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111 Broadway, NEW YORK • 116 Oak Street, BUFFALO • 900 West 18th 
Street, CHICAGO • 659 Freeman Avenue, CINCINNATI • 1213 West Third 
Street, CLEVELAND • 722 Chestnut Street, ST. LOUIS • 973 John Street, 
SEATTLE • 1211 N. W. Glisan Street. PORTLAND, Oregon • 2240-24^1 
Street, SAN FRANCISCO -932 Wilson Street, LOS ANGELES • National- 
Boston Lead Co., 800 Albany Street, BOSTON • National Lead & Oil Co. of 
Pennsylvania, 316 Fourth Avenue, PITTSBURGH • John T. Lewis & Bros. Co., 
Widcncr Building, PHILADELPHIA. 

F 36-37 

The painting of stucco can add greatly to its 
attractiveness and to its preservation as well 

The use of the same trim color throughout 
serves to unify a two-color body treatment 


(upper left) Another prin- 
ciple to be remembered in 
using a two-color body effect 
is to always use the darker 
color on the upper half. 

(upper right) Individuality 
has been achieved for this 
fairly common type bv th£ 
selection of colors that arc - 
not ordinarily used. 

The painting of wooden 
shutters offers an excel- 
lent chance for color in- 
terest. For example, on 
these two houses al- 
though the body color is 
approximately the same, 
note how the shutter 
colors change the effect. 


The three yellow houses on this page illustrate the prin- 
ciple that when there is an over- abundance of trim or 
when the house is small and the windows numerous and 
irregular in size it is generally better to avoid marked 
contrast between bodv color and trim color. 

Page 3 

The house above has 
been "color-treated" to 

hold down its apparent 
size and subordinate 
the disturbing effect of 
so many opening* and 
angles . . . the southern 
colonial type at the left 
has been accorded its 
conventional color 
dress, and the two low- 
er pictures show more 
variations of the two- 
color body treatment. 

Page 4 

Note how the use of the 
body color on what would 
normally be trim around 
the sun porch windows 
makes this house more 
compact in appearance. 

A good example of using 
the same color for body 
and trim. The color inter- 
est is concentrated in the 
painted shutters. 

(above) Today's vogue for paint- 
ing brick is sound from a decora- 
tive standpoint because of the 
added interest it brings. White- 
lead paint also waterproofs brick 
and prevents moisture trouble. 

White is extensively used for ex- 
terior painting and it is always iif 
good taste no matter what the size 
or architecture of the house as evi- 
denced by the widely variant ex- 
amples on this page. Shutters or 
the window sash can be used for 
color spots. 



(upper left) Another example 
of painting stucco to add 
color interest and distinction. 

The three Colonial type 
houses on this page, in 
addition to illustrating 
treatments that go well 
with the style, offer excel- 
lent examples of the use 
of the same color for both 
trim and sash 



The purpose of this booklet is not — as you may think — merely to sell 
paint or to sell a painter's services. Rather its chief object is to impress 
upon the reader the common sense of thoughtfully buying both of these 
important elements in a paint job. 

This does not imply a technical treatise on the art of painting. Every 
house owner, however, should have an intelligent understanding of what 
paint does and of what the painter does so he can judge values. 

In the first place, there are but two reasons why houses are painted 
—for appearance or for protection. Of course, no one needs to tell an 
owner when his house looks shabby. Sometimes it may be more evident 
as, for instance, when the house next door gets a new coat. Then the con- 
trast is so great that the shabby house looks dingier than ever. 

But the average owner is proud of his place and knows that, just like 
a new suit of clothes, a fresh paint job adds to his self-respect and to his 
sense of well-being as a member of the community. Yet there are times, 
perhaps, when the temptation is to say "Yes, the place looks badly but it 
ought to go another season before it really needs paint/' 

Page S 

There is where the danger lies. Not that your house is going to fall 
about your ears for the lack of paint. But because the chances are that, 
when you do paint, you will have to pay dearly for the delay. 


Let us discuss the matter from a practical viewpoint. Assuming that 
the house will have to be painted eventually, then it becomes simply a 
question of when to paint. Should it be now? Or can it wait until later? 

