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Old paint and varnish recipes from the 1930's

Lacquers are generally named after the purpose for which they are used, usually combined with the name of the main ingredient.

Almost everything we see around us is covered in a thin layer with some material for embellishment or to protect against harmful influences.
The composition of this depends entirely on the requirements for the layer must comply. There is a huge difference between a car paint and a paint for cheap toys. An interior paint can last for decades; the same paint, applied outdoors, can already be completely weathered after a few months.
The paint is thus generally named after the purpose for which it is used, usually combined with the name of the main ingredient.
Among the substances used for surface treatment, nitrocellulose today occupies a very prominent place. While the very first nitro lacquers, the simple zapon lacquers, had only very limited use, it has been possible to make nitrocellulose, which provides much less viscous solutions, and by combining it with resins and other substances, to make the nitro lacquers suitable for practically every purpose. The number of substances used in combination with nitrocellulose is immense, and the right choice of these determines the usability of the paint in most cases.
A lacquer of pure cellulose gives a layer that is hard, but hardly adheres to the surface; the layer is not elastic and therefore flakes off very easily. Especially the old types of nitrocellulose produced very thick, viscous solutions. The remaining layer was therefore extremely thin.

Collodion solutions

Recipe no. 1.
Dry ½-sec collodion 25 dl
Methylated spirit 10,7 dl
Butyl acetate 16,1 dl
Toluene 32,1 dl
Ethyl acetate 16,1 dl
Recipe no. 2
Dry ½-sec collodion 35,8 dl
Ethyl acetate 24,8 dl
Toluene 24,2 dl
Methylated spirit 15,2 dl
Recipe no. 3
Dry 70-sec collodion 1,13 dl
Methylated spirit 0,51 dl
Benzole 3,10 dl
Ethyl acetate 3,00 dl
Recipe no. 4
Film waste 180 g
This is dissolved in 1 l of solvent consisting or:
Ethyla cetate 25 dl
Methylated spirit 25 dl
Toluene 16 dl
Petroleum distill. 34 dl

How to do

The resin solutions are made, if possible, at a ratio of 1 dl resin to 1 dl solvent. The solvent used is generally toluene, benzene, xylol, methylated spirit or ethyl acetate. Sometimes a solvent mixture is used, which is also used for thinning the paint.

Cowry is dissolved in 1½ times the amount of 85% alcohol and 15% ethyl acetate. A dammar resin solution is made as follows: 80 dl dammar gum is dissolved in 20 dl ethyl acetate and 40 dl petroleum distillate with a boiling point of 80℃ to 130℃. When everything is dissolved, add 100 dl alcohol to the solution and stir well for some time.

The mixture is now allowed to stand for 24 hours, during which the precipitated wax settles to the bottom, and the above clear solution is poured off. This clear wax-free solution is then used for the manufacture of nitro lacquers. The shellac solution is usually made from 1 dl shellac dissolved in 2 dl methylated spirits.

rosie the riveter


Recipe no. 1.
Toluene 65 dl
Ethyl acetate 10 dl
Butyl alcohol 15 dl
Ethyl glycol 5 dl
Butyl glycol 5 dl
Recipe no. 2
Toluene 60 dl
Ethyl acetate 15 dl
Butyl alcohol 15 dl
Ethyl glycol 5 dl
Butyl glycol 5 dl
Recipe no. 3
Toluene 50 dl
Ethyl acetate 15 dl
Methylated spirit 15 dl
Amyl acetate 13 dl
Amyl alcohol 7 dl
Recipe no. 4
Toluene 50 dl
Ethyl acetate 15 dl
Methylated spirit 10 dl
Butyl alcohol 5 dl
Butyl acetate 20 dl
Recipe no. 5
Toluene 70 dl
Ethyl acetate 15 dl
Methylated spirit 5 dl
Ethyl glycol 5 dl
Butyl glycol 5 dl


