French Polishing and Enamelling Part 4

Any suggestion in reference to freedom from dust, as a matter to be considered in locating rooms for this business, would seem to be entirely superfluous, as it is clear that there is hardly any department of mechanical work which is so susceptible to injury from dust as the finis.h.i.+ng of furniture, including varnis.h.i.+ng and polis.h.i.+ng.

Finis.h.i.+ng rooms may be arranged in three departments. The first should include the room devoted to sand-papering and filling. These processes, much more than any other part of furniture polis.h.i.+ng, produce dirt and dust, and it is plain that the room devoted to them should be so far isolated from the varnis.h.i.+ng room as not to introduce into it these injurious elements.

Another room should be appropriated to the bodying-in, smoothing and rubbing-down processes. The third room is for spiriting and varnis.h.i.+ng, or the application of the final coats of varnish, which is the most important of all the processes in finis.h.i.+ng. It requires a very light and clean room, and a greater degree of heat than a general workroom. It should, as nearly as possible, be uniform, and kept up to _summer heat_; in no case ought the temperature to fall below fifty nor rise higher than eighty-five degrees Fahrenheit while the varnis.h.i.+ng process is going on. Varnis.h.i.+ng performed under these circ.u.mstances will be more thorough in result, have a brighter appearance and better polish, than if the drying is slow and under irregular temperature. For drying work, the best kind of heat is that from a stove or furnace.

Steam heat is not so good for two reasons: (1), it is too moist and soft, causing the work to sweat rather than to dry hard, and (2), the temperature of a room heated by steam is liable to considerable variation, and especially to becoming lower in the night. This _fire heat_ is as necessary for the varnis.h.i.+ng room in damp and cloudy weather in summer as it is in winter. At all seasons, and by night as well as by day, the heat should be as dry as possible, and kept uniformly up to summer heat, by whatever means this result is secured. Varnished work, after receiving the last coat, should be allowed to remain one day in the varnis.h.i.+ng room. It may then be removed into the general workroom.

A remark may be proper here, viz., that there is sometimes a failure to secure the best and most permanent results from not allowing sufficient time for and between the several processes. An order is perhaps to be filled, or for some other reason the goods are "rushed through" at the cost of thoroughness and excellence of finish.

The following suggestion is made by way of caution in reference to the disposal of oily rags and waste made in the various processes of finis.h.i.+ng. These articles are regarded as very dangerous, and are frequently the cause of much controversy between insurance companies and parties who are insured. The best way to dispose of this waste is to put it into the stove and burn it as fast as it is produced. If this rule is strictly adhered to there will be no danger of fire from this source.

All liquid stock should be kept in close cans or barrels, and as far from the fire as possible.

CHAPTER VIII.

_ENAMELLING._

The process of enamelling in oil varnishes as applied to furniture must be understood as a smooth, glossy surface of various colours produced by bodies of paint and varnish skilfully rubbed down, and prepared in a peculiar way so as to produce a surface equal to French polish. Ornament can be added by gilding, etc., after the polished surface is finished.

We will begin with the white or light-tinted enamel. The same process must be pursued for any colour, the only difference being in the selection of the materials for the tint required to be produced.

It should be observed that enamelling requires the exercise of the greatest care, and will not bear hurrying. Each coat must be allowed sufficient time for the hardening, and the rubbing down must be patiently and gently done; heavy pressure will completely spoil the work.

=Materials.=--The materials used for the purpose above named are: white lead ground in turpentine and the best white lead in oil; a clear, quick, and hard-drying varnish, such as the best copal, or the varnishes for enamel manufactured by Mr. W. Urquhart, 327, Edgware Road, W.; or white coburg and white enamel varnish, ground and lump pumice-stone, or putty-powder, great care being taken in the selection of the pumice-stone, as the slightest particle of grit will spoil the surface; and rotten-stone, used either with water or oil.

=Tools.=--The tools required are several flat wooden blocks, of various sizes and forms, suitable for inserting into corners and for mouldings--these must be covered with felt on the side you intend to use, the felt best adapted for the purpose being the white felt, from a quarter to half an inch in thickness, which can be obtained of Messrs.

Thomas Wallis & Co., Holborn Circus, or at the woollen warehouses; two or three bosses (made similar to polish rubbers) of cotton-wool, and covered with silk (an old silk handkerchief makes capital coverings); wash or chamois leather, and a good sponge.