First look over your house carefully with a critical eye. What do you 
find? Unless it has been a long time since the previous painting or unless 
the previous job was done with poor quality paint and incompetent labor, 
it is seldom that you find the paint has entirely failed. What you are likely 
to find are unprotected spots where exposure has been particularly severe. 

Every time it rains or it snows or there is a heavy dew, moisture 
penetrates these unprotected places. Moisture has a way of working be- 
hind the scenes, so to speak. At first, its destructive action is not apparent 
but if allowed to persist there will be a warped clapboard, a split porch 
column, or cracked stucco as visual evidence of what has been going on. 


Of course, after the effect is visible there is onlv one thing to do — • 
replace and repair. Whatever this costs, whether it is much or little, is 
money that would have been saved if paint had been applied when and 
where it was needed. 

Furthermore, the painting itself is likely to cost you more. If the 
house has gone too long, it may require three coats to give the appearance 
that two coats would have produced previously. Or even if you can get 
by with two coats on the main part of the house, evervthing replaced 
will require three. All this is extra material — extra labor — extra expense. 

It is so easy to be misled by the false reasoning that the dollar vou do 
not spend now for needed painting is that much saved. Six months from 
now instead of a dollar you may have to pay a dollar and a quarter — a year 

Page 9 

from now it may be two dollars. When paint is needed you pay for it 
whether you put it on or put it off. There is no moratorium in Nature — - 
no such thing as saying "Yes, my house needs painting now, but it 
will be all right until fall" and then have the destructive forces that are 
now at work just cease until you are ready. Next fall or next spring or next 
year the surface condition of your house will be just that much worse 
and you will have to pay just that much more because of the delay. 

So, for the sake of your own pocketbook, get the painter in time. 
Have the job done when it should be done. Save yourself needless repairs 
and enjov the justifiable' pride of owning an attractively painted house. 


Let's think a bit about the inside, too. Here, of course, protection is 
unimportant. Beauty of color — of finish — of effect — is why we paint our 
walls and woodwork. We know this, yet how often it escapes our con- 
scious notice that' these daily surroundings are getting a bit dull. 

Subconsciously, though, we are affected. Bright, cheerful, colorful 
rooms awake corresponding qualities in ourselves. They add to the home 
a pleasure in living that is out of all proportion to the cost of such renova- 
tion. Suppose, as a test, you make a tour of your own home — from room 
to room — looking at them as a stranger might. See them as they are. 
Imagine them as they might be. 

Remember that paint is not limited to plain one-tone effects. Should 
you desire something a little different, a little more elaborate, there are 
several variationsthat your painter can produce. Some of these are shown 
in the rooms illustrated in the interior section of this booklet. 

But whether it is an outside job, an interior job or both, the next 
question that suggests itself is how should the work be done? What paint 
should be used? And who should apply it? 

When it conies to the paint it always pays to use the best. After all, 
what you are buying in a paint job is paint Hie. If the paint does not stand 

Page 10 

up properly you are being cheated out of a portion of your investment in 
materia] and labor. This is why it is never good business to put on a 
"cheap" paint. Not only does it fail to preserve its appearance for a satis- 
factory period, but it imposes a heavy tax in surface preparation charges 
before you can repaint once more. 


But what is the best paint? As far as the skilled painter is concerned, 
this question has but one answer — white-lead. Mis experience has proved 
to him beyond the question of doubt that for economy, durability and 
long-lasting appearance there is no paint equal to pure white-lead. 

The reputable painter cannot afford to guess when it comes to paint. 
His livelihood, his business future, his reputation as a craftsman all de- 
pend on knowing what paint will back up his every claim. Does it not 
speak for itself when this type of painter, the country over, recommends 
and uses white-lead? 

White-lead, as you probably know, is sold in paste form — concen- 
trated paint. Before this paste white-lead can be used on your house the 
painter must add linseed oil, turpentine and drier or, to make flat paint 
he would use only lead mixing oil or flatting oil. Pure white-lead paint 
contains no other ingredients unless it is to be tinted, in which case the 
proper Dutch Boy colors in oil are added to produce the tint you want. 