Recipe no. 1.
Petroleum distillate 44 dl
Ethyl acetate 22 dl
Methylated spirit 12 dl
Amyl acetate 22 dl
Recipe no. 2
Toluene 50 dl
Ethyl acetate 18 dl
Methylated spirit 12 dl
Amyl acetate 20 dl
Recipe no. 3
Toluene 70 dl
Ethyl acetate 15 dl
Methylated spirit 10 dl
Butyl glycolether 5 dl
Recipe no. 4
Petroleum distillate 20 dl
Toluene 40 dl
Ethyl acetate 10 dl
Methylated spirit 10 dl
Butyl acetate 10 dl
Butyl alcohol 10 dl
Recipe no. 5
Petroleum distillate 30 dl
Toluene 32 dl
Methylated spirit 10 dl
Butyl acetate 23 dl
Butyl alcohol 5 dl

Primer for wood

Collodion solution no. 1 (recipe) 2 dl
Collodion solution no. 4 2 dl
Albertol solution 1:1 1 dl
Dibutyl phthalate ⅛ dl
Blown castor oil ⅛ dl
Zinc stearate paste 1 dl
Solvent no. 3 (recipe) 2 dl
Collodion solution no. 1 (recipe) 4 dl
Albertol solution 1:1 2 dl
Dibutyl phthalate ½ dl
Zinc stearate paste 1 dl
Solvent no. 3 (recipe) 2 dl

Pore ​​filler (matt lacquer paste)

½-sec collodion (dry) 4 dl
Aluminum stearate 16 dl
Dibutyl phthalate 1 dl
Methylated spirit 10 dl
Ethyl acetate 13½ dl
Butyl acetate 3 dl
Butyl alcohol 4 dl
Toluene 13½ dl
The mixture is ground in a porcelain ball mill with porcelain balls for 18 hours.

Matte lacquer

Collodion solution no. 1 (recipe) 2 dl
Collodion solution no. 3 ½ dl
Albertol solution 1 dl
Zinc stearate paste 1 dl
Tricresyl phosphate ¼ dl
Solvent no. 4 (recipe) 3 dl

Polishing lacquer

Collodion solution no. 1 (recipe) 4 dl
Collodion solution no. 3 1 dl
Albertol 177C of 201C 1 dl
Dibutyl phthalate ½ dl
Solvent no 4. (recipe) 2 - 3 dl

Furniture lacquers

Recipe no. 1.
½-sec Collodion
Dammar solution 5 dl
Blown Castor oil ½ dl
Dibutyl phthalate ½ dl
Recipe no. 2
½-sec Collodion 2 dl
Dammar solution 2 dl
Ester resin solution 3 dl
Blown Castor oil ¼ dl
Tricresyl phosphate ½ dl
Recipe no. 3
½-sec Collodion 2 dl
Ester resin solution 1 dl
Cowrie solution 1½ dl
Blown Castor oil ½ dl
Dibutyl phthalate ¼ dl
Recipe no. 4
½-sec Collodion 2 dl
Ester resin solution 3 dl
Albertol solution 2 dl
Blown Castor oil ¼ dl
Dibutyl phthalate ¼ dl
Recipe no. 5
½-sec Collodion 2 dl
Ester resin solution 2 dl
Albertol 177C-solution 3 dl
Blown Castor oil ¼ dl
Tricresyl phosphate ½ dl
Recipe no. 6
½-sec Collodion 2 dl
Ester resin solution 4 dl
Albertol solution 2 dl
Blown Castor oil ¼ dl
Dibutyl phthalate ¼ dl
The components listed above are dissolved in a mixture of solvents, the composition of which depends on the permissible price.

Alcohol resistant paint

Collodion solution no. 1 (recipe) 8 dl
Albertol solution 1 : 1 2 dl
Alkyd resin 2 dl

Solvent no. 3 to spray consistency (recipe)

By combining the matt lacquer with the normal furniture lacquer, lacquers with the desired type of gloss are obtained.

