of rosin.
Rosin itself, especially American pine rosin.
Soap, usually rosin-soap, but occasionally ordinary soap.
Lampblack and various other pigments.
STENCIL INKS
1.—Dissolve 1 ounce of gum arabic in 6 ounces water, and
strain. This is the mucilage. For Black Color use drop black,
powdered, and ground with the mucilage to extreme fineness; for
Blue, ultramarine is used in the same manner; for Green, emerald
green; for White, flake white; for Red, vermilion, lake, or carmine; for
Yellow, chrome yellow. When ground too thick they are thinned
with a little water. Apply with a small brush.
2. Triturate together 1 pint pine soot and 2 pints Prussian
blue with a little glycerine, then add 3 pints gum arabic and
sufficient glycerine to form a thin paste.
Blue Stencil Inks.—The basis of the stencil inks commonly
used varies to some extent, some preferring a mixture of pigments
with oils, and others a watery shellac basis. The basis:
1.— Shellac ............................................................. 2 ounces
Borax ............................................................ 1 ½ ounces
Water.............................................................. 10 ounces
Boil together until 10 ounces of solution is obtained. The coloring:
Prussian blue ........................................................... 1 ounce
China clay .............................................................. ½ ounce
Powdered acacia ................................................... ½ ounce
Mix thoroughly and gradually incorporate the shellac
solution.
2.— Prussian blue .................................................. 2 ounces
Lampblack ...................................................... 1 ounce
Gum arabic ..................................................... 3 ounces
Glycerine, sufficient.
Triturate together the dry powders and then make into a
suitable paste with glycerine.
Indelible Stencil Inks.—1.—Varnish such as is used for
ordinary printing ink 1 pound; black sulphuret of mercury,
1 pound; nitrate of silver, 1 ounce; sulphate of iron, 1 ounce;
lampblack, 2 tablespoonfuls. Grind all well together; thin with
spirits turpentine as desired.
2.—Sulphate of manganese, 2 parts; lampblack, 1 part; sugar,
4 parts; all in fine powder and triturated to a paste in a little
water.
3.—Nitrate of silver, ¼ ounce; water, ¾ ounce. Dissolve, add as
much of the strongest liquor of ammonia as will dissolve the
precipitate formed on its first addition. Then add of mucilage, 1½
drachms, and a little sap green, syrup of buckthorn, or finely
powdered indigo, to color. This turns black on being held near the
fire, or touched with a hot iron.
TYPEWRITER RIBBON INKS.
1.—Take vaseline (petrolatum) of high boiling point, melt it
on a water bath or slow fire, and incorporate by constant stirring
as much lamp or powdered drop black as it will take up without
becoming granular. If the vaseline remains in excess, the print is
liable to have a greasy outline; if the color is in excess, the print
will not be clear. Remove the mixture from the fire, and while it is
cooling mix equal parts of petroleum, benzine, and rectified oil of
turpentine, in which dissolve the fatty ink, introduced in small
portions, by constant agitation. The volatile solvents should be in
such quantity that the fluid ink is of the consistence of fresh oil
paint. One secret of success lies in the proper application of the ink
to the ribbon. Wind the ribbon on a piece of cardboard, spread on
a table several layers of newspaper, then unwind the ribbon in
such lengths as may be most convenient; and lay it flat on the
paper. Apply the ink, after agitation, by means of a soft brush, and
rub it well into the interstices of the ribbon with a toothbrush.
Hardly any ink should remain visible on the surface. For colored
inks use Prussian blue, red lead, etc., and especially the aniline
colors.
2.— Aniline black .................................................. ½ ounce
Pure alcohol .................................................. 15 ounces
Concentrated glycerine ................................ 15 ounces
Dissolve the aniline black in the alcohol, and add the
glycerine. Ink as before. The aniline inks containing glycerine are
copying inks.
3.— Alcohol............................................................. 2 ounces
Aniline color ................................................... ¼ ounce
Water................................................................ 2 ounces
Glycerine ......................................................... 4 ounces
Dissolve the aniline in the alcohol and add the water and
glycerine.
