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Chapter 07 Performance and Motor Control Characteristics of Functional
Skills Answer Key

Multiple Choice Questions

1. Fitts' Law specifies that performance will show a speed-accuracy trade-off in a rapid manual
aiming task according to the relationship between which two characteristics of the task?

A. Distance to move and target size

B. Distance to move and movement speed
C. Target size and movement speed
D. Target size and type of target

Accessibility: Keyboard Navigation

Topic: Discussion; Speed-Accuracy Skills

2. The Index of Difficulty (ID) that can be derived from Fitts' law demonstrates that the same task
can have various levels of difficulty and the same amount of:

A. Movement speed
B. Response choices
C. Complexity
D. Performance variability

Accessibility: Keyboard Navigation

Topic: Discussion; Speed-Accuracy Skills

3. One of the current views of how we control prehension is that the transport and grasp phases
function:

A. As one unit
B. Synergistically
C. As two motor programs
D. Independently.

Accessibility: Keyboard Navigation

Topic: Discussion; Prehension

7-1
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
4. When you reach to grasp an object, which of the following describes when the fingers begin to
close?

A. At a consistent percentage of the total movement time

B. At a point that depends on the total movement time
C. At a point just before contact with the object
D. At contact with the object

Accessibility: Keyboard Navigation

Topic: Discussion; Prehension

5. Consider the following two prehension situations: a person reaches to pick up a cup to: (a)
drink from it; (b) move it to a different location on the table. The kinematic characteristics of the
transport phase for these two situations would:

A. Be similar
B. Be different
C. Depend on the color of the cup
D. Not be predictable

Accessibility: Keyboard Navigation

Topic: Discussion; Prehension

6. Because we can write our signature relatively legibly with a pen held by either hand, either
foot, or even by our teeth, researchers often describe handwriting as a good example of
Bernstein's concept of motor:

A. Programs
B. Equivalence
C. Independence
D. Complexity

Accessibility: Keyboard Navigation

Topic: Discussion; Handwriting

7. In a two-hand aiming task in which the right hand must move to a target that has an ID of 4,
and the left hand must simultaneously move to a target that has an ID of 2, when will each
hand arrive at the target?

A. The right hand will arrive much earlier than the left hand
B. The left hand will arrive much earlier than the right hand
C. The two hands will arrive at approximately the same time
D. The preferred hand will arrive first regardless of the ID

Accessibility: Keyboard Navigation

7-2
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
 Topic: Discussion; Bimanual Coordination Skills

8. Which of the following statements reflects the appropriate view of the spatial and temporal
control underlying the performance of an asymmetric bimanual action?

A. The two arms prefer to move independently of each other

B. The two arms prefer to move together as one unit
C. The preferred arm always dominates the other arm
D. The two arms cannot perform an asymmetric bimanual action

Accessibility: Keyboard Navigation

Topic: Discussion; Bimanual Coordination Skills

9. The playing of a guitar is a good example of performing:

A. An asymmetric bimanual skill

B. A symmetric bimanual skill
C. A prehension skill
D. A manual aiming skill

Accessibility: Keyboard Navigation

Topic: Discussion; Bimanual Coordination Skills

10. From the dynamical systems perspective, the tendency for the two arms to prefer to move in
tight spatial and temporal synchrony is the result of:

A. A single generalized motor program

B. Two separate motor programs
C. An attractor
D. Motor equivalence

Accessibility: Keyboard Navigation

Topic: Discussion; Bimanual Coordination Skills

11. When participants cannot see their hands during catching they typically make:

A. No errors in catching
B. Hand positioning errors
C. Grasping errors
D. An equal number of hand positioning and grasping errors

Accessibility: Keyboard Navigation

Topic: Discussion; Catching a Moving Object

7-3
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
12. What do baseball batters tend to adjust relative to the oncoming speed of the pitch?

A. When they initiate their step forward

B. When they initiate their swing
C. The speed of their swing
D. The length of their swing

Accessibility: Keyboard Navigation

Topic: Discussion; Striking a Moving Object

13. Research with highly skilled long jumpers reveals that the jumpers:

A. Have remarkably consistent strides during their run up

B. Show large inconsistencies in their strides at the beginning of the run up
C. Show large inconsistencies in their last few strides before take off
D. Show large inconsistencies throughout the entire run up

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

14. The rhythmic structure of the movements involved in gait can be observed

A. Only in leg movements

B. Only in arm movements
C. In arm and leg movements
D. None of these

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

Short Answer Questions

15. The three phases of prehension are called the transport phase, the grasp phase, and the
________ phase.

object manipulation

Topic: Discussion; Prehension

7-4
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
16. That a person can adapt their handwriting to different surfaces, sizes, forces, etc., is an
example of what Bernstein referred to as motor ________.

equivalence

Topic: Discussion; Handwriting

17. The term used to describe a bimanual coordination task that requires the two hands to
simultaneously perform movements that have the same spatial and temporal characteristics is
________.

symmetric

Topic: Discussion; Bimanual Coordination Skills

18. A predominant view of gait control is that at the nervous system level, gait is controlled by
central pattern ________.

generators

Topic: Discussion; Locomotion

19. When a person walks or runs, an essential goal of the motor control system is the
maintenance of head _______.

stability

Topic: Discussion; Locomotion

True / False Questions

7-5
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
20. Fitts' Law predicts movement speed based on specific accuracy requirements in a task.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Speed-Accuracy Skills

21. According to Fitts' Law, a person's movement time will be faster for a task with an ID of 6 than
for an ID of 3.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Speed-Accuracy Skills

22. Fitts' Law only applies to reciprocal tapping tasks.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Speed-Accuracy Skills

23. Researchers have not agreed on a motor control explanation for Fitt's Law.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Speed-Accuracy Skills

24. The kinematic characteristics of a prehension action are the same as those for the actions of
reaching or pointing.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Prehension

25. Although Fitts' law is based on manual aiming tasks, research has shown that it applies to
prehension actions as well.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Prehension

26. The serve in tennis is a good example of an asymmetric bimanual skill.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Bimanual Coordination Skills

7-6
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
27. During the preparation phase of putting a key in a keyhole, you use vision to assess the
regulatory conditions.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Prehension

28. It is not necessary that functional activities are used during prehension practice or therapy.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Prehension

29. The reason we have difficulty tapping our head and rubbing our belly at the same time with our
two hands is that our motor control system is organized in such a way that our two hands
prefer to move in the same ways at the same time.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Bimanual Coordination Skills

30. Continuous visual contact with a ball is essential for successful catching.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Catching a Moving Object

31. Skilled baseball batters typically watch the ball continuously onto the bat.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Striking a Moving Object

32. General vision training programs have consistently been shown to improve sports
performance.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

33. Central pattern generators, which are involved in the control of gait, are thought to be located
primarily in the brain.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

7-7
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
34. The ratios of number of arm swings to leg swings for walking and running are both 1:1 (i.e.,
one arm swing for one leg swing).

