Metal lacquers
These lacquers are often used to protect polished metals against mechanical damage and against other external influences, especially objects made of brass, copper, nickel or nickel-plated iron or steel.
When one only to prevent tarnishing, the lacquer layer must be extremely thin but strong and tough. In this case, a collodion with a very high viscosity is used, as these types of lacquer provide coatings with the best mechanical properties.
Small amounts of resin are added. The resin must be colorless and completely acid-free. However, the small amount added improves the adhesion of the paint to the metal.
| Recipe no. 1. |
| High viscosity collodion |
4 dl |
| Lindol |
1 dl |
| Recipe no. 2. |
| High viscosity collodion |
4 dl |
| Dammar solution |
1½ dl |
| Dibutyl phthalate |
1 dl |
| Recipe no. 3. |
| High viscosity collodion |
4 dl |
| Elemi resin solution |
2 dl |
| Recipe no. 4. |
| High viscosity collodion |
4 dl |
| Dammar solution |
1 dl |
| Dibutyl phthalate |
1 dl |
| Blown castor oil |
1 dl |
| Ester resin solution |
1 dl |
| Solvent as desired. |
Thicker colorless lacquer layers are obtained with lacquers containing a large amount of rezyls. These resins are very elastic and replace part of the plasticizer.
To 1 part low viscosity dry nitrocellulose one then takes 2 to 3 parts rezyl and one half to one third part dibutyl phthalate, diluted with sufficient solvent to spray consistency.
Automotive paint primer
| Slate powder |
40 dl |
| Lithopone |
20 dl |
| Barite |
10 dl |
| Beckolac 1308 |
40 dl |
| Blown Castor oil |
6½ dl |
| Dibutyl phthalate |
3½ dl |
| Butyl acetate |
8 dl |
| These are finely ground in a paint mill. To 12 dl of this paste is then added a solution of 2 dl ½-sec collodion and diluted to spray consistency. |
 |
Black car paint |
| Super spectr. Carbon Black |
10 dl |
| Blown castor oil |
15 dl |
| Tricresyl phosphate |
15 dl |
| Butyl stearate |
2½ dl |
Lewis solution
(dicarboxylic acid resin) |
15 dl |
| Toluene |
42½ dl |
| These are ground very finely in a paint mill, preferably in a ball mill. To 2 dl of this black paste you now add a solution of 1 dl ½-sec collodion and ½ dl 30-sec collodion with a very good solvent. This varnish covers well, flows smoothly and is easy to polish. |
A strong glossy black lacquer is obtained by mixing together: |
| Dry ½-sec collodion |
5 dl |
| Dry 15-sec collodion |
3 dl |
| Ester resin |
3 dl |
| Lewisol |
9 dl |
| Lindol |
2 dl |
| Blown castor oil |
2 dl |
| Carbon Black-pasta |
10 dl |
| Solvent to spray consistency. |
Nitrocellulose rubber lacquer |
| Collodion |
10 dl |
| Rubber |
25 dl |
| Ethyl crotonate |
100 dl |
Bronze lacquer
A special type of collodion is commercially available for this purpose with a viscosity of 30 to 40 sec. The lacquer is made without resin, as the slightest traces of acid spoil the bronze lacquer.
On 4 dl dry collodion one takes 1 ¼ dl dibutyl phthalate with the necessary solvent and so much bronze powder that the necessary coverage is obtained.
Leather varnishes
For the manufacture of artificial leather and split leather, varnishes are made with nitrocellulose and plasticizer without resin. The paint must be as elastic as possible. Usually, medium to high viscosity collodions are taken with low-boiling, i.e. quickly evaporating, solvents, adding approximately equal amounts of castor oil, whether or not blown, blown rapeseed or linseed oil, wholly or partly replaced by butylacetyl- ricinoleate, hydroresin and other synthetic products that come on the market for this purpose.
