BUILDING and HOMES

Dominion, Volume 21, Issue 240, 11 July 1928, Page 19

BUILDING and HOMES

BY

JACK PLANE

KEEPING DOWN COSTS FINISHING DWELLINGS ECONOMICALLY SOME PRACTICAL HINTS An article in the “Illustrated Carpenter and Builder” offers some useful hints on keeping down the cost of the finishing and decoration of houses. The advice tendered will be of value to prospective home owners as well as to builders. . One of the things that may stand in the w*ay of securing n job of house build, ing, the writer observes, is a misunderstanding about the finish. Especially will the lady customer be likely to cause trouble over this. The extraordinary ideas that obstruct a judicious consideration of this matter in the feminine mind are manifold and vexatious to practical people. Sometimes a woman with no more art sense than a rhineroceros will insist on an expensive wallpaper with a large pattern for her small parlour when a much cheaper one would look far better if chosen with an ey on the pattern for th j fitness of things. Remember that the wife of the client has a large voice in the matter. It is a wise thing to settle the style of decoration beforehand, or the giving in of a cut price may slice away all chance of any profit on the job. This is especially necessary when there is any talk of wallpapers on the lady’s part. The builder can take it for granted that she has fixed her mind on something, and it is as well to find out what that is before sending in the estimate. Most builders in London and the large towns adopt a similar policy, and it would be a good tiling. if every, one did the same. It is a general rule in estimating to fix a limit to the price of wallpaper if this is not specifically chosen beforehand, but some builders leave it to approximate guessing at the likely requirements. In small towns or villages, where it is possible roughly to gauge the popular taste, this sort of thing may answer generally, but where a price has to be cut, it is not a wise proceeding anywhere, and the present time suggests other and more secure methods; With so many bedroom partitions formed of wall-board-ing oh studding, papering is not the correct method, and distemper takes its place. If panelling is done and wallpaper is insisted on—where the wallboarding is of such a nature as allows this, as some do—the extra trouble and labour accessary must be remembered in framing an estimate. The brands of wall-boarding that lend themselves to -wall-papering—which if must not be forgotten many people prefer —are. not numerous, and certain preliminary preparations are necessary before this method of decoration can be adopted. The waMboard that can be butted closely together may only, need strips of stout paper over the joins, but special material is provided by some firms. Then papering can be on the usual lines. The trouble and labour necessary to cover the joins are less than that required for panelling with wooden slats or moulding, which, of course, will require painting or staining and varnishing. There is, however, the danger that the covering strips will show their positions through the wallpaper pf the former is too thick and the latter too thin. Whether painting two coats is cheaper than staining and varnishing the slats, or moulding, that joins of the wallboard are usually covered withy-or, indeed, for any interior .woodwork—fis a matter only the builder can settle for himself in each individual case. If he can make his own stain and has some good cheap varnish this method may prove the most economical, but it is useless to use inferior varnish. The best for the purpose is a good oil varnish; one made of spirit is very apt to crack and look bad if hot sunshine plays on it long, especi-' ally the cheap varieties. A low-priced anti inferior varnish of either sort may prove expensive in the long run,, so should be avoided. Quick drying is an essential quality with the oil varnish used, or trouble may ensue and expense result that may make a cheap varnish rather costly. . ... ’. . r ; For panelled ceilings white paint is preferable to staining and varnishing for the enclosing slats. It is true they do not show up so well, but the light-re-flecting qualities of the white paint are an asset. Here is a good cheap distemper the present writer has used repeatedly for both wallboardlng and wooden strips. Take 2oz. of slaked lime and put it in a vessel with loz. of ultramarine blue ; mix well together dry, then pour on them enough' skim milk to work Into a paste. Add to this one quart of skim milk, stirring briskly all the time. Now work in with a paddle of powdered whiting, thoroughly working it in a little at a time with the paddle. When all thinned out, the mixture is ready. This distemper looks well and does not peel or rub off from either wallboard or mouldings. On wood it keeps its colour better than oil paint does. Where wood has to be stained tbe usual thing used in cheap jobs is creosote. There are various colours of this, or, to be more exact, shades of brown. Except for outside work or to imitate old beams; the shade of ordinary creosote is too dark. If thinned out with some tar oil, lighter shades are obtainable, some of which are quite satisfactory. The worst of this staining medium is that painting over it may be troublesome if at any future time this is de■sired. If varnished over with a good varnish having some body in it, paint will generally dry over that at any.tune after it is hard. The one thing besides its cheapness in favour of creosote is) its uniformity and preservative powers, in the ease of outside timbers a great recommendation. , For outside work there is nothing better than paint, for then puttying up of joints, seams, or cracks can be done, the woodwork improved by it, and kept in condition for a longer period than by most other means. There are plenty of recipes for cheap paint- (the writer could supply several), but there is not much •satisfaction in any of them when they come to face wind and weather. I’or indoor work it is often possible to use a cheap paint, and there are now quite good brands on the market that come in this category; but for outside woodwork there is no cheapness in paint outside of its quality. The pigments are not. what make ordinary paint expensive, it is the mediums that carry them, and these can only be cheapened at the cost of quality, and that is scarcely worth while. The recipe given above for a (listempcr paint can he made more suitable for woodwork generally by using unslaked lime by by slaking it with a small portion of skim milk. Then'.colour with any pigment desired that will withstand the effect of lime, such as Venetian red, ochres, or emerald green. Mix to a stiff paste with two or three ounces of linseed oil, added a drop or two at a tune well stirred in, then proceed as before advised. There will be a slight gloss on

