80 
House & Garden 
THIS BOOK ON HOME 
BEAUTIFYING-FREE 
PROPERTRMMENT 
/or 
FLOORS.WtWDWORK 
and 
furniture 
SCJOHNSON-tSON, 
■Ohi 
This Book Tells 
Hoiv to make your home artistic, 
cheery and inviting. 
How to put and keep floors, wood¬ 
work and furniture in perfect 
condition. 
How to finish soft and hard 
woods. 
How to refinish old wood in 
stained and enameled effects. 
How to fill unsightly, germ- 
catching cracks. 
How to stain wood artistically. 
JOHNSON’S 
Pas/e 'LtQuid - Potvderod 
POLISHING WAX 
You can give every room in 
your home that delightful air 
of immaculate cleanliness by 
using Johnson’s Paste or Liquid 
Polishing Wax occasionally on 
your furniture, floors, linoleum 
and woodwork. Johnson’s Wax 
cleans, polishes, preserves and 
protects—all in one operation. 
Easy to apply and polish. 
$4.35 Floor Polishing Outfit for $3.50 
With this outfit (consisting of a $3.50 weighted brush with 
wax applying attachment and a 1 lb. (85c) can of Johnson’s 
Prepared Wax) you can easily keep your floors and linoleum 
like new. This special offer is good through dealers—or 
send $3.50 direct to us. (Send $4.00 if you live West of 
the Rockies). 
Are You Building? 
If so, you will find our book particularly interesting and 
useful, for it tells how to finish inexpensive soft woods 
so they are as beautiful and artistic as hardwood. Tells 
what materials to use—includes color card—gives covering 
capacities, etc. 
Our Individual Advice Department will give a prompt and 
expert answer to all questions on interior wood finishing— 
without cost or obligation. 
We will gladly send this book free and postpaid for the 
name of your best dealer in paints. 
\ S. C. JOHNSON & SON, Dept. H. G. 8. Racine, Wis. j 
: '■'■The Wood Finishing Authorities” \ 
J ■ 
■ Please send me free and postpaid the Johnson : 
■ Book on Wood Finishing and Home Beautifying. Z 
• m 
• m 
■ Dealer’s Name. : 
• ■ 
: My Name . ■ 
• ■ 
• Address. : 
i City & State. • 
THE TEXTURE of PAINTED WALLS 
{Continued from page 58) 
used, just as do furnishings or any 
decorative effects. In a large room, 
where the eye is normally at some dis¬ 
tance from the wall, the stipple may 
properly have greater contrast with the 
foundation color than in a small room. 
Likewise, in a room not too brightly 
lighted, this contrast may be more no¬ 
ticeable too. 
While it is best to visualize the entire 
effect beforehand, it may be remembered 
that the stippling color may be modified 
by lightening or darkening it when 
you are alt ready to put it on the wall, 
in order to get just the right soft and 
harmonious effect. Various distinctive 
and individual shades for the foundation 
color may be secured by mixing two 
of the standard shades of flat wall ps.int 
together. As a rule flat wall colors dry 
out lighter than when first applied. 
The most beautiful effects appropriate 
for any room, and exactly meeting your 
ideas, can be produced if you will spend 
a few hours and a dollar or two ex¬ 
perimenting beforehand. Get a small 
size can—usually a half pint or pint— 
of three or four different colors along 
the general lines you have in mind, and 
also a small can of white. Take a 
measuring cup and measure different 
proportions until you get just the mix¬ 
ture you want. Make a memo of the 
proportions. Then brush a couple of 
coats of the mixture on to a sheet of 
heavy white paper. Experiment until 
you get just the right mixture for the 
foundation coat. Then experiment until 
you get the desired shade of stippling 
color, which may be tried out on the 
painted sheet by cutting off a small piece 
of sponge from a part that will not 
spoil the printing surface to be used on 
the wall. 
THE “cloth stippling” method 
In producing these effects two or three 
brush coats of the ground color should 
be applied to the wall, the same as for 
sponge stippling; being sure to mix 
varnish-size with the first coat, as pre¬ 
viously directed. 
For the stippling, obtain some “glaz¬ 
ing liquid” and some tubes of “glaze 
and stencil colors”, transparent oil colors 
of great clearness and brilliance of tone, 
which permit the underbody color of 
the flat foundation coats to show 
through to a considerable extent, pro¬ 
ducing a. rich, luminous depth of color, 
truly beautiful. 