4.— Castor oil .......................................................... 2 ounces
Cassia oil ....................................................... ½ ounce
Carbolic acid ................................................. ½ ounce
Warm them together and add 1 ounce of aniline color.
Indelible typewriter inks may be made by using lampblack in
place of the aniline, mixing it with soft petrolatum and dissolving
the cooled mass in a mixture of equal parts of benzine and turpentine.
Watermark Mixture
Formula No. 1
A mixture of castor oil and wood alcohol used in place of ink
will make a perfect watermark in any kind of hard finish sulphite
or rag bond when applied to a perfectly clean press with good
rollers. Any form or cut will appear as an ordinary watermark
when allowed to dry thoroughly.
No. 2
An emulsion of a suitable printing ink consistency comprises
Canadian balsam 8-20, turpentine 5-17, finely divided substantially
colorless mineral matter such as diatomaceous silica 8-25 and
castor oil 12-30%, emulsified with a slightly alkaline solution
of borax and contains a substantially colorless indicator such as
phenolphthalein reactive to both acids and alkalies, so that it is
suitable for “safety paper” for checks, etc.
Carbon Duplicating Papers (Black)
Formula No. 1
Petroleum Jolly ..................................................... 21 lb.
Japan Wax .............................................................. 6 lb.
Drop Black (Ground in Turpentine) .................. 4 lb.
Ceylon Graphite ..................................................... 4 lb.
Soft Soap .................................................................. 1 lb.
Oil Black Dye ......................................................... 2 oz.
Melt petroleum jelly, wax and soap together, remove from
the fire and stir in oil black when cooler, then grind to a fine
paste with the others. The composition may be applied to the
paper either hot or cold with a fairly stiff brush, then
wipe off the superfluous paste and hang up papers with clips
to dry.
No. 2
Lard Oil .................................................................... 1 gal.
Blacklead ............................................................... 3½ lb.
Lampblack............................................................. 2½ lb.
Oil Black Dye ........................................................... 1 oz.
Dissolve oil black in the warmed lard oil, then mix with
others to a non-lumpy state.
No. 3
Raw Linseed Oil ...................................................... 2 gal.
Tallow ...................................................................... 8 lb.
Lampblack................................................................ 4 lb.
Ceylon Graphite ................................................... 2½ lb.
Oil’ Black Dye ...................................................... 2½ oz.
Warm the oil sufficiently to dissolve the tallow, stir in oil
black and well mix with the others.
No. 4
Methylated Spirit .................................................... 1 gal.
Castor Oil ................................................................. 1 gal.
Lampblack............................................................. 2½ Ib.
Frankfort Black ..................................................... 2½ lb.
Prussian Blue ....................................................... 1½ oz.
Mix as before, previously thoroughly working Prussian blue
into the blacks.
No. 5
Carbon Black ......................................................... 20 g.
Milori Blue ............................................................... 6 g.
Violet Blue ................................................................ 5 g.
Paraffin Oil ............................................................ 32 g.
Montan Wax, Crude ............................................. 15 g.
Montan Wax, Double Bleached ............................. 3 g.
Paraffin Wax (50/52° C.) ...................................... 3 g.
No. 6
Violet
Methyl Violet-Base .................................................. 5 g.
Oleic Acid ............................................................. 10 g.
Montan Wax, Crude ............................................. 60 g.
Petrolatum ............................................................. 90 g.
Copying Paper
Formula No. 1 No. 2
Carnauba Wax 9 g. 31 g.
Montan Wax 6 g. 24 g.
Violet Dye 7 g. 7 g.
Mineral Oil 63 g. 23 g.
Lampblack 15 g. 15 g.
Impregnation or Coatings for Carbon Papers,
Typewriter Ribbons, Etc
Cellulose Nitrate ..................................................... 5 oz.
Acetone ................................................................... 20 oz.
Methanol ................................................................ 20 oz.
Amyl Acetate ......................................................... 40 oz.
Amyl Alcohol ........................................................ 15 oz.
Oleyl Alcohol ........................................................ 25 oz.