Nitro-Japan lacquers for wood

The pigments used for these opaque lacquers are first ground in a good paint mill in the plasticizing agent, for which one often takes blown castor oil with other substances such as tricresyl phosphate.

If the plasticizer alone is not sufficient, a resin solution containing a slightly volatile solvent is added. In general, more resin is used here than with a clear nitro lacquer.

For cheap lacquers, you work with ester resin, for the better ones with Albertol or another synthetic resin. One must use a highly opaque pigment, as the nitro lacquer cannot absorb as much pigment as a good oil lacquer.

However, the lacquer must be ground extremely fine, as the good hiding power of the pigment is completely lost if it is not fine enough . A normal nitro lacquer is then added to the pigment paste, from which the substances already present in the paste have been subtracted.

For matt lacquer paints, zinc stearate paste is added.

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.
leder koerierstas

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
 (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 paint

To 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.

White house paint

Lead white 210 dl
Zinc white 60 dl
Ground asbestos 30 dl
Linseed oil 95 dl
These are first finely ground on a paint grinder. To this is added:
Naphtha 8 dl
Linseed oil 55 dl
Siccative with 5% manganese
and 5% lead
8 dl

Black house paint

Carbon black 30 dl
Menie 8 dl
Chalk white 52 dl
Ground asbestos 60 dl
Unboiled linseed oil 200 dl
These are ground, to which you add:
Siccative with 5% lead, 5% manganese and 1% cobalt 24 dl
Linseed oil 88 dl

Green house paint

Chromate green (pure) 75 dl
Baryte 75 dl
Silica 75 dl
Ground asbestos 75 dl
Linseed oil 180 dl
Grind this and then add:
Siccative 14 dl
Naphtha 12 dl
Linseed oil 88 dl
For light paints such as cream, light green, grey, light blue, etc., take white paint and color with pure paint, which can be bought in ready-to-use tubes. Intensively colored paint such as bright red is obtained with correspondingly colored pigment. The amount of oil required for this must be determined in practice, as it is constantly changing.

Lead red paint

Pure red lead 1000 dl
Linseed oil 80 dl
Grind well first, then add:
Linseed oil 40 dl
Stand oil 80 dl
Petroleum distillate or naphtha 10 dl
Siccative 10 dl
This red lead paint gives a much denser paint layer than the normal hand-stirred red lead paint.

Zinc dye (rust resistant)

Zinc white 25 dl
Zinc dust 75 dl
Linseed oil 8 dl
Grind this and then add:
Linseed oil 4 dl
Stand oil 8 dl
Naphtha 1 dl
Siccative 1 dl

White interior paint matte

Lithopone 400 dl
Ground asbestos 100 dl
Linseed oil 60 dl
Thin stand oil 20 dl
60-pcts lime resin solution in naphtha 20 dl
Naphtha 40 dl
Grind it and then dilute it with:
Naphtha 120 dl
Siccative 5 dl

White interior paint satin

Lithopone 400 dl
Ground asbestos 50 dl
Chalk white 50 dl
Resin ester wood oil lacquer 140 dl
This stand oil 60 dl
60-pcts lime resin solution dl
After grinding, dilute with:
Naphtha 40 dl
Siccative 11 dl

White interior paint gloss

Lithopone 375 dl
Zinc white 125 dl
Linseed oil 100 dl
Thin stand oil 80 dl
After grinding, dilute with:
This stand oil 40 dl
60-pcts ester resin solution 130 dl
Siccative 15 dl
Naphtha 90 dl

Primer coat for porous walls

Kieselguhr 20 dl
Ground asbestos 10 dl
Ester resin wood oil lacquer 24 dl
These are finely ground and diluted with:
Resin ester wood oil lacquer 56 dl
Blown linseed oil 16 dl
Naphtha 16 dl
Siccative 4 dl

Fresh plaster is neutralized with:
Zinc sulfate 1 dl
Water 8 dl
Better with salts of the hydrosilicic hydrofluoric acid, for example the magnesium salt. With the free lime the completely insoluble salt lime fluoride is formed, with insoluble silicic acid double salts are formed.

