The Alabastine Stencil Catalog

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Church's Alabastine

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advantage

Useful Hints for Practical Workers

AINSI
Pages 22 lo 37

Church's Alabastine

Et Comment THmployer
. Avec Avantage

The Alabastine Co., Paris

LIMITED

Paris Canada

INDEX

Alabastic Crackfiller „ 20

Alabastine — What It Is j

BruBhing g

Brushes — Price List ^ , 21

Brush Premium 13

Coating „ „ 7

Color Schemes „ ^ Ij

Exterior Painting 10

Mixing 6

Opaline Effects IS

Preparing Walls ^ 4

Priming \\

Relief Work 20

Second Coating g

Si2ing Materials g

Stencil^ — How to Select 15

Stencil— How To Use H

Stencil Premium 13

Varnishing Alabastine 19

Washable Alabastine 19

INDEX

Alabastic 35

Application — Methodes ' 23

Couche — Seconde 26

Directions Pour Alabastine 22

Fond — Couche de ,^ 29

Harmoniser les Couleurs 29

Lavable — -Pour Produire 85

TExterieur — Alabastine Peinture 28

Opaline TEffet 33

Patron "Choisir jn

Patron — Obtenir ,t 32

Patron — Employer 32

Patron — Prime 32

Pinceau — Prime gj

Pinceaux — Prix 37

Platre — Preparation des Murs 27

Poser- — Maniere de jg

Preparation des Murs 25

Preparation de la Surface 2J

Relief ZZZZZ 8C

Vernir — Pour T Alabastine „„„ 3B

2

^^.

WHAT IS ALABASTINE?

ALABASTINE is the recognized cold
water tinting material. It comes to you
in 21/2-lb. and 5-lb. packages ready for use
by mixing with cold or hot water.

Your hardware or paint dealer will sup-
ply you with color cards showing 21 beauti-
ful tints and white. By intermixing a
great many shades can be produced.

Your walls can be made to harmonize
with your furniture, draperies, etc., at
small cost, only a fraction of cost of paint
or paper.

ALABASTINE is easy to mix and easy
to apply. Directions will be found on the
following pages.

PATENTS AND IMPROVEMENTS

Mr. M. B. Church, President of this Com-
pany, was the original inventor of ALA-
BASTINE in 1875. He has continued to
exercise his inventive genius making num-
erous improvements which have been cov-
ered by patents. The last Canadian Patent
is dated August 15, 1916.

Besides the great care required in the
manufacture of ALABASTINE, it is vitally
necessary that the materials used be of the
very best quality for the purpose, which is
the result of many years' experience of the
present management. The method of
manufacture we use is the only way, yet
discovered, in which the best grade of hide
stock glue, used by us, can be manipulated
so that it will mix with cold water. So
called cold water paints on the market

/

a -

made with low grades of glue, which partly
dissolve in cold water, are not in the same
class with ALABASTINE, being unsani-
tary, because they draw damp, become
sour, mouldy and peel off in a short time.

Great care and long experience has also
been used in selecting permanent and un-
fading colors, and the best covering, easiest
working mineral base materials.

We now call ALABASTINE "slow set-
ting" because it jellies to brush on easily,
within a few minutes after mixing; and
what is more important, it will not set hard
in the dish as formerly if kept mixed over
night:

These new process goods dry out very
slowly on the wall; this is an improvement
which makes it easy for one man to handle
a large surface working alone, the edges
of the coated work remaining wet a suffi-
cient time to allow the surface to be
finished without laps or brush marks.

ALABASTINE works and covers well
over plaster, brick, burlap, cotton, beaver
board, plaster board, wooden surfaces or
even wall papers, and can be applied over
painted, shellacked or varnished surfaces,
if the same are hard and dry. On a surface
in good condition, one pound will cover
from 55 to 65 square feet and upwards.

PREPARING THE WALLS

Old coats of Alabastine may be sponged
from the wall if first whetted thoroughly
with warm water. Kalsomines which
require boiling water and which cannot be

/^

readily removed by washing are unsani-
tary. The accumulated coats peel and
make unsightly surfaces.

To produce durable work, always clean
off all loose dirt, whitewash or old coats of
Kalsomine, or loose wall paper, before
applying Alabastine.