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

35. The "atypical" posture and gait characteristics we often observe in children and adults with
cerebral palsy can be related to strategies the individuals have developed in order to maintain
a stable head position during locomotion.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

36. Gait transitions, from walking to running and running to walking, occur at the same speed for
all people.

FALSE

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

37. It is likely that multiple factors explain why spontaneous gait transitions occur.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

38. Vision provides body-scaled information to facilitate our interactions with objects and
surfaces.

TRUE

Accessibility: Keyboard Navigation

Topic: Discussion; Locomotion

7-8
Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
Other documents randomly have
different content
 Venetian, Indian and Tuscan Reds, etc.

These colours may be classed as the iron colours, consisting largely of oxide of iron. It
should be remembered that ochres and umbers also receive their colouring from iron.
Analysis gives but little information concerning the value of this group of colours. They
form economical paints, especially as they spread well. The proportion of oxide of iron
contained is often considered to be an indication of quality, but this refers particularly to
cases where paint is to be used on iron. The tests of value to the painter are body and
fineness of grinding, which may be tested in the usual way. Oxide paints are usually sold
as such in three shades. A Venetian red is lighter than an Indian red, which, in
comparison, should have a purplish tint. It must be remembered in this class of colours
that a comparison of the same shades must be made if any useful result is to be obtained.
Tuscan Red is a mixture of Indian red with some sort of lake colour in order to secure
brilliancy. This brilliancy forms an important feature of the test; body should also be
ascertained, and fineness of grinding is also important. Tuscan red, which is coarse, may
lose its richness when ground fine.
Vermilion and Vermilionettes.—Many of the imitation vermilions consist of orange red, that
is, a superior red lead coloured with eosine, which is the name of one of the coal tar
colours. Speaking generally, the scarlet colours are more permanent than those having a
crimson tinge. It is important to know that the tinting strength for many vermilionettes is
no indication of their quality or rather, perhaps it should be said that within reasonable
limits the better stainers they are, the worse colours they will prove to be. This is because
barytes or some other mineral may be substituted for the orange red and then the eosine
will go farther in staining.
Red Lead.—Every painter knows that the great objection to the use of red lead is that it
will harden quickly. We recommend that on large jobs arrangements should be made with
a manufacturer to supply a sufficient quantity for two or three days. It should be well
ground to a thin paste in the proportion of, say, about one pound of oil to five pounds of
red lead. The usual manner of painting iron, etc., in red lead is to first give a priming coat
of pure lead and then a second coat of any colour desired. An excellent second coat is
formed of equal parts by weight of red lead and good iron oxide. Any finishing coat may
be applied.
Indian Red.—This is shown by analysis to consist almost wholly of oxide of iron. The paler
Indian red is, the greater is its tinting strength and the rosier is the tint obtained from it by
mixing it with white. Indian red should be always tested for fineness and tint.

Chromes.
There are many shades of chrome yellows sold, the most usual being lemon, medium
and orange chromes, sometimes called 1, 2, and 3. The other shades are sold under
various names, depending upon the manufacturer. It is advisable that the painter should
always have on hand the lighter shades, as although it might appear at first sight that on
mixing the deeper shades with white he would get the same result, as a matter of fact
there is a considerable difference. As noted elsewhere, chromes must not be mixed with
ultramarine. The pale chromes change colour quicker than the darker shades. Pale chrome
should never be used on fresh plaster, although orange chromes may. In the deeper
shades of chrome orange red is sometimes used as an admixture or adulterant, but this is
not a good stainer. The test for a chrome is tinting strength, taking care to make a
comparison with the same grade of colours, that is, light, medium or orange chrome.
Fineness is another important test. Placing a small quantity on glass and passing a palette
knife over it and pressing firmly will detect grit if present. In the lighter chromes it is well
to look for the greyness of tone which is objectionable. Chromes mix well with white lead
and are strong in body.
Ochres.—Analysis is of no value in determining the value of an ochre. Sometimes chrome
yellow is used to tone it up. The colour is an important feature, as is also the fineness.

Blacks.
There are a number of blacks on the market, drop black, ivory black, blue black,
vegetable black, carbon black, etc. The subject of their tests is a somewhat intricate one,
but its tinting strength can be readily ascertained by mixing with white lead or zinc in the
manner already described. They are frequently adulterated with barytes.

Blues.
Prussian blue is one of the most important used by the painter. It is very strong and a
little goes a long way. It must be very finely ground or it is likely to settle out. A pure
Prussian blue has a rich bronze appearance when looked at from certain points of view.
The tint made by mixing with white should be clear and free from any leaden or gray
appearance. Some Prussian blues have a certain red or purplish cast which cannot be
removed. These should be avoided, as if a purple is required it is a simple matter to add a
little red to the blue to produce the desired colour. As shown in our samples of paint, one
part in a hundred of good Prussian blue gives a distinct sky blue.
Ultramarine.—As explained elsewhere, this colour cannot be mixed with white lead.
Where it is necessary to make a tint, zinc white should be employed in preference.

Umbers and Siennas.

The colour should be a rich brown rather than a red cast. In siennas prepared for
grainers’ use, it is important that they be transparent rather than opaque. Richness and
quality of tint should be considered rather than the body.

NOTES.
Speaking roughly, about one-third of the value of a common painting job will be for
labour and the rest for material.

A good priming coat for wood may be composed of ten pounds white lead, two ounces
red lead, two ounces driers, and four pints of linseed oil. The following coats having about
two pints of turpentine instead of an equal quantity of linseed oil and the red lead being
omitted.

A mixture for removing old paint is made by taking one pound soda and quarter pound
quicklime and mixing to the consistency of cream. This is applied to the paint work with an
old brush and left for about an hour when it will be found to have softened the paint which
will readily wash off. The work may then be washed down with weak vinegar and water.

One gallon of oil varnish may, for the purposes of calculation, be taken to cover sixty-
four square yards.

Seven pounds of ordinary white lead paint may be taken to cover rather more than
thirty square yards for the first coat and forty-five yards afterwards.

Seven pounds of oxide of iron paint will, if good, cover about eighty square yards on
iron, but the quality of oxide varies considerably.

To prevent plaster of Paris from setting quickly mix with glue water instead of ordinary
pure water. This will retard the setting considerably.

A Good Size for Plastered Walls.—Make two solutions, the first to consist of one and one-
quarter pounds of glue, dissolved in four gallons of water; the second to consist of one
ounce of borax, five ounces of washing soda and twenty ounces of powdered rosin added
to five quarts of boiling water, and to be kept boiling and stirred until all is dissolved. To
thirty parts by measure of the first solution add one part of the second and boil them
together for about one-quarter of an hour; take from the fire and strain; when it is ready
for use. This size is an excellent one for the purpose.

Walnut Stain.—Mix in a quart of hot water a quarter of a pound of Turkey umber and
add two tablespoons of turpentine.

Light Oak Stain.—Grind fine in water half a pound of raw Turkey umber and half a pound
of Dutch pink. Dilute with one gallon of water and add half a pint of vinegar.

When vermilion is used in distemper it is necessary to stir it up now and again as the
colour sinks to the bottom.