Fatty Oil ................................................................... 3 oz.
Stencil Sheets
Formula No. 1
45 g. of gelatin are soaked and dissolved in 200 g. of water.
150 g. of Turkey red oil are well mixed with 80 g. of oleic alcohol,
and 30 g. of chlorinated naphthalene. The mixture is heated to
about 60º C. and is added while being constantly stirred to the
solution containing the gelatin.
To this mixture of gelatin and softening agents 400 g. of
alcohol, in. which 1 g. of dye stuff is dissolved and which are
heated to about 30-40° C., are added and thoroughly mixed
therewith. The composition thus obtained, the solid ingredients of
which are in extremely fine dispersion, is spread out upon the
tissue paper sheets in the usual manner, and is then left to dry
and solidify.
No. 2
45 g. of gelatin are dissolved in 200 g. of water and while the
solution is heated to about 50-60° C., there is added first a
dispersion containing 150 g. of Turkey red oil, 50 g. of oleic
alcohol, 25 g. of chlorinated naphthalene and 50 g. of glycerolmono-
oleate; thereafter there is added 1 g. of dissolved dye stuff
under constant agitation.
No. 3
Yoshino paper is impregnated at 37.7° C. with a liquid
prepared by mixing boiling solutions of gelatin 13 g. and
soap 42.6 g. in water 284 cc. each, and adding almond oil
56.8 cc.
Duplicator Stencil Moistening Fluid
Alcohol ................................................................... 25 cc.
Ethylene Glycol Mono Ethyl Ether .................... 60 cc.
Water ...................................................................... 15 cc.
Duplicating Machine Stencils
The wax-composition used should not be brittle and hard,
but must be tough and elastic.
The paper used is a very fine, thin, fibrous, but tough tissuepaper.
Impregnation: Very thin.
Suggested Mixture:
Beeswax ................................................................. 20 kg.
Soft Ozokerite (60/620 C.) ..................................... 15 kg.
Paraffin Wax (50/52° C.) .................................... 30 kg.
Melt together; mix; apply hot.
Tracing Cloth
Suitable material is impregnated with
Cellulose Acetate ................................................... 20 oz.
Acetone ................................................................... 70 oz.
Water ...................................................................... 10 oz.
This produces a dull frosted film on drying.
Ink for Tattooing Chickens
Pyrogallol ................................................................ 1 g.
Alcohol ................................................................... 10 cc.
Solution of Ferric Chloride ................................... 2 cc.
Acetone .................................................................. 20 cc.
Ink: Writing
Except for the phenol and dye, thin ink is half as concentrated
as the record and copying ink. It is similar to some of the commercial
writing fluids and fountain pen inks. The standard is made in the
same way as the preceding ink, and from materials of the same
quality. If made with slightly more hydrochloric acid than the formula
calls for it will keep longer without depositing sediment, but it will
be more corrosive to steel pens.
The standard formula is:
Tannic Aid .......................................................... 11.7 gm.
Gallic Acid Crystals ............................................. 3.8 grn.
Ferrous Sulphate ................................................ 15.0 gm.
Hydrochloric Acid, Dilute ................................. 12.5 gm.
Phenol (Carbolic Acid) ........................................ 1.0 gm.
Soluble Blue .......................................................... 3.5 gm.
Water to make 1 liter at 20° C. (68° F.).
Writing Ink
(8 times concentrated)
The ingredients are best dissolved as follows:
.................................................... Dissolved in
2 ounces Ferrous sulphate 12/3 oz. of dil. Hydrochloride
3 oz. of Water
0.47 oz. of Soluble Blues 3 oz. of Water
0.13 oz. of Phenol
1.55 oz. of Tannic Acid 6 oz. of Water
0.50 oz. of Gallic Acid
For washing, etc. 21/3 oz. of Water
Dissolve first the Dye and Phenol; pour into this mixture the
acid solution of Iron and then the Tannic-Gallic Acid solution. All
solutions should be heated to about 180° F. and the final mixture
stirred well for some time and then allowed to cool. Let stand
quietly for 1 or 3 days and decant.