The glaze coat may consist of one or 
several colors. Tint as many batches 
of the glazing liquid with the glaze and 
stencil colors as there are to be colors 
in the stippled effect. Tint to approxi¬ 
mately the depth of color of the effect 
desired. Do not make the color darker 
than the finished effect is to be, with the 
intention of stippling most of the color 
off to lighten the effect. When this is 
done, the beauty of texture is largely 
destroyed, and besides too little glaze 
film is left to make a practical wall. 
In reality, the stippling is done only to 
take out brush marks and produce inter¬ 
esting texture, or “scrolls.” 
In starting the work, the first step is 
to coat over (with a flat wall brush) 
as much space as you can comfortably 
handle—about four to six feet wide 
frorr ceiling to floor—with the clear, 
glazing liquid. Then apply the tinted 
liquid, brushing on freely with a flat 
wall brush. Where two or more colors 
are to be used, they should be applied 
simultaneously, using a different brush 
for each color—running the colors to¬ 
gether somewhat and blending them 
with the brush before stippling, so that 
one color will run into the other softly, 
otherwise the wall will appear too 
spotty. Whichever tone is to predomi¬ 
nate, in a two or more toned effect, 
should be applied over larger spaces of 
wall, rather than be stronger in color. 
As soon as the tinted glazing liquid 
is applied, stipple the glaze coat with a 
crumpled cloth held loosely in the hand. 
Old soft gingham is ideal for this pur¬ 
pose (cheesecloth, sometimes used, is 
not so desirable). Experimenting alone 
will teach the beginner the best way to 
crumple and hold the cloth. A smooth 
pad will give a very fine texture—usually 
too fine to be desirable. Wringing the 
cloth roughens the texture, and by a 
twisting and lifting motion of the wrist 
most beautiful scrolls may be produced. 
By twisting the hand without any side 
motion of the arm, the scroll will re¬ 
semble flowers, while a sweeping move¬ 
ment will produce a more branching 
effect. It is important to do the cloth 
stippling at once after the glaze coat fins 
been applied to the wall, before the 
glaze “sets up.” 
When two or more colors are being 
stippled, it is advisable to stipple all the 
spots of one color in the area you are 
working on—then turn a clean part of 
the same cloth, and stipple all the spots 
of the next color. Then do the portions 
where the colors are blended together. 
Observing this practice closely will keep 
the effect clean and prevent a muddied 
appearance. 
BLENDED EFFECTS ON GLAZED WALLS 
A blended effect may be produced in 
one color stippling, beginning with a 
mere suggestion of a tint at the ceiling 
and coming down into a rich, deep tone 
at the floor. It is possible also, to blend 
two or more color stipples, but it is not 
practicable for the inexperienced to try 
it. In producing this effect, tint the 
glazing liquid to the depth of tone de¬ 
sired for the lower wall. Pour off 
about one-third of this mixture and add 
to it an equal amount of glazing liquid. 
Apply a coat of clear, blending liquid 
to the wall, as previously mentioned, 
then immediately apply the lighter tint 
over it, starting at the ceiling angle 
and bringing the color down to about 
three or four feet from the floor. 
Then brush the darker mixture on the 
lower three or four feet extending it well 
up into the lighter tone. Blend the 
color by brushing back and forth. Start 
cloth stippling at the ceiling and work 
down into the darker color. If proper¬ 
ly done, al! appearance of a “high water 
mark” or a break in the two tones will 
be avoided. 
Rooms decorated in either sponge or 
cloth stipple effects, as well as those 
done in plain colors of flat wall paint, 
are much improved by using a stencil 
border pattern to give a point of in¬ 
terest, either through gathering together 
the principal colors of the room in purer, 
brighter tones than is possible in the 
general wall color, or else by a careful 
selection of complementary or similar 
colors. 
Contrary to what might be expected, 
the application of stencil design is real¬ 
ly relatively simple, while the effects 
produced are often beautifully rich. 
Wall stencils may be secured at most 
paint stores in a variety of designs. 
The size of a stencil border should 
correspond to the proportions of the 
room. Smaller borders are desirable in 
smaller rooms, likewise in low ceilinged 
rooms. More conventional designs should 
be used in rooms of simple type, while 
floral patterns are usually most suitable 
where the features of the room give a 
suggestion of graceful lines. Where the 
furnishings are to be elaborate a stencil 
design should be used which conforms 
to the period or style of the furnishings 
(Continued on page 82) 