Cleanliness should be the first and foremost rule for every painter. It has been said that
if it were not for the flies and the smoke the principal part of the painters’ occupation
would be gone. It may be taken as a safe rule that all old work should be thoroughly
washed down with clean water before repainting. This pays even with stucco or outside
cement work.

A good priming coat for work that is to be finished in vermilion is made by mixing bright
Venetian red and white lead with boiled linseed oil.

Window Glass.

Rules as to Fractional Parts of an Inch.

British Plate.—Pilkington’s “Glass Cutter’s Assistant” gives the following: Polished,

Silvered, and Rough Cast. All fractional parts of inches will be charged as full inches, e.g.,
1051⁄8 × 571⁄4 be reckoned as 106 × 58.
Rolled Plate Glass.—Every fraction above 1⁄6 of an inch is charged as an inch, e.g.,
471⁄6 × 201⁄8 is reckoned 47 × 20
581⁄4 × 321⁄4 „ 59 × 33
All Other Kinds of Window Glass.—
1⁄4 inch and under, as 1⁄4; e.g., 141⁄8 × 101⁄8 is reckoned as 141⁄4 × 101⁄4
5⁄16 to 1⁄2 inch, as 1⁄2; „ 143⁄8 × 105⁄16 „ 141⁄2 × 101⁄2
9⁄16 to 3⁄4 inch, as 3⁄4; „ 149⁄16 × 105⁄8 „ 143⁄4 × 103⁄4
13⁄16 to 1 inch, as 1; „ 147⁄8 × 1013⁄16 „ 15 × 11

Specific Gravity.
One of the best tests for linseed oil is its weight or specific gravity. The latter term is not
so well understood among painters as it might be. A few words of explanation may
therefore be given. One hundred gallons of pure water when weighed when the
temperature is at 60 deg. F. weigh exactly 1,000lbs. This is taken as the standard of
specific gravity for all liquids, and a scale or hydrometer is based upon it. One hundred
gallons of boiled linseed oil at 60 degs. F. weigh only 940lbs., and the specific gravity of
linseed oil is therefore said to be ·940. As it would be practically impossible to weigh as
much as 100 galls. of the liquid which it was desired to test for specific gravity, an
instrument called the hydrometer is used for the purpose. This floats in the liquid and
bears a scale so that a portion of it stands out of such liquid. When put in pure water, the
indicator would show, of course, at 1,000, and in boiled linseed oil ·940, and in raw linseed
oil it would show about ·922, which is the specific gravity of raw oil. Cotton seed oil raw is
the same as raw linseed oil, namely ·922; colza oil is ·915. In actual practice the specific
gravity of oil is taken by means of a bottle or flask which is weighed when full of oil and
then compared with the weight of the same bottle full of water.
 CHAPTER XII.
Recipes, Tables, Hints and Notes

The author trusts that he has made it clear to the reader that the subject of paint and
colour mixing is far more comprehensive than might at first sight appear. Yet it is of such
great importance that every house painter worthy of the name should make himself
acquainted with it, and, unless he be colour blind, he can do so without difficulty if he will
only take the trouble to make a number of tests and experiments.
In “putting on,” i.e., engaging the services of journeyman, the master painter will find,
as a rule, that only about one in twenty has any knowledge of colour mixing, yet these
men could, if they would only do so, easily make themselves at least fairly proficient in the
subject by devoting their spare time to making various mixtures and using a box of
ordinary artists’ oil colours for the purpose. A very good box can be purchased for about
ten shillings.
Having given some practical tests for colours, we may now add one or two for
turpentine.
To Test the Purity of Turpentine.—It is of considerable importance that turpentine used
for painting should be quite pure. To test the purity in a practical way pour a few drops on
a sheet of white writing paper; if it is pure the mark will evaporate in a few minutes,
leaving the paper quite clean. If, however, paraffin oil has been added to the turpentine it
will leave a greasy mark on the paper, which will not disappear for several hours or even
days. Turpentine is sometimes adulterated with benzine. The test above will not detect
this, as the benzine will not leave a greasy mark. The evaporation, however, will be more
rapid than when the turpentine is pure. When turpentine is very old, it becomes “gummy”
or thick, and is unsuitable for mixing with paint. This condition is indicated by a greasy
mark left on writing paper when a few drops are poured upon it.
Another very simple test for the purity of turpentine is to place a sample in a small white
bottle and shake vigorously, carefully observing the time that it takes the bubbles that
arise from the agitation to disappear. If the turpentine is adulterated with paraffin oil the
bubbles will hold longer than when it is pure. The best plan is to have a bottle containing
pure turpentine and another containing the suspected sample, and to shake up both
together, comparing the rapidity with which the bubbles disappear.
Paraffin oil is also sometimes detected by smell: pour a couple of drops on the palm of
the hand, rub the two hands briskly together, when the characteristic smell of paraffin will
be easily detected if any considerable amount be present. Turpentine is sometimes
adulterated with rosin spirit, and this can only be detected by means of analysis.
Linseed Oil.—To ascertain with absolute certainty whether a sample of linseed oil is pure
or not is by no means easy, and can only be done by aid of chemistry. There are various
methods by which the adulteration can be ascertained, but we hesitate to print them here,
because they may prove misleading to the uninitiated. The experienced painter has two
tests of his own, viz., smell and the working of the oil, and if these lead him to suppose it
is adulterated his only safe plan is to obtain the services of a competent chemist.
 We next reach a consideration of the different qualities of the principal pigments, and
can best show these by means of tables.

PIGMENTS.
Some Useful Tables.

Pigments Liable to Change under the Influence of Sulphuretted Hydrogen, Air, and Moisture:
Yellow.—Turner’s yellow, chrome yellow, mineral yellow, Naples yellow.
White.—Cremintz white, flake white, pearl white.
Red.—Red lead, purple red, iodine scarlet.
Green.—Verdigris, Scheele’s green, emerald green, mountain green.
Blue.—Prussian blue, Antwerp blue.
Orange.—Orange chrome.

Pigments Little Liable to Change under the Influence of Sulphuretted Hydrogen, Air and Mixture:
White.—Zinc white, constant white, tin white.
Red.—Vermilion, red ochre, Indian red, madder lakes.
Yellow.—Yellow ochre, barium chromate, zinc chromate, aureolin, raw sienna.
Green.—Chrome green, cobalt green.
Blue.—Ultramarine, smalt, Thenard’s blue.
Brown.—Vandyke brown, raw umber, burnt umber, manganese brown, sepia.
Black.—Ivory black, lamp black, Indian ink, graphite.
Orange.—Orange vermilion, burnt sienna.

Pigment Liable to Deterioration when in Contact with White Lead, Chrome or other Lead Pigment:
Yellow.—Yellow orpiment, king’s yellow, Indian yellow, gamboge.
Red.—Iodine scarlet, cochineal, carmine.
Orange.—Golden antimony sulphide, orange orpiment.
Green.—Sap green.
Blue.—Ultramarine.