Writing Ink
1. Nutgalls Powd. ............................................... 8
2. Logwood Chips .............................................. 8
3. Iron Sulfate ..................................................... 4
4. Gum Acacia ..................................................... 4
5. Aniline Black ................................................... 1
6. Water ............................................................ 167
Dissolve (4) in ½ gal. water and, (5) in 3 gal. water; filter
and mix these two solutions. Boil (1), (2) and (3) in remaining
water for 2½ hours and strain. Mix this liquid with previous
solution.
PAINTS, LACQUERS,VARNISHES, ENAMELS
Kalsomine
Sodium carbonate. ................................................. 3 parts
Linseed oil......... ................................................... 32 parts
Hot water.......... .................................................... 8 parts
White glue......... ................................................... 12 parts
Whiting........... .................................................... 160 parts
Dissolve the sodium carbonate, in the hot water, add the oil
and saponify by heating and agitation. Cover the glue, broken
into small pieces, with cold water and let soak overnight. In the
morning pour the whole on a stout piece of stuff and let the
residual water drain off, getting rid of as much as possible by
slightly twisting the cloth. Throw the swelled glue into a capsule,
put on the water bath, and heat gently until it is melted. Add the
saponified oil and mix well; remove from the bath, and stir in
the whiting, a little at a time, adding hot water as it becomes
necessary. When the whiting is all stirred in, continue adding hot
water, until a liquid is obtained that flows freely from the kalsomining
brush.
The addition of a little soluble blue to the mixture increases
the intensity of the white.
Sizing Walls for Kalsomine.—A size to coat over “hot
walls” for the reception of the kalsomine is made by using shellac,
1 part; sal soda, ½ part. Put these ingredients in ½ gallon of water
and dissolve by steady heat. Another size is made of glue size prepared
in the usual way, and alum. To ½ pound of white glue add
¾ pound of alum, dissolving the alum in hot water before
adding it to the glue size.
Various processes have been recommended for making the
odor of kerosene oils, artificial oil of mirbane, etc., but none of
them seems entirely satisfactory. The addition of amyl acetate in
the proportion of 10 grams to the liter (1 per cent) has also been
suggested, several experimenters reporting very successful results
therefrom. Some years ago Beringer proposed a process for
removing sulphur compounds from benzine, which would
presumably be equally applicable to Kerosene.. This process is as
follows:
Potassium permangnate ....................................... 1 ounce
Sulphuric acid ....................................................... ½ pint
Water..................................................................... 3½ pints
Mix the acid and water, and when the mixture has become
cold pour it into a 2-gallon bottle. Add the permanganate and
agitate until it is dissolved. Then add benzine, 1 gallon, and
thoroughly agitate. Allow the liquids to remain in contact for
24 hours, frequently agitating the mixture. Separate the benzine
and wash in a similar bottle with a mixture of
Potassium permanganate ..................................... ¼ ounce
Caustic soda .......................................................... ½ ounce
Water........................................................................ 2 pints
Agitate the mixture frequently during several hours; then
separate the benzine and wash it thoroughly with water. On
agitating the benzine with the acid permanganate solution an
emulsion-like mixture is produced, which separates in a few
seconds, the permanganate slowly subsiding and showing
considerable reduction. In the above process it is quite probable
that the time specified (24 hours) is greatly in excess of what is
necessary, as the reduction takes place almost entirely in a very
short time. It has also been suggested that if the process were
adopted on a manufacturing scale, with mechanical agitation, the
time could be reduced to an hour or two.
Lacquers
(See also Enamels, Glazes, Paints, Varnishes, and
Waterproofing.)
INSTRUCTIONS FOR MAKING LACQUERS
You will note that the formula for Clear Lacquer calls for 3
ounces of Di-Butyl Phthalate which we call the plastisciser.