All surfaces to be coated should be gone
over and all damages such as nail holes and
cracks filled up level with either "Alabastic
crack filler" or a plastic mixture made up of
one-third plaster of Paris and two-thirds
ALABASTINE. We have seen strips of
old newspaper used to cover cracks, small
pieces set over nail holes. This was done
as the coating proceeded, the paper being
coated and laid on with the ALABASTINE
as a binder and at once coated over. In
drying out the paper did not show through.
Stains may be covered up by the same
method.

Old Painted Walls

Such walls are usually dirty and greasy
from an accumulation of oil or smoke.
They should be cleaned before coating. Use
sal-soda, pearl ash or any strong soap to cut
the dirt.

Ordinary Plastered Walls that have
stood until they are thoroughly dried out
and seasoned form an ideal ground for
ALABASTINE just as they are, if they are
free from dust. But so many walls are ab-
normal from lime action and other causes
that it is best practice to size for all best
work.

Sizing Materials

The various sizing preparations given
below may be used with confidence. They
are in use by the trade, and are usually to
be relied upon.

Sizing for Walls

No. 1

A glue size is the cheapest, it is easily
made and usually gives good results as it
stops the suction of absorbent surfaces.
This sizing is in common use. To make size
for a large room soak one quarter pound of
good glue for two hours in one quart of
water, then dissolve to make one gallon of
size.

No. 2

Any quick-drying varnish or a hard oil
of fair quality thinned with turpentine, or
even with benzine, will make a good, strong
size. This size will dry in a few hours and
usually gives satisfaction.

No. 3

A Cheap Size for Sand Finish Walls:

Dissolve any good hard bar soap in water,
and apply to form a very thin and almost
imperceptible film on the plaster. If too
much soap is applied it will dissolve and
soften the coats. It can be applied more
freely on sand finish, and is a useful size for
such surfaces as it will neutralize lime and
stop suction.

DIRECTIONS

For Church's Cold Water Alabastine

Our New Process Alabastine has many
points of excellence over our former make
of goods. It is the superior of all hot or
cold water kalsomines. When mixed and
applied according to directions, it will not
rub off, crack or peel, and will make a per-
fect, solid, smooth surface free from laps.

IMPORTANT: In order to avoid lumps
in mixing, it is necessary to observe the
following directions: Put one quart water
in a pail and stir in the contents of a 5 lb.
package. For a 2 1/2 ^- package use 1
pint water. Keep stirring until smooth
and free from lumps. Afterwards thin to
suit. This will require from one pint to
three half pints additional water, depend-
ing on the condition of the surface to be
coated, whether absorbent or not. Be
careful not to mix too thin. In cold
weather use warm water for mixing and
thinning.

In cold weather and in cold rooms, should
the mixed Alabastine jelly up too stiff to
spread freely, the mixture should be warm-
ed.

METHODS IN COATING

There are a few simple rules to observe
in applying Alabastine or other water
color coatings to ceilings or walls.

In the first place always use a bristle
brush, usually six or seven inches in width,
never a fibre whitewash brush.

Take notice that a painter never at-
tempts to coat a dwellinjiC house ceiling
from a chair, a table, or a single step-lad-
der. He uses two step-ladders or trestles
and a board or plank. These form a scaf-
fold across the room.

In a room 12 x 15 ft. in size, with a
ceiling 9 ft. in height, a board across two
tables would enable one to reach the ceil-
ing. The scaffold is always placed across
the narrow way of the room and at the
end in which there may be a window, as
it is best to work from the light, not to-
wards the light.

Before beginning to coat, it is usual to
close all windows and doors, to shut off
drafts, in order to retain all moisture in
the room while coating the ceiling surface.

Now notice, the painter begins to coat
in one corner of the ceiling, and carries a
coated strip clear across the end of the
ceiling. He then returns and coats an-
other strip, and another, until he has the
whole ceiling covered. Usually these
strips of coated water color are not more
than from 8 to 12 inches in width. This
method of coating keeps the edges of the
work in a wet state, and prevents laps and
blemishes. As soon as the ceiling is coat-
ed over, the windows and doors are thrown
open to dry the work quickly.

To coat the walls of the room, a scaffold
is not required. The usual practice is to
begin to coat at the top of the wall in a

8

corner and to carry a strip down to the
base. Then repeat this until the wall is
covered.