Pigments which are Little Affected by Heat, and which may be Employed when the Material has to

Stand Fire:
White.—Tin white, barium white, zinc white.
Red.—Red ochre, Venetian red, Indian red.
Yellow.—Naples yellow, antimony yellow.
Blue.—Smalt and royal blue, ultramarine.
Green.—Chrome green, cobalt green.
Orange.—Burnt sienna, burnt ochre.
Brown.—Burnt umber, manganese brown.
Black.—Graphite, mineral black.

Colours that may be Used with Lime:

White.—Permanent white, i.e., baryta white, gypsum, zinc white.
 Red.—The vermilions, light red, Venetian red, Indian red, madder lakes.
Orange.—Cadmium, orange chrome, Mars orange, burnt sienna, burnt Roman
ochre, light red.
Yellow.—Aureolin, cadmium yellow, lemon yellow, Naples yellow, Mars yellow, raw
sienna, yellow ochre, Roman ochre, transparent gold ochre, brown ochre, Indian
yellow, Oxford ochre.
Green.—Oxide of chromium, transparent oxide of chromium, viridian, emerald
green, malachite green, verdigris, terre verte, cobalt green, chrome green.
Blue.—Genuine ultramarine, artificial ultramarine, new blue, permanent blue, cobalt
blue, cerulean blue, smalt.
Purple.—Purple madder, Mars violet.
Brown.—Bone brown, bistre, Prussian brown, burnt umber, Vienna brown, Vandyke
brown, Cologne earth, asphaltum, Cassel earth, manganese brown.
Citrine.—Raw umber, Mars brown.
Blacks.—Ivory black, lamp black, blue black, charcoal black, Cork black, Indian ink,
black lead, drop black, plumbago.

BRUSHES.
We think it well to include here some information concerning brushes, but may first give
a brief description of the way in which they are made, taking the firm of G. B. Kent &
Sons, Ltd., as an example, as the author had the pleasure of going over their factory some
time since. The following is his account written for “The Decorators’ Magazine”:—
A superficial observer may be inclined to think there is no particular advantage to the
painter and decorator in possessing a knowledge as to how the tools he uses are made.
Yet such a knowledge may help him considerably in judging as to the quality of those
tools, and it will be at once acknowledged that an ability to discriminate in this respect is
of considerable value. For brushes vary greatly in quality, far more so, perhaps, than our
readers may imagine possible. Everyone knows that there are good brushes that cost
more than a trifle, and rubbishy goods, chiefly of foreign make, that can be bought for,
perhaps, half the amount. Probably there is not a reader who does not fully understand
that it is far better in the end to buy the best quality brushes, that is, that it is cheaper to
pay a higher price, because the work with such brushes can be done quicker and better
than it can by the inferior ones, and also because the superior quality lasts much longer.
Those things are well understood among most painters, and even if some of them will use
cheap stainers and lose money in consequence, they have, at least, learned the lesson of
the necessity of using only best quality tools.
But it is not a comparison between high grade and low grade brushes that we now want
to make, it is rather to direct attention to the difference that exists in the actual quality of
so-called first-class tools of different makes. It is this difference than can best be
understood after inspecting the process of brush making, and it must be acknowledged
that adulteration can be carried on in the manufacture of brushes to a considerable extent.
Take a common ground brush as an example. The actual brush part should consist wholly
of hog’s bristles, for there is nothing yet discovered that gives better results. Yet there are
on the market many brushes marked “pure bristle” which really contain more or less a
large proportion of horsehair or other material which makes a poor substitute, but which
cannot be easily detected, in fact, it is the difficulty of detection which has probably given
rise to the objectionable adulteration referred to.
The objection to horsehair in a painter’s brush is that it is flabby and without spring, but
its presence in adulterating brushes can be understood when it is said that approximately
the price of horsehair is 1s. 9d. to 2s. 2d., and bristles 8s. to 9s. per pound. It certainly
requires an expert to state positively whether horsehair is included or not, but there are
certain signs that, with care, will determine the matter, at least to a certain extent. The
real bristle has its end split—called a “flag” end—the root end is considerably larger and
cannot be mistaken. The spring or elasticity is another indication of the bristle. The
horsehair, on the other hand, is the same size both ends, and has no flag end; if the
suspected bristles be viewed under a strong reading glass the difference can be told
without a great deal of difficulty.
At the works of Messrs. G. B. Kent & Sons, Ltd., the author was shown how suspected
brushes sent out had been dissected and the various parts divided up, and it was
surprising to see how much horsehair could be included in a brush without giving it any
out-of-the-way appearance. There were little piles of horsehair of different lengths, while
the bristles were all sorted into other piles, each of different lengths. Photographs of the
brushes that have been dissected in this way have been distributed through the trade, and
they have no doubt proved of use in showing painters that adulteration in brushes is
carried on to almost as great an extent as it is in paint materials. No adulteration whatever
in painting brushes is permitted in the factory of G. B. Kent & Sons.
Certainly the brush department in any brush manufactory, which is of the most
importance is the bristle room, and it was to this that the author was first taken. There
were bristles of many different kinds, most of them tied up into neat bundles ready to be
afterwards dealt with. For instance, Siberian Okatka, and perhaps most important to my
readers because they make the best paint brushes, having an excellent spring and being
stiff. They are very costly and are rarely used by themselves, nor is it necessary, because
other varieties of bristles may be mixed in, and it is this mixing or blending that constitutes
so important a part in the brush manufacturer’s art. Indeed, the purchase and blending
takes years of careful study to learn. One class of bristle is introduced into the mixing to
give strength, another straightness, another solidity, another colour, and it is the judicious
blending, the knowledge of which is acquired only by much experience, which makes a
first-class brush for first-class work, and having the requisite spring and durability and the
band of which will not burst.
The process of dividing the bristles into uniform lengths is termed “dragging,” a very
interesting process which requires considerable expertness on the part of the operator. A
handful of bristles, after being mixed, is placed against a gauge, and the operator,
grasping firmly those bristles which project beyond a mark which indicates the required
length, withdraws them with his thumb and finger and places them aside. The whole
bundle having been gone over in this way, a second dragging to the next mark is made,
and so on until the bristles are arranged in little piles of uniform lengths.
The operation of “mixing” is also interesting. This is done in order to obtain an uniform
colour and quality in the bristles. First, all the bristles of different colours are piled on the
top of one another, varying considerably in colour in the different layers from top to
bottom. Perhaps there will be one layer nearly white and another nearly black. If these
were all mixed up indiscriminately to make a brush, the result would be a very patchy
appearance that would not be liked. The object, therefore, is to have an equal admixture
of black and white throughout. A workman takes in his hand a portion of the bristles from
top to bottom, cutting through all at once. These he holds in his two hands and ‘jabs’—for
the want of a better word—through a steel comb which is fixed upright before him. This
mixes the different coloured bristles, and at the same time pulls out inferior or woolly parts
that may have been left in. As each handful of bristles is dressed in this way it is laid aside,
and when the whole is completed the second dressing is gone through in the same way as
the first, the result being that the admixture is perfect, and the appearance of any one
part of the pile is exactly the same as that of the other. It is essential also that all the
bristles should lie the same way, and, as in the rough an uncertain small proportion of the
bristles arrive with their heads the wrong way, to extract them another small comb,
termed an ‘engine,’ with teeth very close together, is used; the ‘flag’ end of the handful is
combed over this, and the roots of the ‘turned’ hairs catch in the comb.