When making up a batch of Clear Lacquer which you are going
to put in cans and sell as Clear Lacquer you need to put in this
Di-butyl Phthalate. But if you are going to mix the various colors
with the clear lacquer to make the finished Brushing lacquer to
make the finished. Brushing Lacquer Enamels, DO NOT put in
the Di-Butyl Phthalate. The reason is this. The colors are ground in
a mixture of gum solution and plasticiser, therefore already contain
enough Di-Butyl Phthalate to give the film flexibility. It must GO
IN when using the clear lacquer for Clear Lacquer but not when
using the clear lacquer to mix with colors.
Practically any desirable shade can be obtained by mixing
together in various proportions the colors. You can in this way
make up certain shades of your own and get out a pretty color
card showing your own shades.
When mixing the colors with the clear lacquer be sure to
stir long and thoroughly until all mixed together. Also stir up the
batch before you begin to fill the small cans.
The Brushing Lacquers can be sold to all of the dealers in
your vicinity if you desire, or you can have agents out to sell
them direct to the consumer.
The furniture Lacquer formulas can be sold for all purposes
where a spraying lacquer is required. Furniture factories,
or where woodwork is built and finished Lacquers are often
used.
To make a colored spraying lacquer simply add the colors
to the spraying lacquers instead of to the clear Brushing Lacquer.
For spraying you will probably need to add about one ounce
more black, 2 ounces more yellow, 2 ounces more red, 2 ounces
green, 4 ounces more white and 2 ounces more blue to the gallon
of clear than you would to a gallon of Brushing Clear Lacquer. In
others increase the amount of each color as given above so
that when adding Black Ground Color to the furniture Lacquer
you will have three ounces instead of two ounces. Spraying
Lacquers require a little more pigment to the gallon to get
coverage.
In making up the clear lacquer you first dissolve the cottons
in the Butyl and Ethyl Acetates. Then you add slowly to this the
Damar and Ester Gum solutions which we tell you how to make
is another instruction paper. Then yon can slowly and the alcohol,
Butyl propionate and last of all the Petrol or L.D. Naptha. When
adding each item do so very slowly and stir rapidly. This is
IMPORTANT.
Luminous Outdoor Lacquer
Formula No. 1
¼ kilogram of polystyrene is dissolved in a mixture of ¼
kilogram each of toluene, xylene and butyl acetate; about 40
grams of tricresyl phosphate are added as a softening agent and
about 1 kilogram of a luminous paint, for instance on the base of
strontium sulfide/bismuth and rubidium, is carefully introduced,
while stirring. The lacquer of luminous paint thus obtained can
be applied on ceiling-plaster and wall-plaster, porcelain, glass,
wood, aluminum, metallic supports, paper, pasteboard, artificial
foils or the like, i.e., on any desired base. In some cases it is
advisable to apply a suitable first coating, for instance titanium
white or lithopone in a lacquer of polystyrene, previously to the
application of the luminous paint in order to secure a well
reflecting and weatherproof support.
No. 2
Into a solution consisting of 200 grams of vinyl naphthalene
in a mixture of 200 grams of toluene, 200 grams of xylene, 200
grams of butyl acetate and 30 grams of tricresyl phosphate there
are introduced about 0.8 kilogram of a luminous paint, for
instance a well luminescent zinc sulfide or an organic boric acid
luminous substance. The lacquer of luminous paint thus obtained
is applied on any desired surfaces or articles which are to be
made luminescent.
No. 3
For the preparation of fluorescent and phosphorescent
shaped bodies and foils or the like, about 2½ kilograms of a
luminous paint, for instance on the base of calcium sulfide,
strontium sulfide or zinc sulfide, are introduced into about 12
liters of styrene; a small quantity of sulfuric acid is added and
the whole is heated for about 4 hours to about 140° C. in order
to produce polymerization. As soon as the required consistency is
obtained, the mass is poured into the desired moulds and allowed
to solidify. Foils can likewise be sprayed or rolled from this
product.
Metal Painting
Preparing the Surface.—To obtain the best results with red-lead,
care should be exercised in applying as well as mixing the paint.
A vital point is to clean off all loose rust, dirt and other foreign
material before commencing to paint. Wire brushes and scrapers
will be found to be effective in removing rust and scale. The sand
blast will give good results and is strongly recommended, but
thorough scraping and brushing will usually be satisfactory.
