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Excerpt from An Introduction to the Chemistry of Paints This little work is the outcome of a series of lectures delivered to a class of Practical Painters and Decorators at the Darlington Technical College. The majority of the students could not be accused of possessing even a most elementary knowledge of chemistry, and further inquiries have shown that such is the condition of affairs amongst painters generally; although, of course, there are notable exceptions, which serve to prove the rule, as the saying is. The appreciation with which these lectures were received encouraged me to publish the same in book form, in the h0pe of appealing to a much larger circle, and of thus creating a wider interest in the subject. It is all very well to tell the youthful painter that cadmium yellow may not be tinted with white lead, and that it is unwise to mix together Prussian blue and lime but he is very liable to forget such rules until he has, learned their force by bitter experience. If, however, he is made to understand wiry these pigments are incompatibles, his interest is awakened, and the subject presents itself to him in an entirely new light. Now, this can only be done by a judicious inclusion of chemistry into the curriculum of the painter. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Chemistry of Paints and Painting I have incorporated with the present issue the substance of the paragraphs which he introduced into my original text; these are indicated by the sign. In preparing the following pages for the press, I have to acknowledge, as on previous occasions, the help of several friends and correspondents. Amongst these I specially name Mr. J. Scott Taylor, many of whose suggestions have been incorporated in the text, and also Dr. A. P. Laurie, my successor in the chair of Chemistry in the Royal Academy of Arts. Of recent years the literature dealing with the subjects to which the present handbook is devoted has greatly increased. Several of the volumes named in my 'Bibliographical Notes' are of sterling merit and contain original material of no little importance. But I am bound to confess that I have met with several disappointments when searching for records of new facts in recent dictionary articles, reports of lectures, and treatises. On perusal a familiar note seemed sometimes to be struck; and I ultimately identified not a little of the material as my own. I will not dwell on this matter; it is indeed some consolation to feel that such transferences from my pages would not have taken place had not the paragraphs and tables and comments been deemed of some value. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Chemistry of Paints and Paint Vehicles In writing this book the author has attempted to sift from the great mass of analytical chemistry those methods which apply particularly to the analysis of paints, at the same time calling attention to the most important physical characteristics of the raw materials. No chemist can be proficient in the analysis of paints without a thorough knowledge of all the materials with which he comes in contact, and although no attempt is here made to give anything more than the most general facts regarding them it is to be hoped that such will be sufficient to act as an incentive for each to personally investigate all pigments, etc., until thoroughly familiar with their every aspect. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Excerpt from The Chemistry and Technology of Paints The manufacture of mixed paints is essentially American, having been accredited to some enterprising New Englanders who observed that when a linseed oil paint was mixed with a solution of silicate of soda (water glass) an emulsion was formed, and the paint SO made Showed very little tendency to settle or harden in the package. Several lay claim to this discovery. The first mixed paint was marketed in small packages for home consumption and appeared about 1865. The addition of silicate of soda is still practised by a few manufacturers, but the tendency is to eliminate 'it as far as possible and to minimize as much as possible the use of an alkaline watery solution to keep the paint in suspension. The general use of zinc oxid has had much to do with the progress of mixed paint, for it is well known that corroded white lead and linseed Oil settle quickly in the package, while zinc oxid keeps the heavier lead longer in suspension. Where only heavy materials are used, manufacturers are inclined to add up to 4 per cent Of water. Under another chapter on Water in the Composition of Mixed Paints, page 254, this subject will be fully discussed. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Excerpt from The Chemistry and Technology of Mixed Paints The difficulty which I encountered in writing this book was not how much to write but how much to omit, for I found on compiling my notes that I could very easily have made two volumes, each larger than the present one, and still I would not have covered the ground thoroughly. It is for, this reason that I have omitted many of the pigments which are rarely used, and have paid no attention whatever to the pigments which have gone out of use. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This book provides a thorough introduction to the chemistry behind the creation and application of paints. It covers a wide variety of topics such as pigments, solvents, drying agents, and more. Designed for both students and professionals, this book offers a comprehensive understanding of the science behind paint chemistry. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.