This "made to order" characteristic of white-lead is important to 
the painter and important to you. He knows, for instance, that the various 
sides of your house differ in exposure to the weather and that allowance 
should be made for this in the paint; that paint for yellow pine should be 
mixed differently than that for white pine; that humid climates require 
a reduction in the oil content of the paint; that the undercoat should be so 
mixed that it will provide proper "tooth" for the top coat; and so on. 
All of these things add to the life of a paint job and with white-lead the 

Page 11 

painter can vary the amounts of oil and other ingredients to produce the 
best job for you. In brief, white-lead in the hands of a real painter assures 
a custom-made paint designed to fit the conditions of your house. 

In addition, white-lead brings you the opportunity to choose from 
a wide range of colors, just the tint or shade you desire. No need to com- 
promise on something approximately what you have in mind. Finally, 
and very important, is the fact that you can be sure of what's in the paint 
—the quality of every ingredient — the composition of every brushful. 


The paint you want on your house should give a tough, highly 
weather-resistant coating and should retain its good appearance over a 
long period. The paint film, furthermore, should remain elastic. This is 
important. Wood contracts and expands due to atmospheric changes. A 
paint film that is hard and unyielding, or that becomes so, cannot follow 
this alternate shrinking and stretching of the material to which it is ap- 
plied. Consequently it pulls apart. Cracks appear in the film that extend 
clear through to the wood beneath. Moisture entering these cracks gets 
under the paint; causes it to scale from the surface leaving bare spots that 
grow larger as time goes on and that arc totally unprotected from the 
weather. Before anv repainting can be done all the old paint must be 
removed and the inevitable result is an expensive preparation job. 


A white-lead film is never subject to this defect. It remains elastic; 
conforms to the "give and take" of the surface beneath. Consequently 
it does not crack and scale and when repainting time comes around there 
is no old, scaly paint to be burned or scraped off- — a job which sometimes 
costs almost as much as the actual repainting. It stays unbroken, smooth 
and even, wearing clown slowly by gradual chalking, always providing a 
continuous coat of protection for the surface that it covers. 

Page 12 







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The photographs on the opposite page are of real jobs. In the left hand column 
arc those clone with "cheap" paint and alongside them are three Dutch Boy jobs. 
The facts and figures on each prove that "cheap" paint can't last long enough 
to make it cheap. 

At the left in the top row, for example, the camera shows a "cheap" paint 
job at the end of a year and a half. The owner originally paid $110 and now it 
will cost him $60 for burning off the scaling paint and approximately $60 more 
for an extra priming coat making a total of $230 or Si 53 per year of service. Con- 
trast this with the Dutch Boy job at the end of four years. Original cost was $120 
but this surface requires no burning off and therefore no priming coat to replace 
removed paint. This owner's per year cost is $30 instead of $1 53. 


Here again "cheap" paint turned an apparent saving into a mighty expen- 
sive experiment. As the photograph shows, the job at the extreme left has failed 
and failed badly at the end of only nine months. To the $1 50 cost for the original 
painting job, this owner must add $75 to burn and scrape off the entire surface 
and another $75 for a new priming coat to put the surface back in condition for 
repainting. That's $300 for less than a year's service . , . pretty expensive when 
you consider that the Dutch Bov job shows a smooth, unbroken film still pro- 
tecting the surface four years after the original painting. The original cost of 
the Dutch Bov job was slightly more than that of the "cheap" paint job but 
figured on the per year basis the Dutch Boy user is way ahead. 


Both halves of this double house were painted at the same time. The owner 

of one side experimented with "cheap" paint. The left half of the photograph 

shows what happened. The owner of the right half paid $16 more for his job 

than his neighbor and used Dutch Boy. That was two years ago and now the 

"cheap" paint has cracked so badly that the owner must repaint. This means 

that he has to pay for burning off the scaling paint, for applying a new priming 

coat and for repainting . . . S160 in all. The white-lead user . . . with plenty of 

wear still left in his job and knowing that when repainting is necessary he will 

have no expensive preparation costs to add to the price . . . can well be proud of 

his good buying. 