Crystal lacquer
| Collodion solution no. 1 (recipe) |
15 dl |
| Collodion solution no. 3 |
5½ dl |
| Naphthalene |
4 dl |
| Hexahydrophenol |
6½ dl |
| Albertol solution |
2 dl |
| Tricresyl phosphate |
½ dl |
| Amyl acetate |
5 dl |
| Solvent |
ca. 40 dl |
Nail polish |
| Collodion solution no. 1 (recipe) |
32 dl |
| Collodion solution no. 3 |
16 dl |
| Dammar solution |
16 dl |
Tricresyl phosphate
or dibutyl phthalate |
16 dl |
Butylcellosolve
(butyl glycol ether) |
16 dl |
| This is diluted with acetone and colored with something carmine. |
Mother-of-pearl wood lacquer |
| ½-sec collodion (dry) |
18 dl |
| 7O-sec collodion |
8 dl |
| Dammargom |
6 dl |
| Schellak |
6 dl |
| Butyl acetate |
30 dl |
| Butyl alcohol |
15 dl |
| Amyl acetate |
4 dl |
| Toluene |
60 dl |
| Dibutyl phthalate |
3 dl |
| Paarlessence |
4 dl |
White nitro enamel paint |
| Collodion ½-sec |
10 dl |
| Butyl acetate |
30 dl |
| Toluene |
10 dl |
| Ethyl acetate |
10 dl |
| In addition, you grind a paste of: |
| Alphthalate 22A |
10 dl |
| Toluene |
10 dl |
| Titanium White 100 pts |
20 dl |
| 60 parts of the collodion solution are then mixed with 40 parts of pigment paste and diluted with the above solvent mixture. |
Mother-of-pearl lacquer for artificial flowers
| Collodion (highly viscous) |
2,5 dl |
| Cellosolve Acetate |
1,5 dl |
| Dibutyl phthalate |
1,5 dl |
| Butyl acetate |
2,0 dl |
| Glyptal |
1,2 dl |
| Toluene |
20,0 dl |
| Ethyl acetate |
12,0 dl |
| Pearlessence |
2,0 dl |
Mother-of-pearl dipping lacquer |
| Collodion (highly viscous) |
3 dl |
| Pearlessence |
½ dl |
| Amyl acetate |
36 dl |
Mother-of-pearl enamel paintTo do this, a good colored enamel on a nitrocellulose basis is mixed with a quantity of clear cellulose lacquer and as much pearl essence as necessary. |
Paper lacquer |
| Dry collodion |
100 dl |
| Rezyl resin |
250 till 300 dl |
| Tricresyl phosphate |
50 till 100 dl |
| Paraffin |
4 till 8 dl |
| These are solved together. The varnish is suitable for wrapping paper and for making wallpaper washable. |
Aircraft covering lacquer |
| Cellulose acetate |
7,5 dl |
| Triphenyl phosphate |
2,5 dl |
| Acetone |
dl |
| Benzole |
30,0 dl |
| Methanol |
20,0 dl |
| Diacetone alcohol |
10,0 dl |
| The solvents are mixed and then the acetyl cellulose is gradually added to the solvent with good stirring. No lumps should form. After the cellulose has dissolved, the triphenyl phosphate is added. The lacquer is filtered for this purpose. The lacquer can be applied with a brush. It is better to spray the paint. |
Oil paint and oil varnish
The normal oil paints consist of pigments, which are finely ground with a drying oil or oil varnish. The properties of the paint depend to a large extent on the ratio of pigment to binder, the nature of the pigment and the nature of the binder. The number of possible variations is so great that the craftsman can make a specially suitable type of paint for every purpose.
In the simplest case, linseed oil can be used as a binder, which contains so much siccative that the paint dries in the desired time. The siccative here is a soapy metallic compound.
The metal used is lead, manganese, zinc, cobalt, or combinations thereof. Fatty acid, resin acid and, nowadays, also certain acids from crude petroleum can be used as acid.
Oil paint is also sometimes and lacquer paint always diluted with a volatile solvent. For this, turpentine oil is still used for the best quality, in addition, however, petroleum distillates of different boiling points, benzol-like solvents and nowadays also here and there high-boiling liquids such as pine oil and dipentene.