OLD ROSE MOSS GREY

IVY GREEN WARM GREY

GREEN SLATE LEAD

SEA FOAM SILVER GREY

APPLE GREEN STONE

 SLATE MIDDLE STONE

GRANITE DARK OAK

ASH GREY IVORY

It will be unnecessary to describe in detail how every brush is made, but an ordinary
ground brush will serve as an example. The actual manufacture is not difficult. First the
bristles are carefully weighed out so that every brush of the same grade has exactly the
same quantity of bristle in it as a corresponding brush; great care being taken not to
disturb the way in which the bristles lie. They must all point one way, and naturally they
have a certain bend. The outside of the brush is usually made of white bristles, while the
inside is grey and yellow. This is almost a universal rule, for although the inside bristles are
of equal spring to those outside, still trade demands white bristles outside and has them.
The reader will understand that the bristles that are to form the ground brush about to be
made are lying on the scale, these having been weighed they are taken off, the white
bristles being underneath, so as to form the outside of the brush. The workman takes all
the bristles carefully, but firmly, in both hands, and turns the bristle round his thumb in
such a way that the bend of the bristles all turn inward towards the centre, and the white
bristles or ‘cappings’ lie in an even rim round the rest, and the ‘knot’ is then tied round
with string. The knots are then dipped in hot cement and kept warm standing upon a hot
plate.
The next process is ‘driving,’ which consists in forcing the handle through the bristles,
which has been previously inserted in its binding, and this tightens the brush by
compression.
Varnish brushes, as a rule, are shaped in a manner somewhat similar to the method of
making artists’ pencils, that is to say, the wedge shape is produced by placing the bristles
into a small circular box, the bottom of which is concave. Hence, it will be seen that the
bristles, if even they are all of the same length, have the necessary chisel-edge for a
varnish brush. Pegged brushes are made under a patent of Messrs. G. B. Kent & Sons.
Speaking roughly, it consists of driving pegs into the back woodwork of the brush so as to
throw the parts into greater compression and to hold the bristles tighter. After the brush is
made, the bristles are thoroughly scoured on a stone with soap and water. After the brush
is finished, the bleaching chambers are reached where, by means of sulphurous fumes,
the bristles are bleached to the required degree of whiteness.
The Care of Brushes.—However good a brush may be it will soon be ruined unless it is
properly treated when out of use. The following hints will suffice as a guide in this respect:
—
Writing Pencils, etc.—Wash in turpentine until quite clean, and if they are not to be used
for some time dip in olive oil and smooth from heel to point.

RED SABLE.

Stipplers.—Wash thoroughly in pure soap and hot water rinsing with cold water. Place
point downwards to dry.

STIPPLER, WITH BRIDGE HANDLE.

Varnish Brushes.—The best method of keeping varnish brushes, in the opinion of the
author, is to suspend them in the same description of varnish as that they are used for. As
this is not always possible boiled oil may be used instead.

VARNISH BRUSH—GALVD. WIRE BOUND.

Paint Brushes.—Mr. Ernest N. Kent gives the following instructions in “Specifications”:—

SASH TOOL.
 FLAT OVAL GROUND BRUSH.

Brushes made for Use in Colour should first be soaked well in water to swell the bristle
in the binding. This applies also to whitewash brushes which are bound either by wire or
leather.
A Brush after Use should be thoroughly cleansed out in turps or soap and water. If left
in water any length of time they are liable to twist, and the bristles lose their elasticity.
A Brush made for Paint should not be used in varnish, the spirit of which dissolves the
cement with which it is set, and loosens the bristles. When a ground brush has been well
worn down in colour, it may, however, be used in varnish.
A Brush made for Varnish must on no account be put into water as the water destroys
the cement.
Varnish Brushes when not in use should be suspended in either varnish or oil, the brush
not resting on the bristles. No brushes should on any account be kept in turpentine.
Stippling Brushes should be well cleaned and dried after use, the bristle being carefully
kept from crushing; a box in which they can be slid, allowing the bristle to hang
downwards is recommended.
Should a Brush become quite hard with Paint it should be soaked for twenty-four hours
in raw linseed oil, after which time in hot turpentine.

Some Useful Recipes.

A Recipe for Terebine.—Take 2lbs. of ground litharge, 2lbs. of red lead, 1lb. of sulphate of
manganese, 1⁄2lb. of sugar of lead. Mix these to a paste with light coach japan, put the
paste into a gallon jar and add half a gallon of pure turpentine. Let this stand for three
days, stirring occasionally, then pour off the resultant liquid which forms first-class
terebine. You can afterwards pour in another half gallon of turps, well stir and pour off as
before. This can be done a third time when the chemicals will have become exhausted.

SPECIAL PAINTS FOR SPECIAL PURPOSES.

Iron Cement.—A cement suitable for filling up defects in cast iron is made by mixing one
part of bone black, one part of powdered gum arabic, one part iron dust or very fine iron
filings, and two parts of plaster of Paris. This powder is made up into a stiff body with
water, but only sufficient for immediate use should be made, as it sets very rapidly. In time
it becomes as hard as iron.
Buff Paint.—The following mixture will produce an excellent buff paint for ordinary
purposes. Grind in raw linseed oil 3cwt. of white lead, 4cwt. of grey barytes, 8lbs. of
genuine red oxide, 100lbs. of J.F.L.S. ochre, and 8lbs. burnt Turkey umber.
Torbay Paint, Imitation.—Grind together 5cwt. of grey barytes, 1cwt. Paris white, 4cwt. of
French ochre, and 4lbs. of genuine red oxide of iron.
Drum Paint.
—Dissolve rosin in an equal bulk of naphtha and colour with lamp black for black, celestial
blue for blue, Venetian red for red, and so on. A little oil added will be of assistance.
Bronze Paint Tins, Dipping Solution for.—Dissolve asphaltum in spirits of turpentine and
thin down to the required consistency.

FLOOR PAINTS.
This class of paint is much used in America, and they are made in a variety of colours.
The necessary qualities are great durability under wear. Three coats are usually given, but
it is very necessary that sufficient time be allowed to elapse between the application of
each coat to enable a thorough drying to be effected. The thinners for each recipe will be
the same, namely, gloss oil twenty gallons, linseed oil eight gallons, turpentine japan six
gallons, benzine japan two gallons, turpentine four gallons, benzine three gallons, making
together 52 gallons. The pigments will be as follows:
Buff.—Yellow ochre, 175lbs.; whiting, 25lbs.; zinc, 25lbs.; Portland cement, 3lbs.
Dust Colour.—Zinc white, 175lbs.; white lead, 25lbs.; whiting, 50lbs.; lamp black, 1lb.;
yellow ochre, 8lbs.
Lead Colour.—The same as dust colour, excepting that 5lbs. of lamp black should be used
and 3lbs. of yellow ochre.
Terra-Cotta.—Yellow ochre, 100lbs.; Venetian red, 17lbs.; zinc, 25lbs.; whiting, 70lbs.
Maroon or Indian Red.—Indian red, 100lbs.; Venetian red, 50lbs.; zinc, 25lbs.; whiting,
25lbs.
Light Brown.—Yellow ochre, 100lbs.; whiting, 70lbs.; mineral brown, 15lbs.; zinc, 25lbs.;
Venetian red, 6lbs.