There are three reasons why a painter
can always produce good Alabastine work.
First, he uses a bristle brush. Second, he
mixes his Alabastine according to the
directions on the package. Third, he
properly prepares the surface to be coated.
This is written to enable you to do like-
wise.

Brushing One Coat Work

Brush ALABASTINE upon the wall with
a full brush, same as you apply a shop-
made kalsomine.

Apply plenty of the mixture; it will
spread freely and work nice and cool. When
the wall is in good condition and free from
loose dirt, one coat will produce an excel-
lent finished job. But if this first coat has
to overcome serious defects in the wall that
would ordinarily be cured by sizing, a sec-
ond coat may be required to give this result
— i.e., a clear, solid surface.

Second Coating

Just as soon as the water leaves the first
coat it is ready to recoat if desirable. It
is not necessary to wait for a hardening
process to take place, as ALABASTINE
dries out hard. It will give you a surface
just as beautiful on the second coat as the
first; in this it differs from kalsomine,
which will not look so well recoated.

While best work is done with one coat of
ALABASTINE, as all painters expect of
their best kalsomine. yet a second coat will
work well. When this is required, it should
be made either thicker or thinner than the
under coat. Over a fairly heavy coat the
practice is to apply a light finishing coat.
The slow setting ALABASTINE second
coats better than anything else on the
market.

ALABASTINE as a Paint for Exterior

Use

To apply over brick, tile, rough cast,
cement, or for coating rough lumber or old,
weathered, wooden surfaces, mix five
pounds of ALABASTINE in one quart of
boiling water and when thoroughly mixed
free from lumps add one quart of raw or
boiled linseed oil (the raw oil stands the
weather better than the boiled) ; stir well
together. Thin with water to best brush-
ing consistency, and apply one good, round
coat. This will look equal to two or three
coats of paint, but will dry flat like a water
paint. It will wear as long and look 100
per cent, better than any one coat of oil
paint. The material cost will be but a frac-
tion of the cost of oil paint. A brilliant
outside white may be obtained with one
coat of ALABASTINE. All light tints look
well and give more satisfactory results for
one coat outdoor work than the deeper
tones.

10

To Use as a Primer Under Faint

If used as a primer, or undercoat, under
paint on any surface, mix in boiled linseed
oil to the proper consistency and pass
through a strainer (a piece of cheese cloth
is excellent for this purpose). This prim-
ing mixture is equal to the ready mixed
paint at much less cost. Priming should
stand several days to harden before a
second coat is applied. Always use ALA-
BASTINE that will match the finishing
coat.

A Corps of Artists at Your Bidding

The Alahastine Company employs artists
whose services are at your disposal. In
other words, if a painter has a house to
decorate and will write the Company,
giving a diagram of the interior with size
of rooms, including height and other essen-
tial information, the Company will, without
charge, have its artists prepare and submit
color suggestions for the decorating of each
room so that people may know before they
start just what colors they will secure.
These suggestions will be made from our
regular tints, applied on paper with a
brush, and will be absolutely accurate.

We have blank forms which we furnish
on application, and if these are properly
filled out we will know just what you
require.

In Wall Tinting two color combinations
are very popular and artistic. Apply one
of our regular tints for the side walls of the

11

room, and for the ceiling use from four to
six parts of white ALABASTINE mixed
with one part of the wall tint. If less con-
trast is desired use less white in the celing
mixture.

The wall color may be carried up to the
ceiling, and a stencil border placed upon
the wall tint close to the celing line, or the
ceiling tint may be dropped down on the
wall from l2 to 18 inches to form a border,
which may be either left plain or a stencil
pattern placed upon it.

Another way is to use one regular ALA-
BASTINE tint for the wall, and another"
for the ceiling.

The following colors go nicely together:

In this list we name one tint for the ceil-
ing, and give the various tints that look
well in combination with it for side walls.

With ceiling No. 17. Side walls 4, 10, 15,
18, 31, 38.

With ceiling No. 14. Side walls 10, 15,
21, 31, 33, 39.

With ceiling No. 15. Side walls 4, 9, 13,
18, 21, 31.

With ceiling No. 15. Side walls 35, 37,
38, 39.

With ceiling No. 5. Side walls 4, 9, 10,
31, 38, 39.

With ceiling No. 12. Side walls 4, 10, 18,
21, 33.

12

With ceiling No. 31. Side walls 10, 13,
37, 39.

