PROGRESS IN PAINT.

Press, Volume LXVI, Issue 19940, 29 May 1930, Page 4

PROGRESS IN PAINT.

CELLULOID AND ACETONE. Only a few years ago one was confined, when confronted with the preparation of paint, to the use of white lead or red lead as the only bases, and in consequence the range of choice gave one small scope for the accomplishment of architectural effects in house painting. But that state of affairs no longer exists, as, thanks to the labours of many analytical chemists, through a number of years, it is now possible to secure effects in painting wherein almost any metallic base is used. The base may be aluminium, or bronze or copper or iron, or may be independent of any of the more commonly-known metals.

For instance, if you have old celluloid side curtains on a discarded motor-car, and you use the celluloid plates, dissolving them in acetone, you will achieve a paint compound which is to all intents and purposes identical with the base of those nitrocellulose paints, of which "Duco" is an outstanding example. And the efficiency of such a compound is, speaking as the result of a long series of experiments undertaken by various scientific bodies, even more permanent than those achieved by the earlier and more clumsy methods of paint production, following on the reduction of lead to such form as would enable it to be used as a paint base.

Incidentally it may be remarked that the use of lead as a paint base was attended by various primitive operations in reduction, which were for a long time the despair of analytical chemists. In earlier days the only method of reducing the metal lead to a consistency whereon it might be used as a paint base was by the use of tannic acid, and by laborious processes known as the "Dutch" method. The results were not efficient in that constant renewals of the resultant i>aint surface were essential it the clean, bright, sparkling effects were desired.

Now nitro-cellnlose compounds give a greater permanence of result, and a much more attractive appearance than the old fashioned methods. It is no longer necessary to put on paint by brush. It can be sprayed on, under pressure or without pressure. It can suffer various admixtures. It can be used in such a manner as to get cloudy or "tiffany" tints, and therefore achieve effects in light and shade which were formerly deemed impossible. Since paint is a surface finish, it is desirable that every . care should be taken in selecting both the medium and the finished, effect desired, and anyone neglecting the opportunities afforded bv present-day developments of this medium is manirestlv operating aprainst his interests, whether considered from the aesthetic or financial point of view.