DIPPING PAINTS.
This class of paints is much used in the United States, the article that is to be painted
being dipped into the paint so as to save the labour of applying it with a brush in the
ordinary manner.
Black Dipping Paint.—In this case two separate dippings are required, first with the
following mixture which acts as a primer. Take 100lbs. of dry ground slate, 100lbs. of
whiting, 50lbs. of zinc white, 2 gallons of linseed oil, 20 gallons of gloss oil, and 5 gallons
of benzine. These being properly mixed form a priming coat which dries fairly quickly.
When dry dip the article into a paint made of the following mixture: 25lbs. of drop black,
31⁄2 gallons of grinding japan, half gallon of turpentine, 71⁄2 gallons gloss oil, and one
gallon of turpentine.
Yellow Dipping Paint.—A primer is made by grinding together 14lbs. of golden ochre, 11⁄2
gallons of grinding japan, 2 gallons of gloss oil, and half gallon of turpentine. The paint is
made of 30lbs. of medium chrome yellow, 2 gallons of grinding japan, 11⁄2 gallons of
turpentine, and 7 gallons of gloss oil. This makes 12 gallons of paint.
Red Dipping Paint.—Grind together 80lbs. of bright scarlet or Turkey red, 80lbs. best Paris
white, 38 gallons gloss oil, 4 gallons of benzine, 2 gallons of linseed oil, and 2 gallons of
benzine japan. This makes 50 gallons of paint.
Machinery Dipping Paint.—Grind together 100lbs. of dry ground slate, 25lbs. zinc white, 1
gallon of linseed oil, 2 gallons of gloss oil, and 1 gallon of japan drier.
Dipping White.
—Grind 100lbs. of zinc white with 90lbs. of Paris white in 2 gallons of linseed oil, 32
gallons of gloss oil, and 11 gallons of benzine. This makes 50 gallons of paint.
The above recipes for dipping paints have been modified from recipes which originally
appeared in “Drugs, Oils and Paints,” of Philadelphia.

PAINT FOR IRON.

There has been a very considerable amount of difference of opinion as to the best paint
for iron. An elaborate course of experiments were made and the results reported in the
columns of the “Engineer” some time since. The results of these experiments showed that
no rust whatever resulted from either of the following mixtures, which may therefore be
recommended as good paints for iron.
Red Lead Paint.—Red lead, 88 parts; raw linseed oil, 12 parts.
Cheaper Red Lead Paint.—Cheaper red lead, 45 parts; barytes, 45 parts; raw linseed oil, 10
parts.
Red Lead Paint, Cheaper Still.—Very cheap red lead, 22 parts; barytes, 66 parts; raw
linseed oil, 12 parts.
Vermilionette Paint.—Barytes, 33 parts; deep vermilionette, 44 parts; pale vermilionette,
14 parts; raw linseed oil, 7 parts.
Permanent Red Paint.—Permanent red, 88 parts; raw linseed oil, 7 parts.

PUTTY RECIPES.
Although an ordinary putty is made of dry whiting with raw linseed oil, a modification of
this mixture is often necessary and desirable.
Soft Putty.—One pound of white lead mixed with 10lbs. of whiting and ground with the
necessary quantity of boiled linseed oil makes an excellent putty. About half a gill of best
olive oil or cotton seed oil added, prevents the white lead from hardening and preserves
the putty in a state sufficiently soft to adhere at all times.
Export Putty.—The above recipe answers for putty that is to be sent abroad, the cotton
oil preventing it from going hard. Sometimes the white lead is omitted.
Putty for Exposed Positions.—A very strong putty is made of boiled oil and whiting and is
suitable for exposed positions, such as skylights. It is not adapted for keeping, as it gets
too hard. Putty for inside work that is ground in raw linseed oil may be made by adding a
little white lead.
Hard Putty.—Mix dry red lead with boiled oil and turpentine varnish. This may be used
immediately, as it soon gets hard.
French Putty.—Boil 7 parts of linseed oil with four parts of brown umber for two hours.
Then add 51⁄2 parts of whiting and 11 parts of white lead and mix the whole. This putty is
very durable and adheres well to wood.
Imperishable Putty.—Various recipes for a so-called imperishable putty have been given.
The one published above, named French putty, is very durable, but it may be varied by
boiling together for two hours 31⁄2lbs. of linseed oil and 2lbs. of brown umber. Stir in one
ounce of beeswax, take off the fire, and mix 2³⁄4lbs. of whiting and 51⁄2lbs. of white lead.
Wood and Glue Putty.—Dissolve glue in water and add as much very fine sawdust as may
be required.
 Blackboard Paint.—Mix 5 oz. of lamp black and 3 oz. of superfine flour of emery in half a
gallon of shellac varnish or patent knotting. This gives a fine slating. Shellac varnish may
be made by dissolving 1lb. of orange shellac in half a gallon of methylated spirits. Another
recipe is: Dissolve 1lb. shellac in one gallon of methylated spirits. When dissolved add 1lb.
best ivory black, 5 oz. of best flour of emery. Mix and put in a stoppered bottle, shake well
before using. In applying this it must be done rapidly, and only a little of the paint should
be poured out at a time, as the spirit rapidly evaporates. In applying it to old blackboards
one coat is usually sufficient.
Whitewash for Poultry Houses.—In order to prevent the breeding of vermin the whitewash
used for poultry houses should be mixed with a little gas tar—not coal tar. It may be
obtained at any gas works, and should be used in the proportion of about a quarter of a
pint to the pailful of ash. To bind the whitewash, flour made into a paste with hot water
may be used, and is better than glue size as it does not decay and will not injure the
fowls.

SOME USEFUL HINTS ON PAINTS AND PAINTING.

An excess of driers in paint often gives rise to blistering.

Boiled oil, if of good quality, will, when applied to glass, dry in 24 hours.

Tar should always be applied hot.

Dark boiled oil may be pure, but it will not produce good work.

A little varnish added to paint, often improves both its appearance and durability.

In painting over bad stains, tar, etc., a coat of shellac varnish will usually give a good
surface on which the paint will dry.

Ochre makes a good and cheap priming coat, if it is very fine.

To test patent driers, mix it with raw linseed oil, in the proportion of one to three, and
apply to glass. If still tacky at the end of 24 hours, the driers may be looked upon as being
of inferior quality.

Varnish brushes are best kept, when not in use, by being suspended in the same kind of
varnish in which they are ordinary used.

For thinning gold size, use a little boiled oil, not turpentine.

The practical painter should have an “educated” nose—that is, one that can at once
detect adulteration in oil and turpentine.