Floor lacquer paint
The pigment mixture, which gives the desired color, is first ground with as much fast-drying lacquer as is necessary to form a thick grindable paint paste and then diluted with more lacquer, a little solvent and about 5% siccative, calculated on the amount of lacquer. As a lacquer one uses either a cheap resin ester wood oil lacquer or better a synthetic resin wood oil lacquer.
The composition of the binding agent can be varied almost infinitely here. The main thing is always what price one wants to pay for the raw materials. Furthermore, the quality of the lacquer paint naturally depends to a large extent on the care with which the lacquer was prepared. To obtain the best possible flow, the used linseed oil is first boiled into stand oil. The wood oil must be pre-treated in such a way that it dries smoothly. Furthermore, the amount of siccative should not be too large, because then there is a risk of wrinkled drying.
Lacquer paint or Japan lacquer - indoor use no. 1.
|
| Pigment |
40 dl |
| Binder |
60 dl |
- The pigment consists of:
pure zinc white
- The binder consists of:
| Stand oil |
60 dl |
| Petroleum distillate |
12 dl |
| Turpentine |
25 dl |
| Lead-cobalt siccative |
3 dl |
Lacquer paint or Japan lacquer - indoor use no. 2. |
| Pigment |
47 dl |
| Binder |
53 dl |
- The pigment consists of:
| Lithopone |
80 dl |
| Zinc white |
20 dl |
- The binder consists of:
| Stand oil |
50 dl |
| Dammar resin |
10 dl |
| Turpentine Oil |
8 dl |
| Petroleum distillate |
30 dl |
| Cobalt siccative |
2 dl |
Lacquer paint or Japan lacquer - indoor use no. 3. |
| Pigment |
34 dl |
| Binder |
66 dl |
- The pigment consists of:
pure lithopone.
- The binder consists of:
| Lime hard resin |
20 dl |
| Wood oil (Chinese) |
35 dl |
| Linseed oil |
10 dl |
Boiled at 270℃ and then diluted with:
| Petroleum distillate |
33 dl |
| Siccative (cobalt) |
2 dl |
Matte interior paint no. 1.
|
| Pigment |
65 dl |
| Binder |
35 dl |
- The pigment consists of:
| Lithopone |
85 dl |
| Chalk or Baryte |
15 dl |
- The binder consists of:
| Lime hard resin |
8 dl |
| Linseed oil |
7 dl |
| Wood oil (chinese) |
8 dl |
| Boiled at 270℃ and diluted with: |
| Petroleum distillate |
58 dl |
| Lead-cobalt siccative |
2 dl |
Matte interior paint no. 2. |
| Pigment |
65 dl |
| Binder |
35 dl |
- The pigment consists of:
| Lithopone |
80 dl |
| Zinc white |
5 dl |
| Chalk or Baryte |
15 dl |
- The binder consists of:
| Linseed oil |
30 dl |
| Blown linseed oil |
6 dl |
| Lime hard resin |
4 dl |
| Petroleum distillate |
57 dl |
| Lead-cobalt-manganese siccative |
3 dl |
House paint exterior
(About paint and climate, a Dutch explanation.)The durability of an exterior paint depends to a large extent on the climate to which the paint is exposed. This largely explains the conflicting opinions about the durability of certain paints. Especially in large countries, the difference in the climate of the different landscapes is so great that a certain paint can work very well in one area and is unusable elsewhere. Similarly, the various foreign regulations for exterior paint must always be viewed from the point of view that they are not calculated for our Dutch climate.
In our country, we have to count in the first place with almost constant high humidity of the air. It is therefore no coincidence that the cooking of stand oil was first carried out in our country. After all, by boiling to stand oil, the error of linseed oil paint layers of absorbing a great deal of water is greatly improved. Thus the Dutch painter will have to replace the large quantities of ordinary boiled oil of foreign regulations wholly or partly by stand oil with turpentine oil. Canada offers a typical example of the difficulties that the climate can bring to painting. Here in winter the difference between the day and night temperatures is enormous, accompanied by a great drought. Here, very large amounts of fish oil are added to the exterior paint, which keeps the paint layer soft and elastic. In our climate, such a paint would not dry at all.