=Mode of Operation.=--If the wood is soft and porous it is best to commence with a coating of size and whiting applied in a warm state, which is allowed to dry; it is then rubbed down with gla.s.s-paper, and two coats of common paint given, mixed in the usual way and of the same colour as you intend to finish with. In practice this is found to be best; after these two coats are thoroughly dry, mix the white-lead ground in turps, with only a sufficient quant.i.ty of varnish to bind it, thinning to a proper consistency with turps. It is as well to add a little of the ordinary white-lead ground in oil, as it helps to prevent cracking. Give the work four or five coats of this, and allow each coat to dry thoroughly. When it is hard and ready for rubbing down, commence with a soft piece of pumice-stone and water, and rub just sufficient to take off the roughness. Now use the felt-covered rubbers and ground pumice-stone, and cut it down, working in a circular manner. The greatest care is required to obtain a level surface free from scratches.

After the work is well rubbed down, if it should appear to be insufficiently filled up, or if scratched, give it two more coats, laid on very smoothly, and rub down as before. If properly done, it will be perfectly smooth and free from scratches. Wash it well down, and be careful to clean off all the loose pumice-stone. Then mix flake-white from the tube with either of the above-named varnishes, till it is of the consistency of cream. Give one coat of this, and when dry give it another, adding more varnish. Let this dry hard, the time taken for which will of course depend upon the drying qualities of the varnish; some will polish in eight or nine days, but it is much the best to let it stand as long as you possibly can, as the harder it is, the brighter and more enduring will be the polish. When sufficiently hard, use the felt, and very finely-ground pumice-stone and water; with this cut down till it is perfectly smooth; then let it stand for a couple of days, to harden the surface.

=Polis.h.i.+ng.=--In commencing to bring up a polish, first take rotten-stone, either in oil or water; use this with the felt rubber for a little while, then put some upon the surface of the silk-covered boss, and commence to rub very gently in circular strokes; continue this till there is a fine equal surface all over. The polish will begin to appear as you proceed, but it will be of a dull sort. Clean off: if the rotten-stone is in oil, clean off with dry flour; if in water, wash off with sponge and leather, taking care that you wash it perfectly clean and do not scratch.

You will now, after having washed your hands, use a clean damp chamois leather, holding it in the left hand, and using the right to polish with, keeping it clean by frequently drawing it over the damp leather.

With the ball of the right hand press gently upon the work, and draw your hand sharply, forward or towards you; this will produce a bright polish, and every time you bring your hand forward a sharp shrill sound will be heard similar to rubbing on gla.s.s. Continue this till the whole surface is one bright even polish. It will be some time before you will be able to do this perfectly, especially if the skin is dry or hard, as it is then liable to scratch the work. A smooth, soft skin will produce the best polish.

For the interior of houses, the "Albarine" enamel manufactured by the Yorks.h.i.+re Varnish Company, of Ripon, is recommended. This article combines in itself a perfectly hard solid enamel of the purest possible colour; and for all interior decorations, where purity of colour and brilliancy of finish are desired, it is universally admitted to be the most perfect article of the kind hitherto introduced to the trade. It is applied in the same manner as ordinary varnish.

_Another Process._--The preceding section describes the process of enamelling by oil varnishes, and the directions referring to the polis.h.i.+ng will be found of value for the "polis.h.i.+ng up" on painted imitations of woods or marbles. There is another process whereby an enamel can be produced upon furniture at a much cheaper rate than the preceding, and one too, perhaps, in which a polisher may feel more "at home." The work should first have a coating of size and whiting (well strained); this will act as a pore-filler. When dry, rub down with fine paper, after which use the felt-covered rubber and powdered pumice-stone, to remove all the scratches caused by the gla.s.s-paper and to obtain a smooth and good surface. Then proceed to make a solution for the enamel: first procure two ounces of common isingla.s.s from the druggist's, and thoroughly dissolve it in about a pint of boiling water; when dissolved, stir in two ounces and a-half of subnitrate of bis.m.u.th--this will be found to be about the right quant.i.ty for most woods, but it can be varied to suit the requirements. With this give the work one coat, boiling hot; apply it with a soft piece of Turkey sponge, or a broad camel's-hair brush, and when dry cut down with powdered pumice-stone; if a second coat is required, serve in precisely the same manner. Then proceed to polish in the ordinary way with white polish.