To mix varnishes is sometimes necessary, when the particular kind required is not at
hand. But it is always a bad plan, and is never desirable. When it must be done, do not
use the varnish for a few days.
 An even temperature is of the greatest importance in obtaining good results from
varnish. Coach painters’ shops are usually kept exactly at the same heat, while dust and
draughts of cold air are rigidly excluded. This is one of the reasons why coach painters are
able to turn out such fine work.

Success in repainting ironwork largely depends in removing all rust, scale, etc. For this
purpose, wire brushes should be used, as they greatly facilitate the operation.

Luminous paint which, if exposed to the light during the day, will give off sufficient light
at night time to enable one to see the time by a watch, may be had to last several years, if
protected by a piece of glass from the weather, and it is extremely useful for certain
positions where it is not desired to burn a light.

Fineness of grinding is a most important quality of all tinting colours, but in none more
so than in the umbers and siennas prepared for grainer’s use. It is of equal importance
that the tone and colour be pure. Sometimes this class of colours are toned up with
chrome, but this is objectionable, and the right tone of sienna can only be expected when
the correct quality of crude earth is selected.

Tube colours are now becoming so popular among the highest class painters and
decorators that the use of dry colours will soon be considered obsolete. When the colours
are put in tubes, waste is almost wholly prevented, while their use keeps the colours moist
for a considerable time.

Two coats of patent knotting or shellac varnish may be given to cover stains, damp
spots, or other work which will not take the paint. Even tar spots thus treated may be
neutralized.

Grained work should never be varnished until after 6 or 7 days from the time it is
finished. This delay will render the surface much more durable than it would be if
varnished immediately.

Spring and summer are not the best for painting, as many suppose. The autumn is
better, as the work is then, as a rule, thoroughly dry and in the best condition to take the
paint.

To obscure window glass, the best plan is to apply a coat of matting varnish, which is
specially made for the purpose. It looks very neat, and effectively obscures the glass,
although it shuts out very little of the light.

A rough way of testing a brush is to pluck a few bristles and to burn them by applying a
match. If they are true bristles they will give off an unmistakable odour, will frizzle up
while burning, but will not leave an ash. Fibre, on the other hand, burns without smell,
and leaves an ash.

Embossing on glass is usually done by means of hydrofluoric acid. The design is

pounced or sketched on with French chalk. Then every part that is not to be embossed is
painted over with a special Brunswick black. A little wall of tallow is then built all around
the pane of glass laid flat, and the acid is gently poured on. In about half an hour it has
eaten into the glass sufficiently to form a well-defined pattern. The acid is poured off into
a guttapercha bottle, the tallow removed, and the surface washed with clean water. The
black is softened with turpentine and removed by means of an old chisel.

A priming coat can never prove satisfactory unless it is composed of very fine materials.
White lead, red lead, or white lead and ochre are among the best primers.

The best tests of linseed oil for the practical man are the senses of smell and taste. The
analysis of linseed oil is a very difficult process, and every oil dealer should educate his
senses by constant practice and recognise the pure oil immediately when he smells or
tastes it. Adulteration in boiled oil is more difficult to detect than it is in raw oil.

Never mix two different kinds of driers in a paint; they may re-act upon one another and
actually retard the drying of the paint.

Too much driers in paint will destroy its durability and may affect the gloss.

Messrs. Wilkinson, Heywood & Clark, Ltd., 7, Caledonian Road, London, N., have favoured
the author with samples of their colours, which he finds, after examination, to be of a high
order of excellence. Their white oil varnish is also highly recommended, being almost
colourless and not turning yellow.

In preparing plaster figures for showing samples of gold paint it is necessary first to give
a heavy coat of shellac to prevent absorption.

Perhaps not one painter in a thousand knows that water glass (silicate of soda) makes
an excellent size for wall paper. It will not wash up the pattern, and it forms a foundation
for the paper varnish that makes it stand out admirably.

The priming coat for new pine may be made by mixing a stone of white lead in oil with
an equal quantity of patent driers. About one pound of turpentine and a pound and a half
of raw linseed oil will be required.

The Harmony of Colour.—As already stated we cannot spare room to deal with this
important subject, but may give one or two notes on the subject. The following is a useful
list taken from “Colour,” by George H. Hurst. A somewhat similar list will be found in
“Colour” by Professor A. H. Church. The names and addresses of the publishers of these
two books are given on another page.
Harmony of Two Colour Combinations.—
Crimson and orange Bad.
„ „ yellow Inferior.
„ „ green Strong, but harsh.
„ „ blue Good.
„ „ violet Bad.
 „ „ gold-yellow Good.
Scarlet and yellow Bad.
„ „ green Inferior.
„ „ greenish-blue Good.
Scarlet and blue Good.
„ „ violet Bad.
Orange and yellow Poor.
„ „ yellow-green Fair.
„ „ green Strong-poor.
„ „ green-blue Fair.
„ „ blue Good.
„ „ violet Strong-good.
Orange-yellow and crimson Poor.
„ „ scarlet Poor.
„ „ green Bad.
„ „ blue-green Bad.
„ „ green-blue Fairly good.
„ „ blue Excellent.
„ „ violet Good.
Yellow and crimson Poor.
„ „ green Bad.
„ „ blue-green Very bad.
„ „ blue Only fair.
„ „ violet Very good.
Green and blue Very poor.
„ „ violet Moderate.
„ „ red Good.

LIST OF USEFUL BOOKS.

The author has thought it might be of service to his readers to include a list of books
which would probably be useful to the purchaser of this work. The list below includes the
most modern and up-to-date works, together with their prices and publishers. A very brief
description is appended.
PAINTING & DECORATING, by Walter J. Pearce, second edition, 1902. Price, 12s. 6d.
Published by Chas. Griffin & Co., Ltd., London. This is a book of 312 pages and several
coloured plates. The first edition was published in 1898, and it contains information on
every branch of house painting and decorating. It is the work of a practical painter, who is
also an artist, and who has lectured on the subject at the Manchester Technical School for
several years past. The book is highly recommended.
PAINTERS’ COLOURS, OILS & VARNISHES, a Practical Manual by George H. Hurst, F.C.S.
This work contains over 500 pages. The third edition was published in 1901 by Chas.
Griffin & Co., Ltd., Exeter Street, Strand, E.C. The book contains detailed information of the
most practical and thorough character concerning all pigments, colours, colour and paint
machinery, paint vehicles, such as paint oils, turpentine, etc., driers and varnishes. As a
manual treating of painters’ materials it will be found most useful to painters who desire to
know the properties of the materials they use.
PRANG’S “STANDARD OF COLOUR.” This work is very useful to colour mixers. It consists
of seven plates, each plate consisting of 168 colours, tints or hues. (Arthur Ackerman,
Regent Street, S.W.)
“HOUSE PAINTING, GRAINING, MARBLING AND SIGN WRITING,” by Ellis A. Davidson.
This book comprises 9 coloured plates of wood and marbles, 150 wood engravings and a
full treatise on the process of house painting, sign writing, etc. (Crosby, Lockwood & Son.)
“CHEMISTRY OF PAINTS AND PAINTING,” by Professor A. H. Church, published by
Seeley & Co., Gt. Russell Street, W.C. This is a reliable and exhaustive treatise on
pigments, oils, varnishes and other materials used by artists.
“PIGMENTS, PAINT AND PAINTING,” by George Terry, published by Messrs. E. & F. N.
Spon, Ltd., London, 7s. 6d.
“MANUFACTURE OF PAINTS,” by J. Cruickshank Smith, B.S.A., published by Scott,
Greenwood & Co., London, 7s. 6d.
“COLOUR.” A handbook of the theory of colour by George H. Hurst, F.C.S., with 10
coloured plates and 22 illustrations. Published by Scott, Greenwood & Co., London, 7s. 6d.
“COLOUR.” A text book of modern chromatics, with application to art and industry, by
Professor Ogden Rood, 3rd edition, 5s.
“COLOUR.” An elementary manual for students, with 6 coloured plates, by Professor A.
H. Church. Published by Cassell & Co.
“THE MODERN WOOD FINISHER,” by F. Maire. This is a thoroughly practical little work
on Wood Finishing in all its branches. Price 2s. Published by “The Western Painter,” Journal
Building, Chicago, Ill., U.S.A.

