Green, sappy, and resinous wood is unfit for durable painting,
and to avoid blistering and peeling wood should be well seasoned and
primed with all raw linseed oil, some drier, to insure a moderately
slow drying, and as much of a base pigment as the painter can possibly
spread (much drier takes up too much oil acid, needed for the pigment
base to combine with), which insures a tough paint that never fails to
stand against blistering or peeling, as well as wind, weather, and
ammonia.
The coach, car, and house painter can materially improve his painting
where his needs lie by first oiling the wood with raw oil, then
smoothing the surface down with lump pumicestone, washing it with a
mixture of japan drier or, better yet, gold sizing and turpentine,
wiping dry, and following it up with a coat of white lead, oil, and
turpentine. The explanation is: the raw oil penetrates the wood and
raises the wood fibers on the surface to be rubbed down with
pumicestone, insuring the best surface for the following painting: to
harden the oil in the wood it receives a coat of japan drier, which
follows into the pores and there forms a tough, resinous matter,
resisting any air pressure that might arise from within, and at the
same time reacts on the first coat of lead as a drier.
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