Page 1* 

Also, discuss with him what allowance has been made for surface 
preparation — getting it ready for painting. By this we mean such things 
as sandpapering and dusting off the surface to be painted; cleaning out 
gutters; nailing down loose clapboards and shingles; replacing any small 
pieces that may be missing; scraping off any loose paint; touching up 
bare spots; removing loose putty from sash; or, in event of a badly blis- 
tered or scaled surface, burning and scraping off all the old paint. 


Surface preparation is also important on an interior job. If the plaster 
is new and has not sufficiently aged, a neutralizing wash of zinc sulphate 
may be required. There are usually holes to be filled, cracks to be closed 
up, loose paint to be removed. If the previous paint has a gloss, the entire 
surface should be sandpapered. Much the same things apply to interior 
woodwork. Make sure that these points are covered in the estimate. 

The filling of cracks and surface defects in exterior wood is an im- 
portant consideration. All nail holes, dents, cracks, joints and other de- 
fects should be puttied after the priming or first coat of paint has been 
applied and is thoroughly dried. If your house is stucco, was allowance 
made for filling cracks that often exist around the doors and windows? 

How 7 about the painting of the sash? It makes a lot of difference 
whether a painter figures only one coat over the putty or whether he in- 
tends to trace the sash a second time, after the final coat goes on the 
house. If your house has two coats, the putty should have two also. 


Check up on how the painter plans to do the porch floors. Here is 
a surface that gets a lot of wear and must be carefully painted to give 
service. This includes sandpapering before painting, puttying the cracks 
and sandpapering each successive coat. If your house has enclosed 
porches, are they or are they not included in the estimate? 

Page ij 

Do not forget the screens. Has allowance been made for their paint- 
ing? And are their frames to be painted the same color on both sides or 
is the inside to match the woodwork of the room for which the screen is 
designed? Also make sure about the roof, that is, whether it is to be 
included and, if so, whether paint or stain is figured. 


There are a few other points that 7 while they do not directly in- 
fluence the life of the paint job, do have an effect on your pocketbook and 
your temper. For instance, on exterior work the careful painter will make 
sure that any shrubbery or walls that might be defaced by paint spots arc 
covered with drop cloths and on interior work will see that everything 
that might be damaged by paint is well protected. He will also see that 
neither he nor his men track up the house going in and out. He will have 
a rack for his ladders or store them in such a way that your lawn is not 
injured. He will see that no paint is left on the window glass to cause an 
extra charge by the window cleaner. If awnings are up, they will be taken 
down and not painted around. The windows when painted won't be 
forever gummed shut. The roof if it is made of breakable shingles will 
be protected when it is necessary to walk over it. Of course these are all 
things that are not usually covered in a specification but they do go with 
a workmanlike job and it will do no harm to discuss them beforehand. 


As a convenience to you and to the painter who does your work, we 
are enclosing a copy, in duplicate, of what is known as a Check List- 
Contract Blank. On this blank, which is in the form of a contract, are 
listed all of the surfaces which are normally painted so that it is a simple 
matter to include the work to be covered by the contract. There is also 
provision made for the specifying of definite materials to be used on the 
job. We urge you to use this blank, and we know that your painter, if he 

Page iS 

is not using similar blanks, will be glad to have the job handled this way. 
Let us emphasize once more the importance of having definite 
specifications. Specify the surfaces to be painted, the number of coats 
and the Dutch Boy materials to be used. And, in this latter case, if you 
are to know that the materials are what they are supposed to be, they 
should be delivered to the job in their original containers, sealed and with 
their labels plainly in evidence. Take the slight trouble to check up on 
this. The reputable painter will not be offended by your carefulness. It is 
as much to his interest as to yours to have this point well verified while 
"the job is in progress. 


We hope also that the color illustrations throughout the booklet will 
be of assistance to you in selecting the proper color treatment for your 
house. Should you desire further specific information along this line, 
we are glad to offer you the services of our Department of Decoration. 
Simply write to us for a blank which you can fill out with the necessarv 
data. When this is returned, individual color schemes will be made up 
to fit your particular requirements. There is no cost or obligation. 