The Author regrets that in the text the address of Messrs. Torrance & Sons, Ltd., is given
incorrectly. It should be Bitton, near Bristol, Glos.
 INDEX.

Acorn Brown, 17
Amber Brown, 17
American Walnut, Graining Colour, 59
American Walnut, Ground for, 58
Antique Oak, Ground for, 58
Apple Green, 15
Ash Graining Colour, 59
Ash, Ground for, 58
Autumn Leaf, 17
Birch, Ground for, 58
Bird’s Eye Maple, Graining Colour, 59
Blacks, 70
Blackboard Paint, 87
Blues, 33-70
Body, 64
Books, Useful, 92
Bronze for Paint Tins, 84
Bronze Green, 15-66
Brunswick Green, 44
Brushes, 77
Buff, 16
Care of Brushes, 81
Characteristics of Good Colours, 61
Charlton White, 22
Cherry Graining Colour, 59
Chestnut Graining Colour, 59
Chrome Green, 66
Chromes, 69
Colonial Yellow, 16
Colours, Dry, 11
Colours, Economy of Using Good, 18
Colours, Nomenclature of, 15
Colours or Stainers, 14
Colours, Permanence of, 66
Colours that may be used with Lime, 77
Commercial White, 21
Composition of a Paint, 7
Covering Power, 63
Cream, 17
Dark Drab, 17
Dark Green, 16
Dark Oak, 16-17
Deal, Priming for, 13
Deep Cream, 17
Deep Drab, 17
Dipping Paints, 84
Doe Colour, 16
Dutch Process, White Lead, 21
Driers, 8
Drum Paint, 83
Dry Colours, 11
Economy of Using Good Colours, 18
Embossing on Glass, 90
Emerald Green, 66
Export Putty, 86
Fawn Brown, 17
Fineness of Grinding, 62
Floor Paints, 84
French Putty, 86
Good Colours, Economy of Using, 18-60
Graining Colours, 59
Grays and Greys, 22
Greens, 44-66
Ground Colours for Graining, 57
Harmony of Colours, 91
Hard Putty, 86
Hue, 19
Imperishable Putty, 87
Indian Red, 7-68
Indigo, 33
Inside second coat, 13
Iron, Priming for, 12
Iron Cement, 83
Iron, Paint for, 86
Italian Walnut, Ground for, 7
Ivy Green, 16
Japan White, 20
Japanners, 8
Knotted Oak, Ground for, 58
Lead and Zinc, Mixing, 20
Light Chocolate, 16
Light Drab, 16
Light Oak, Ground for, 57
Light Oak Stain, 71
Light Stone, 16
Lilac, 16
Linseed Oil, 8
Liquid Driers, 8
Lithopone, 21
Luminous Paint, 89
Mahogany Graining Colour, 59
Mahogany, Ground for, 58
Maple Graining Colour, 59
Maple, Ground for, 57
Materials, Proportions of, 12
Medium Oak, Ground for, 57
Middle Stone, 16
Mixing Greens, 44
Mixing Machine, 9
Mixing of Paint, 9-10
Mixing Zinc and Lead, 20
Moss Gray, 17
Moss Green, 15
Nomenclature of Colours, 15
Oak, Ground for, 57
Ochres, 69
Olive Green, 16
Paint, Composition of, 7
Paint for Iron, 85
Paint Mixing, 10
Paint Mixing Machine, 7
Paint Remover, 71
Paint Strainer, 11
Painting on Stucco, 12
Paints, and how to mix them, 51
Patent Driers, 8
Pea Green, 16
Pearl Gray, 16
Permanence of Colours, 66
Permanent Pigments, 67
Permanent White, 20-21
Pigments liable to change, 74
Pine, Priming for, 13
Pitch Pine, Ground for, 57
Pollard Oak Graining Colour, 59
Pollard Oak, Ground for, 57
Prang’s “Standard of Colour”, 18
Priming Coat, 70
Priming for Deal, 13
Priming for Iron, 12
Proportions of Materials, 12
Prussian Blue, 33, 36, 45, 70
Purity of Colours, 61
Purity of Tone, 62
Purple Brown, 7
Putty Recipes, 86
Red Lead, 68
Reds, 26
Rosewood Graining Colour, 59
Rosewood, Ground for, 58
Sage Green, 15
Sandstone, 16
Satinwood, Ground for, 57
Sea Green, 15
Second Coat, 13
Shade, 19
Sienna, 70
Sienna Brown, 17
Signal Red, 17
Size for Plastered Walls, 71
Slate, 16
Smoke Colour, 17
Snuff Brown, 17
Soft Putty, 86
Special Paints, 83
Specific Gravity, 72
Spreading Capacity, 63
Stainers or Colours, 14
Standard in Graining Colours, 60
Steel Gray, 16
Stainers for Paint, 11
Stipplers, 82
Straining Paint, 11
Straw Yellow, 17
Strength of Colours, 45
Stucco, Painting on, 12
Terebine, 83
Testing Colours, 60-65
Testing Turpentine, 74
Tint, 19
Tinting Strength, 64
Tool for Paint Mixing, 11
Turpentine, 7
Turpentine, testing, 74
Tuscan Red, 68
Ultramarine, 37-70
Umber, 70
Useful Recipes, 83
Varnish Brushes, 82
Varnishing Paint, 8
Venetian Red, 7-68
Vermilion, 68
Vermilionette, 68
Walnut Stain, 71
Warm Gray, 16
White Lead, 7-21
White Lead and Ultramarine, 45
White Lead, Testing, 62
Whites, 20
Whites Compared, 21
Whitewash for Poultry Houses, 87
Window Glass Measurement, 72
Wire Paint Strainer, 11
Wood and Glue Putty, 87
Yellow Ochre, 7
Yellows, 38
Zinc and Lead, Mixing, 20
M. Waller & Son, Printers, 15, Chapal Lane, Hull.
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