After wetting the rubber, sprinkle a small quant.i.ty of the subnitrate of bis.m.u.th upon it; then put on the cover, and work in the usual manner; continue this till a sufficient body is obtained, and after allowing a sufficient time for the sinking and hardening it can be spirited off.

Enamelled furniture has had, comparatively speaking, rather a dull sale, but there is no cla.s.s of furniture more susceptible of being made to please the fancy of the many than this. It can be made in any tint that may be required by the application of Judson's dyes, and the exercise of a little skill in the decoration will produce very pleasing effects.

=Decorations.=--The decorations are usually ornaments drawn in gold. A cut-out stencil pattern is generally used, and the surface brushed over with a camel's-hair pencil and j.a.panner's gold size, which can be obtained at the artist's colourman's, or, if preferred, can be made by boiling 4 ozs. of linseed-oil with 1 oz. of gum anime and a little vermilion. When the size is tacky, or nearly dry, gold powder or gold leaf is applied. The gold is gently pressed down with a piece of wadding, and when dry the surplus can be removed with a round camel's-hair tool. In all cases where gold has been fixed by this process it will bear was.h.i.+ng without coming off, which is a great advantage.

CHAPTER IX.

_AMERICAN POLIs.h.i.+NG PROCESSES_

The method of polis.h.i.+ng furniture practised by the American manufacturers differs considerably from the French polis.h.i.+ng processes adopted by manufacturers in most European countries. This difference, however, is mostly compulsory, and is attributable to the climate. The intense heat of summer and the extreme cold of winter will soon render a French polish useless, and as a consequence numerous experiments have been tried to obtain a polish for furniture that will resist heat or cold. The writer has extracted from two American cabinet-trade journals, _The Cabinet-maker_ and _The Trade Bureau_, descriptions of the various processes now used in the States, which descriptions were evidently contributed by practical workmen. The following pages are not, strictly speaking, a mere reprint from the above-named journals, the articles having been carefully revised and re-written after having been practically tested; attention to them is, therefore, strongly recommended.

In these processes the work is first filled in with a "putty filler,"

and after the surface has been thoroughly cleaned it is ready for sh.e.l.lac or varnish. Second, a coating of sh.e.l.lac is next applied with a brush or a soft piece of Turkey sponge. This mixture is composed of two parts (by weight) of sh.e.l.lac to one of methylated spirits, but what is called "thin sh.e.l.lac" is composed of one part sh.e.l.lac to two of spirits.

After the coating is laid on and allowed to dry, which it does very soon, it is rubbed carefully with fine flour gla.s.s-paper, or powdered pumice-stone--about four coats are usually given, each one rubbed down as directed. Third, when the surface has received a sufficient body, get a felt-covered rubber and apply rotten-stone and sweet oil in the same manner as you would clean bra.s.s; with this give the work a good rubbing, so as to produce a polish. Fourth, clean off with a rag and sweet oil, and rub dry; then take a soft rag with a few drops of spirit upon it, and vapour up to a fine polish. With these few preliminary remarks, the following will be easily understood.

=Use Of Fillers.=--The cost of a putty filler consists chiefly in the time consumed in applying it. In the matter of walnut-filling much expense is saved in the processes of coating and rubbing if the pores of the wood be filled to the surface with a substance that will not shrink, and will harden quickly. The time occupied in spreading and cleaning a thin or fatty mixture of filler, or a stiff and brittle putty made fresh every day, is about the same, and while the thin mixture will be subject to a great shrinkage, the putty filler will hold its own. It will thus be seen that a proper regard to the materials used in making fillers, and the consistency and freshness of the same, form an important element in the economy of filling.

A princ.i.p.al cause of poor filling is the use of thin material. By some a putty-knife is used, and the filling rubbed into the surfaces of mouldings with tow, while others use only the tow for all surfaces, mostly, however, in cases of dry filling. In the use of the wet filler, either with a knife or with tow, workmen are p.r.o.ne to spread it too thin because it requires less effort, but experience shows that the greatest care should always be taken to spread the putty stiff and thick, notwithstanding the complaints of workmen. In fact, this cla.s.s of work does not bring into play so much muscle as to warrant complaints on account of it. Nor can there be any reasonable excuse for taking a longer time to spread a stiff filler than a thin filler.