The fluates are marketed in different compositions for specific purposes.


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
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
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.

House paint

Very good quality paints for wood can be made by first grinding the pigments needed for a certain color into a thick paste with ordinary raw linseed oil. An amount of mixing lacquer, thinner and siccative is then added to this paste.

As a mixing lacquer, lacquers containing resins which are completely or almost completely acid-free can be used. Acidic varnishes cause the paint to thicken and become unusable.

A mixing lacquer can consist of:
Albertol 13 dl
Wood oil (Chinese) 45 dl
Naphtha 42 dl
Glycerin Phthalic Acid
Linseed oil fatty acid synthetic resin 42,5 dl
Naphtha 52,5 dl
Pine-oil 5,0 dl
One melts together first:
Pure phenolic resin (100-pcts) 25 dl
Ester resin 71 dl
Resin (rosin) 4 dl
The lacquer is then made by heating 19.1% of this resin mixture with 23% Chinese wood oil and 12% blown linseed oil to 260 to 280℃.

It is then allowed to cool to 150℃ and diluted with 37.1% petroleum distillate, 2.8% xylol and 6% turpentine oil.

Plastic paint in powder

Chalk, finely ground 1000 dl
China-clay 520 dl
Ground glue 60 dl
Gypsum 80 dl


Triethanolamine linoleate 6 dl
Bone glue 100 dl
Water 320 dl
lacquer 160 dl
Petroleum distillate 40 dl
Sodium orthophenylphenolate 1 dl

Silicate paint

Soda water glass 40 dl
Potassium water glass 25 dl
Ground asbestos 15 dl
Pigment, highly opaque and resistant to alkali 20 dl
The paint is diluted with water before use.

Cement watercolor

White Portland cement 50 dl
Gypsum 5 dl
Calcium chloride 4½ dl
Calcium hydrate ½ dl

Cold water paint

Casein 10 dl
Chalk 10 dl
Chalk white 60 dl
China-clay 10 dl
Pigment 10 dl
Shortly before use, the powder is mixed with water.

Cold water exterior paint

Chalk white 55 dl
China-clay 15 dl
Dextrin 2 dl
Casein 12 dl
Slaked lime 15 dl
Trisodium Phosphate 1 dl
Sublimaat 0,06 dl
Wood oil 10-15 dl
Linseed oil 5-10 dl
Turpentine Oil 10-20 dl
Manila Copal 5-10 dl
Methylated spirit 50-70 dl
Ethyl acetate 30-50 dl

Aqueous shellac solution

5 parts of sulfonated rapeseed oil are mixed with 1 dl of sodium hydroxide and heated on a water bath until the water has evaporated. 3 dl of this product is then dissolved in 36 dl of water.
Now 39 dl of this solution is mixed with 5 dl of 20% ammonia and 25 dl of orange shellac are dissolved in it while stirring well. This dissolution is best done with a mechanical stirrer, as it takes about 6 hours.

Chalk protein paint (white)

Casein 100 dl
Urea 34 dl
Hexamethylenetetramine 21 dl
Litohpone 695 dl
Zinc white 100 dl
Chalk 50 dl

Oil emulsion for watercolor

Triethanolamine linoleate 3 dl
Glue 50 dl
Water 160 dl
Oil lacquer 80 dl
Carbolic acid 2 dl
While stirring well, the oil lacquer is mixed with the other ingredients, which are dissolved in the water for this purpose.

Chalk resistant paint

Chinese wood oil 240 dl
Stand oil 24 dl
Coumarone resin 88 dl
Rosin 12 dl
The wood oil is thick boiled in the American way, i.e. by briefly heating it to a high temperature.

Then dissolve the resin and the stand oil in the hot oil. It is diluted with the necessary amount of petroleum distillate. Finally siccative is added.

Candy lacquer

Shellac (arsenic free) 40 dl
Alcohol 65 dl
Isopropyl acetate 25 dl
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.


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
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.


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