In addition to the binder, the pigment also plays a major role and it is advisable to take a closer look at the foreign recipes on this point. It has been found that pure unadulterated lead white does not always give the best results. Even adding plain chalk white was an improvement in many cases. Mixtures such as silica and especially the fibrous asbestos powder can also improve a paint layer.
A mixture of lead white, zinc white and small amounts of titanium white or lithopone, possibly mixed with small amounts of asbestos powder or other fillers, seem to give the best results on average. The only thing that helps here is to carry out experiments yourself and to observe small test sections for several years.
US exterior paint regulations (1936)
| Pigment |
65 dl |
| Binder |
35 dl |
| - The pigment consists of: |
| Lead white |
70 dl |
| Zinc white |
20 dl |
| Chalk or asbestos powder |
10 dl |
|
| Lead white |
40 dl |
| Titanium white |
20 dl |
| Zinc white |
25 dl |
| Silica or asbestos powder |
15 dl |
| - The binder consists of: |
| Raw linseed oil |
80 dl |
| Stand oil |
10 dl |
| Petroleum distillate |
5 dl |
| Siccative |
5 dl |
In a humid climate, the binder must consist wholly or mainly of stand oil. It is also possible to add an amount of a miscible oily exterior paint.
Usually, also here, one starts from thick lead white ground in oil and mixes it with a fair amount of stand oil and dilutes it until it can be spread with turpentine oil.
While lead white with stand oil is preferred for making light-coloured exterior paints, copper greens still contain a pigment that, with stand oil, produces an exceptionally good green exterior paint.
Black enamel paints
These lacquers are generally baked in at temperatures of 65℃ to 200℃. Drying at high temperatures makes the top layer extremely hard. The stoving lacquers are therefore often used for objects that are handled extremely often and are bumped a lot, e.g. sewing machines and bicycles. The gloss of the stoving paints, which is naturally quite high, can be reduced by adding carbon black.
For the production of black enamel paint, a quantity of linseed oil with drying substances such as litharge, red lead and brownstone is first boiled until the oil almost starts to gelatinize. This process takes up to 5 hours and longer at 220℃ to 250℃. The drying agents are added gradually, the manganese last. Stearin pitch or other pitches are now added to the hot mass and heated again for a few hours until the mixture is completely homogeneous. After this, after cooling down to about 150℃, the melt is diluted with light tar oil, white spirit and petroleum distillate until the paint has the right consistency at normal temperature. How far one dilutes depends on whether the baking varnish is sprayed, dipped or brushed on. After this, it is sieved through a cloth and the impurities are allowed to settle in a tank.
When cooking, a small amount of pure Berlin blue is often added.