Good results are not always obtained by the use of thick fillers, because the putty is spread too soon after the application of the first coat of oil, which liquid should be quite thin, and reduced either with benzine or turpentine, so that when the putty is forced into the pores the oil already in them will have the effect of thinning it. As an ill.u.s.tration of the idea meant here to be conveyed, we will suppose a quant.i.ty of thick mud or peat dumped into a cavity containing water, and a similar quant.i.ty of the same material dumped into another cavity having no water; the one fills the bottom of the cavity solid, while the other becomes partly liquid at the bottom, and must of necessity shrink before it a.s.sumes the solidity of the former. Hence it appears that work to be filled should be oiled and allowed to stand some time before receiving the filler, or until the oil has been absorbed into the pores.

The preparatory coating should not be mixed so as to dry too quickly, nor allowed to stand too long before introducing the putty, for in this case the putty when forced along by the knife will not slip so easily as it should.

The cost of rubbing and sand-papering in the finis.h.i.+ng process is very much lessened if the cleaning be thorough, and if all the corners and mouldings be sc.r.a.ped out, so that pieces of putty do not remain to work up into the first coat of sh.e.l.lac, or whatever finish may be used as a subst.i.tute for sh.e.l.lac.

Another important feature in hard filling is to let the work be well dried before applying the first coat of finish. One day is not sufficient for the proper drying of putty fillers, and if in consequence of insufficient drying a part of the filling washes out, it is so much labour lost. As a safeguard against was.h.i.+ng out, these fillers should be mixed with as much dryer or j.a.pan as the case warrants, for it frequently occurs that work must be finished, or go into finish, the day following the filling, whether it be dry or not.

By observing the main facts here alluded to, good filling may always be obtained, and at a cost not exceeding that of poor work.

For the light woods, including ash, chestnut, and oak, the filling is similar to that used in walnut, except the colouring material, which, of course, must be slight, or just enough to prevent the whiting and plaster from showing white in the pores. This colouring may consist of raw sienna, burnt sienna, or a trifle raw, or umber; one of these ingredients separate, or all three combined, mixed so as to please the fancy and suit the prevailing style. The colouring may be used with a dry filling, although a wet filling is more likely to give a smooth finish and greater satisfaction, and the colour of the filler can be seen better in the putty than in the dry powder.

Upon cheap work a filler should be used that requires the least amount of labour in its application. For this purpose liquid fillers, like j.a.pan, are suitable. If, however, a fine finish on fine goods is required, the putty compositions of various mixtures are the more appropriate. The secret of the process of filling consists in the mixing of the compounds and the method of using them. A liquid filler or a j.a.pan simply spread over the work in one or two coats can hardly be called filling, yet this will serve the purpose very well for cheap furniture.

Thick compositions or putty fillers are composed of whiting and plaster, or similar powders having little or no colour. This material is mixed with oil, j.a.pan, and benzine, with a sufficient quant.i.ty of colouring matter to please the fancy. The value of these fillers is in proportion to their brittleness or "shortness," as it is termed, and, to give them this quality, plaster is used and as much benzine or turpentine as the mixture will bear without being too stiff or too hard to clean off.

Sometimes a little dissolved sh.e.l.lac is used to produce "shortness."

This desirable feature of a filler is best effected by mixing a small quant.i.ty of the material at a time. Many workmen mistakenly mix large batches at a time with a view of securing uniformity of colour, and this is one cause why such fillers work tough and produce a poor surface. An oil mixture soon becomes fatty and tough, and must be reduced in consistency when used, as it is apt when old to "drag" and leave the pores only partly filled. These fillers should be mixed fresh every day, and allowed to stiffen and solidify in the wood rather than out of it.

The surface of a pore is the largest part of it, and it is desirable to fill it to a level as nearly as possible. This is done by using the filler thick or stiff.

=Making Fillers.=--In making "fillers," a quant.i.ty of the j.a.pan which is used in the ingredients can be made at one time, and used from as occasion may require. It is made in the following manner:

_j.a.pan of the Best Quality._--Put 3/4 lb. gum sh.e.l.lac into 1 gall.

linseed-oil; take 1/2 lb. each of litharge, burnt umber, and red-lead, also 6 oz. sugar of lead. Boil in the mixture of sh.e.l.lac and oil until all are dissolved; this will require about four hours. Remove from the fire, and stir in 1 gall. of spirits of turpentine, and the work is finished.