Rust, the great enemy of iron and steel, is an accelerator of
further rusting when it is loose enough to retain moisture. If rust
is allowed to remain it will work disaster even after the paint
has been applied. Besides, rust and dirt are likely to cause
peeling.
Number of Coats.—Three coats of paint are necessary on all
outside work. Two coats will do for metal indoors. In no case
will one coat of paint completely cover bare metal. To the naked
eye, the metal may appear to be covered but under the microscope
it is another story. Many small pinholes and air bubbles will be
found. Even a second coat will not absolutely cover all these
pinholes. A third coat is really necessary. Of course, the more the
paint is brushed out, the more the pinholes and air bubbles are
worked out. Plenty of good brushing effort is essential to a firstclass
job.
Mixing the Paint.—Paint is made with paste red-lead exactly
as white-lead paint is made with heavy pista white-lead, by
simply adding linseed oil a little at a time and stirring constantly
with a wooden paddle. Dry red-lead is mixed with oil in the same
manner, the only difference being that it is less easy to incorporate
with the oil.
first with just enough linseed oil to make a workable paste; then
add the coloring material and finally the remainder of the oil.
When drier is used, put it in after the coloring material and before
adding the final oil.
Applying the Paint.—Steel and iron should never be painted
during wet weather nor when covered with dew or frost. Early
morning painting during the late summer months is not
recommended as a usual thing. It is always better to wail until
the sun has had time to dry everything out. It is bad practice to
attempt painting in freezing weather.
Red-lead paint can best be applied with a round or
oval brush. Be sure to use plenty of paint, covering the surface well
and not attempting to make a gallon of paint go too far. Pay
particular attention to bolts, rivet heads, edges and corners, as
they are more subject to destructive influences than perfectly flat
surfaces.
The priming coat is the most important. Extra care and
precaution should be taken during its application.
Allow plenty of time between coats for the previous coat to
dry thoroughly. A week is not too long, especially for the priming
coat.
Boat Painting
The practice in painting boats is regulated largely by one
thing—the type of craft. If a boat is a yacht or a launch the owner
aims to keep it always clean and bright. Its appearance is a
matter of pride with him. Hence the handsomest job obtainable
is none too fine, and coat upon coat of paint is often applied in
order to get an unusually fine finish.
A rowboat, on the other hand, is not a show boat. While the
possessor of one or a fleet of them wants a job that looks well,
only an ordinarily good finish is called for.
When it comes to canoes an altogether different problem
is presented. A high-class finish is wanted, but it is not
obtained in the same way, because a canoe is usually built of
canvas.
For present purposes, therefore, boats have been classified
into three groups: Power and Sail Boats; Row Boats;
Canvas Canoes. In this order, directions for painting them are
taken up.
Power and Sail Boats.—The outside of the hull, deck-House
and some parts of the interior are proper subjects for the paint
brush. Some of these parts should receive attention, at least
every year.
Preparing the Surface.—If the wood is new, dust it off
carefully and cover all knots and sappy streaks with orange
shellac. The shellac can be made by thinning dry orange gum
shellac with good quality denatured alcohol, proportioned on the
basis of three pounds of shellac to one gallon of alcohol, or the
liquid shellac may be purchased as “3 pound cut pure orange
shellac.” Brush the shellac on thin. If it is put on too thick the
paint will alligator, leaving the knots bare.
Galvanized Iron, Treatment before Painting
Some people, before painting it, wash the galvanized metal
with vinegar. This is said to be good. Others scrub it well with
burlap wet with benzine. Scrubbing the surface with soap and sand
can be recommended. The best method seems to be, however, to
leave the galvanized metal exposed to the weather for a few
months.
Still others report good results from washing the wellcleaned
surface with a one per cent solution of copper chloride,
acetate or sulphate. The solution is left on for a time and then
brushed off before painting is attempted. A few months of
exposure is probably better, however, even than this treatment.
Light sand-blasting is also said to have been used for cleaning
galvanized iron and putting it in condition to take paint. No
doubt this would accomplish the purpose.