STRAY NOTES GLASS PAINTING By the simple process of adding to Oriental wood-painting lacquers a white enamel to give body or opaqueness, and retarder to .produce both a transparent enamel effect and suitable colour tones, it is possible to paint glass of any colour, shape, size or quality, even the most delicately modelled pieces, without firing. Any piece of plain surfaced, glass is suitable for the process, except the ones that would demand every-day pan washing. While the colours are waterproof and difficult to remove, they would not be entirely practical for indefinite hard usage. The first step is to choose tbe colours and designs f the pieces to be decorated. By adhering to the subsequent suggestions the average craftsman can soon become adept in giving glass painting tbe professional look. Dainty patterns and pleasing colours are the first requisites of glassware decoration. Conventional designs are occasionally preferred and are in good taste. Tiny Dresden flowers are good and other designs characteristic of china may be used if they are not too elaborate. Repeat-designs of small flower clusters connected with delicate runners or bands of colour are always appropriate. Decorations suitable for tracing are available, and the various studies serve as colour guides. They can be traced on paper and transferred with graphite paper. Coloured flower studies, greeting cards and magazine borders all contain suggestions. For amateurs who have had some experience in china painting this decoration of glass is simply a matter of mixing the materials and applying the opaque colours, just as one would apply enamel colour to china. Since delicately modelled glass is the most desirable for such use, on most pieces the design can be held on the reverse side of the article and traced with a china sketching pencil on the side to be painted. On the other hand, the tracing can always be made with the usual graphite paper and pencilpoint method familiar to most homemakers. . . ■Mix very small quantities of colour at one time. With the tip of a palette knife dip Oriental lacquer from the bottle and add to it about half as much glass enamel, or just enough to give the mixture the consistency of thick paint. Mix on a plate or glass slab. To this combination add a mere touch of transparent paste enamel and retarder. The retarder produces a clear body enamel and, at the same time, delays the set and permits the worker to apply the colours with leisurely eare. Without it the lacquer would dry too quickly to peimit the best results. The glass enamel, besides thickening the lacquer to the consistency necessary to artistic and (luiable glassware decoration, gives a true tint. ■ . , A combination of cerise and rosepink produces a lovely tint for roses and other delicate pink blossoms. For shadow touches, flame-red and tomatored mixed bring the right medium tone of red. A splendid colour for conventional designs is secured by mixing elec-tric-blue and violet-blue; canary-yellow mixed with the purples produces varying tints Of lilac, violet and pansy-purple. The decorator becomes enthusiastic nml confident after very little experience. . A pointed and a square camel s-hair brush in quill should be provided. Use the pointed brush for detail and small work, the square one for . shading. Faint, all the spaces that are to be one colour before going to another. Erase any mistakes with n sharp knife blade and a cloth moistened with thinner- when changing colours, clean the brushes with tliinner** • • For outlining provide a sable outlining brush. Conventional designs should be outlined with black, Dip the pmnt of the brush in the thinner,. throw off the surplus liquid, then dip it into the black and, with mild pressure, move the point of the brush showly along the edge of the design.

this point on wood according to the quality of oil incorporated. The appearance is good, the paint wears well and is about the best apd most reliable of all cheap paints, when compounded in t h.s way, the milk providing considerable body. SUMMARY OF TENDERS ■ CLOSING DURING THE PERIOD JULY 11 TO JULY 25. Buller Valiev, Farmers’ Co-op. Dairy Co., Ltd., Westport. Tenders erection cool room (concrete only). Close July 17, 5 p.m. Sivan, Lawrence, and Swan, '' eflington. —Tenders erection banking premises, Dannevirlie. Close July 12, noon, Wellington Education Board.—Tenders erection school, Picton. Close July 14, 12 noon. H. A. Jones, Wellington.—Tenders erection buildings, Manners and Bond Streets. Close July It. 12 noon.. Gray. Young, Morton, and Young, Wellington.—Tenders erection stable block, Featherston. Close July 18, noon. C. Tilieard, Natusch, and Sons, Wellington. —Tenders ei-eeiion council chambers, Pahiatua. lose July 20, noon. Swan. Lawrence, and Swan, Wellington. —Tenders erection school, Mastertoil. Close July 23, noon. IL T. Jaggand, Palmerston North.—Tenders erection shop, Close July 23, noon.