| Black enamel paint recipe no. 1. (1920's) |
| Gilsonite |
100 dl |
| Manjak |
10 dl |
| Linseed oil |
80 dl |
| Ombra (roasted) |
5 dl |
| Petroleum distillate |
130 dl |
| Tar oil |
130 dl |
| Burn-in at 150℃ for 4 hours. |
| Black enamel paint recipe no. 2. (1920's) |
| Stearin pitch |
100 dl |
| Colophonium |
20 dl |
| Linseed oil |
400 dl |
| Lead(II) oxide |
24 dl |
| Brownstone |
2 dl |
| Petroleum distillate |
160 dl |
| Tar oil |
320 dl |
| Burn-in at 150℃ for 4 hours. |
| Black varnish recept no. 1. (1930's) |
| Prepared pitch |
37,5 dl |
| Boiled linseed oil |
31,5 dl |
| Petroleum |
12,5 dl |
| White spirit |
18,5 dl |
| Burn-in at 180℃ |
| Black varnish recept no. 2. (1930's) |
| Stearin pitch |
dl |
| Asphalt |
dl |
| Boiled linseed oil |
dl |
| Turpentine Oil |
dl |
| White spirit |
dl |
| Burn-in at 120℃ |
Jenson Nicholson stoving varnish
Black lacquer, drying at normal temperature
| Asphalt |
100 dl |
| Boiled linseed oil |
32 dl |
| Menie |
2 dl |
| Brownstone |
1 dl |
| White spirit |
160 dl |
| or: |
| Asphalt |
100 dl |
| Boiled linseed oil |
16 dl |
| White spirit |
100 dl |
Black iron lacquer (interior) |
| Asphalt |
100 dl |
| Dark rosin |
80 dl |
| Lead(II) oxide |
2 dl |
| Brownstone |
1 dl |
| White spirit |
150 dl |
| or: |
| Asphalt |
30 dl |
| Dark rosin |
100 dl |
| Calcium hydrate |
4 dl |
| Boiled linseed oil |
24 dl |
| Lead(II) oxide |
2 dl |
| Brownstone |
1 dl |
| White spirit |
240 dl |
Matt black iron lacquer
100 dl indoor iron lacquer is ground with 20 dl carbon black and diluted with 50 dl turpentine oil.
Candy lacquer
| Shellac (arsenic free) |
40 dl |
| Alcohol |
65 dl |
| Isopropyl acetate |
25 dl |
| or: |
| Copal |
6 dl |
| Isopropyl alcohol |
12 dl |
| Isopropyl acetate |
2 dl |
Elastic stencil paint |
| Gutta-percha |
60 dl |
| Pigment |
40 dl |
| Naphta |
zie tekst |
| The pigment is intimately mixed with the gutta-percha on a rubber mill and then dissolved in sufficient naphtha. An approximately 20 pc solution covers well and can be easily sprayed. The paint adheres to rubber articles and can be hot pressed into fabrics. |
Painting galvanized iron
It is a strange phenomenon that no paint has yet been found that adheres well to zinc under all circumstances. The painting of pure zinc is not very common, however, the painting of galvanized iron, the surface of which nevertheless consists of almost pure zinc. A large number of pre-treatment methods have already been proposed, including washing with diluted acetic acid, with soap and sand, with a 1-pc solution of copper sulphate, sand blowing, etc. The best method still seems to be to simply unprotected for several months. The effect of the weather then creates a somewhat rough layer, which after purification forms a good surface for the oil paint. A good lead red paint is used as a primer.
Black paint
When grinding black paint, especially when using good grades of black, it is often difficult to mix the pigment with the oil or varnish. Small dots also easily remain during grinding, which are formed by carbon black that has not absorbed any oil. Adding a small amount of oleic acid greatly speeds up mixing and grinding.
Heat-inhibiting paint
| Silver iodide |
5 dl |
| Mercury iodide |
1 dl |
| The two substances are mixed in a finely powdered state with a shellac solution and then brushed on the metal parts that may become hot. The color changes from bright yellow to dark red when heated. |
Siccative
| Colophonium W.W. |
200 dl |
| Marble lime hydrate |
16 dl |
| Lead Acetate |
16 dl |
| Wood oil |
64 dl |
| Mangaanboraat |
2 dl |
Gasoline and petroleum distillate as desired.
The colophonium is melted and at about 100℃ the lime hydrate is sprinkled into the molten resin mass while stirring well. After this, the lead acetate is sprinkled into the melt, then slowly heated to 230℃ and the resin melt is kept at this temperature until the smell of acetic acid has disappeared. After this, the wood oil and the manganese borate are added and heated to 280℃.
The mass must be stirred continuously. At about 150℃ the diluents are then added, the highest boiling first. This siccative is almost colorless. |
Ultraviolet paint
| - Blue violet |
| Vaseline |
5 dl |
| Paraffin |
12 dl |
| Petrol |
175 dl |
| Calcium salicylate |
5 dl |
| - Dark green |
| Vaseline |
5 dl |
| Paraffin |
12 dl |
| Petrol |
175 dl |
| Anthracene |
5 dl |
| - Light green |
| Cellulose Acetate |
20 dl |
| Chloroform |
300 dl |
| Vaseline |
6-20 dl |
Potassium uranyl sulfate,
very finely powdered |
10-30 dl |
- Orange yellow
In the previous recipe, the potassium uranyl sulfate is replaced by zinc sulfide, which contains 0.1% manganese.