Even in the case of perfectly clean zinc, it is not easy to get
paint to stick always. No paint yet invented adheres to it as well
as in the case of iron or wood. What chemists call ‘’the surface
tension” is different. Not that any good paint invariably all comes
off. Generally most of it stays on but that is not very satisfactory.
If galvanized iron is weathered and then well cleaned,
there is seldom any trouble encountered when the paint is redlead.
Probably most of the difficulties in painting galvanized
surfaces are traceable to improper preparation done by not too
expensive labor. This is why weathering, which does not skip
anything, is best.
Synthetic Resin Finishes
Oxidizing rezyl solutions make excellent vehicles for
aluminium-bronze finishes for either interior or exterior work, the
powder being mixed just prior to application. For general decorative
work, rezyl 114 is recommended as giving a. quick and harddrying
gloss. Rezyl 1102 is exceptionally resistant to heat, hence
well adapted for use on steam pipes, radiators and the like, as
well as for prolonged baking at high temperatures. For oil refinery
and filling station equipment, aluminium finishes made from
rezyl 1102 are recommended, because resistant to petrol. Typical
formulas follow:
Rezyl 114, 100 lb. and coal-tar naphtha 100 lb. (J and 33 lb.
of xylol); mineral spirits, 70 lb.; lead linoleate, 2 lb.; cobalt
linoleate, ¾ lb.; aluminium-bronze, 70 lb.; total, 342¾ lb. or 38¾
gal. This is an air-drying finish for brush application.
A baking finish for spray application is made as follows:
Rezyl 1102, 100 lb.; xylol, 150 lb. (same as Solution A, 250 lb.);
toluol, 150 lb.; cobalt linoleate, ½ lb.; aluminium-bronze, 70 lb.;
total, 470½ lb. or 55¼ gal.
A harder and quicker-drying, but somewhat brittle, vehicle
for indoor use can be obtained by blending rezyl 114 with
cumarone resin. Rezyl 113 in equal parts of coal-tar naphtha and
mineral spirits is recommended as an aluminium-bronze vehicle for
outdoor use. Its adhesion, toughness, rapid drying, durability
make it superior to the long-oil spar varnish ordinarily used for
this purpose. It works more easily than rezyl 1102, dries a trifle
more slowly but forms a more flexible film, and hence is well
adapted for all types of exposed metal work. Rezyl 110 dries
somewhat more slowly than rezyl 113, but brushes more easily
and permits of the use of mineral spirits with aluminium-bronze
for priming wood, for which its elasticity, adhesion and durability
recommend it. When used in metal paints, the vehicle should
contain 10 per cent of coal-tar naphtha and 10 per cent raw
linseed oil to insure proper floating and leafing of the aluminiumbronze.
Although rezyl 1103 is still slower drying than rezyl 110,
it makes aluminium paints with excellent working qualities for
brush application.
Good adhesion and elasticity make the oxidizing rezyls
excellent for quick-drying undercoats. The following are typical
formulas in addition to the primer formulas already given:
Baking primer: Iron oxide, 150 lb.; rezyl 110, 100 lb. and
xylol, 43 lb.; V. M. and P. naphtha, 155 lb.; lead linoleate, 2 lb.;
manganese linoleate, ¾ lb.; total, 450¾ lb. or 38¼ gal. For best
results, this primer is applied in a thin film and baked at least one
hour at 200° F.
A surfacer which has given good results in both air-drying
and baking is formulated as follows: Iron oxide, 50 lb.; lithopone,
50 lb.; black mineral filler, 300 lb.; silica, 100 lb.; rezyl 114, 100 lb.
and xylol, 100 lb.; mineral spirits, 50 lb.; turpentine, 30 lb.; lead
linoleate, 2 lb.; manganese linoleate, ¾ lb.; total, 782¾ or 57¾
gal. Several coats of this surfacer can be applied in rapid
succession, and the whole film baked hard in one operation. It has
good water-resistance, elasticity and toughness, yet sands easily
and lacquer can be applied over it without lifting.