This service is likewise available for answering any special questions 
of a technical nature that either you or your painter might have. In this 
connection, if you refer to any of the illustrations, please mention the 
edition of the booklet as well as the page number. Confusion may result 
otherwise. This is the ninth edition. 

As a final word, let us repeat — if your house needs painting now, 
there are three important things to do — choose a reliable painter — 
specify Dutch Boy — select a good color scheme. And, dont delay. 

Page 19 

Interesting is the handling of the 
recess back of the sideboard. Painting 
it a slightly darker shade gives depth. 

This unusually deep wall 
color is sufficiently relieved 
by the white moulding and 
the painted pilasters. The 
design beneath the mirror is 
a simple stencil. 

Stencilling an appropriate 
design on ceiling timbers is 
sometimes good practice. 

Here the furniture color has 
been repeated on the room 
trim. The ceiling corner has a 
simple curved banding line to 
add interest. 

Page 20 

Red's primary use is for 
accent but it can be the 
major color in a foyer 
where little time is spent. 

The stencilled border 
of garden vegetables 
is easy to produce and 
gives individuality to 
this kitchen. 

The simple star sten- 
cil helps to "make" 
this Colonial hall. It 
is touches like these 
that spell the differ- 
ence between decora- 
tion and just painting. 

n wm j m m* 



In this kitchen both the scalloped 
banding line and the decorative spot 
back of the stove are stencilled. 

An unusual use of trim colors . . . the gray for design 
and the green for the cupboard and other recesses 

The combination of a receding blue 
and walls painted to simulate win- 
dows adds space to this small kitchen. 
The tulips arc stencilled. 

This sampler motif 
used in this kitchen is 
likewise stencilled. 

Page 22 

ti & ft 



The drape effect around the border 
of this room is actually painted. The 
trick is accomplished by the use of 
a shaded stencil. 

Note the rug design re- 
peated on either side of 
the mirror. 

Here a diamond motif fo* 
the bedspread is repeated on u- 
painted wall. The pleasant con- 
trast of the wood trim also adds 
much interest to this room. 


. ^H 

Page 23 

Note the rug design re- 
peated on either side of 
the mirror. 

The drape effect around the border 
of this room is actually painted. The 
trick is accomplished by the use of 
a shaded stencil. 

Mere a diamond motif found in 
the bedspread is repeated on the 
painted wall. The pleasant con- 
trast of the wood trim also adds 
much interest to this room. 

Marine stencils are responsible for 
the unconventional treatment of 
the bath at the right. The wave 
effect gives an illusion of distance. 

The dark ceiling in this Col- 
onial bedroom adds to the 
feeling of quiet restfulness. 

A two-toned stencil pattern provides an in- 
teresting panel treatment for one side of 
this French gray bedroom. The diamond 
motif makes this room a decorative entity. 

Page 24 



Decorated panels 
on one wall of a 
room are always in- 
teresting when key- 
ed to the period of 
the room. Typical 
applications are 
shown in these two 
very widely different 
living rooms. 

Gray is an ideal 
neutral back- 
ground. Note 
how in this room 
the color tones in 
with the furniture 
and hangings. 

Page 25 

The use of two 
colors on a sidewall 
through wide ver- 
tical stripes. 

Dutch Boy Products can he identified 
by the familial Dutch Boy trade mark 
which prominently appears on every package 


111 Broadway, NEW YORK • 116 Oak Street, BUFFALO • 900 West iStli 
Street, CHICAGO • 659 Freeman Avenue, CINCINNATI • 1213 West Third 
Street, CLEVELAND • 722 Chestnut Street, ST. LOUIS • 973 John Street, 
SEATTLE • 1211 N. W. Glisan Street, PORTLAND, Oregon • 224024th 
Street, SAN FRANCISCO • 932 Wilson Street, LOS ANGELES • National- 
Boston Lead Co., 800 Albany Street, BOSTON • National Lead & Oil Co. of 
Pennsylvania, 316 Fourth Avenue, PITTSBURGH • John T. Lewis & Bros. Co., 
Widencr Building, PHILADELPHIA. 

F 36-37