- Red
1 dl of zinc sulfide and 2 dl of cadmium sulfate are mixed with a gum arabic solution.
The solutions mentioned here, when ironed on, produce layers that, when irradiated with ultraviolet light, give off a clear light in the indicated color.
Luminous paint
| - Violet |
| Quicklime |
2000 dl |
| Sulfur |
600 dl |
| Starch |
200 dl |
½ percent solution of
bismuth nitrate |
100 dl |
| Potassium chloride |
15 dl |
| Sodium chloride |
15 dl |
| The substances are mixed in a finely ground state and heated in a crucible at 1300℃. The glow product is finely ground and processed into a paint with a binder. This luminous paint must first be illuminated by the sun, by a quartz lamp or by another very strong light source and then glow for a relatively long time. |
| - Green Blue |
| Strontium hydrate |
207 dl |
| Sulfor |
80 dl |
| Lithium sulfate |
10 dl |
| 0.3 percent bismuth sollution |
100 dl |
| The mixture is calcined in a porcelain crucible for 40 minutes. |
| - Red |
| Barium oxide |
400 dl |
| Sulfor |
90 dl |
| Lithium Phosphate |
7 dl |
0.4 percent alcoholic
copper nitrate solution |
35 dl |
| - Yellow |
| Strontium carbonate |
1000 dl |
| Sulfor |
300 dl |
| Soda |
20 dl |
| Sodium chloride |
5 dl |
| Manganese chloride |
2 dl |
| This mixture is also heated in a crucible at 1300℃ for ¾ to 1 hour. All these luminescent paints must first be exposed. Only those paints, which are made with zinc sulfide and radium, always give light, even after long periods in the dark. |
Whitewash (quick drying)
First, 6 dl of trisodium phosphate is dissolved in 16 dl of water and soaked with 10 dl of casein in 32 dl of water for 2 hours. As soon as the casein has become soft, the trisodium phosphate solution is added to it and stirred until the casein is completely dissolved. casein solution with the milk of lime. Shortly before use, a solution of 3 dl formalin in 24 dl water is mixed with the whitewash. The prepared quantity must be processed on the same day.
Ordinary whitewash can also be made to dry faster by adding 5 to 10% sugar calculated on the whitewash.
White glue paint
| Silty chalk white |
86 dl |
| China clay |
10 dl |
| Skin glue |
4 dl |
| Preserved with 0.5% zinc sulfate. When using glue in powder, the ingredients can be mixed and the glue paint can be prepared before use by stirring with hot water. |
Stripper for paint
| Recipe no. 1. |
| Benzole |
400 dl |
| Ethyl acetate |
240 dl |
| Butyl acetate |
160 dl |
| Paraffin |
40 dl |
| Nitrocellulose |
1 dl |
| The nitrocellulose is dissolved in the acetate and the paraffin in the benzene. Then the two solutions are mixed. |
| Recipe no. 2. |
| Benzole |
24 dl |
| Methylated spirit |
16 dl |
| Paraffin |
1 dl |
| Recipe no. 3. |
| Benzole |
50 dl |
| Methyl alcohol |
25 dl |
| Acetone |
15 dl |
| Petrol |
10 dl |
| Paraffin |
3 dl |
| Recipe no. 4. |
| Petrol |
50 dl |
| Benzole |
15 dl |
| Acetone |
35 dl |
| Paraffin |
3 dl |
| Recipe no. 5. |
| Trisodium phosphate |
10 dl |
| Hot water |
90 dl |
| or: |
| Sodium metasilicate |
10 dl |
| Hot water |
90 dl |
| Wide the paint with the last two solutions and let it work for 20 minutes; rinse well with clean water. |