With ceiling white. Side walls 4, 5, 9,
10, 12, 15.

This list of 43 combinations may be
varied indefinitely by intermixing tints.

Premium Brush OfTer to Painters

Every Painter should cut the word ALA-
BASTINE from the side of the large and
small packages. We redeem them. 150
large words from the full size or 300 from
the half size package sent to us by post
entitles the sender to one 7-inch Alabastine
brush or send 100 from full size or 200 from
half size packages and receive $2.50 in
cash. Don't fail to make this saving. It
is equal to a premium of 2^2 cents on every
full size package used.

How to Obtain Stencil Premiums

We offer a stencil premium to those who
are using Alabastine, and who will comply
with our stencil offer.

Every user of ALABASTINE may obtain
the stencils listed in this catalogue by mail-
ing us three labels taken from the bottom
end of a full size Alabastine package, or six
labels from the end of the half size pack-
age, for each stencil. Ten Cents must be
sent to cover postage and packing for each
stencil so ordered.

When ordering Stencils be sure that you
select a stencil pattern that will be from
three to four inches narrower than the

13

space it is to be used to decorate. For in-
stance, when a border is eighteen inches in
width, the stencil pattern chosen should
not be more than twelve or fourteen inches
in width. See cuts and price list pages
39-80.

In our list of stencils the size and width
is the exact size of the pattern; no allow-
ance is made for margins.

The stencils come ready for use. They
are cut from strong tag manilla, and are
oiled before they are shipped, but they will
last much longer if given a coat of shellac
before using.

A guide or key is cut at each end of
every stencil to enable the operator to con-
nect the pattern to form a continuous
design. For price list and patterns of
stencils see pages 39 to 80.

How to Use Stencils

A Stencil Brush. If a regular stencil
or pounce brush is not procurable, a good
substitute may be had by taking a round or
oval paint brush and binding on a piece of
felt or cloth half way down the bristles, to
stiffen the bristles and prevent the brush
from spreading. The brush should be well
filled with color, and then the surplus color
should be wiped out on the side of the dish ;
otherwise the stencil wtU be flooded with
too much color, which will cause it to
spread under the stencil and smear the
wall. For price list of stencil brush, etc.,
see page 21.

14

Stencillinj; on Wall Surfaces may be
done by one person without assistance, for
if the stencil pattern is small it may be
held in place with one hand, while the
other plies the brush. The stencil must
be held firmly against the surface in
order to obtain clear, sharp edges. To
hold a very large stencil in place use thumb
tacks or Moore Push Pins, or have another
person hold the stencil. Coarse needles
may be used, inserted in old spools; the
spools will serve as handles. Brads are
apt to mar the wall, but the small holes
made by the sharp points of push pins or
needles cannot be seen.

The tints used for stencilling should be
mixed to the same consistency as used for
wall coating.

How To Select a Stencil

Stencil Borders should be used as far as
possible to emphasize structural- lines.
Borders that have a line beneath them, or
that are confined between two lines, are
called ^'confined borders." Stencil borders
without a defining marginal line are called
"free borders.*'

Where simple treatment in decoration is
desired and the wall tint is carried up to the
ceiling line, a "free border" stencil may be
used. This design may be placed upon the
wall color. But when another tint forms
the frieze above the wall tint, and no pic-
ture molding separates the frieze from the
wall tint, then a border design may be used
that will also provide this separating line.

15

Another simple treatment is to use a small
dividing band above the wall tint, and leave
frieze tint plain.

Small set patterns may be used in domes-
tic decoration to relieve the walls of halls.
They are usually spaced at regular inter-
vals to produce an all over effect.

Care should be taken to produce har-
mony in design as well as in color. If con-
ventional forms are used, they should be
adhered to throughout the room.

Lodge rooms and churches require
special treatment. We shall be pleased to
assist in the selection of designs to suit
any work that is in prospect.

ALABASTINE OPALINE EFFECTS

Delightful in its widely varied effects
and so moderate in cost, this method of
applying Alabastine is meeting with great
favor.

A good sized sponge, firm but with
coarse or fair-sized openings, is used to
produce beautifully flecked effects over a
soft toned background. This form of
decoration is not so easily soiled as it does
not show fingermarks or spots like a plain
surface, and is especially adapted for store
or office walls, halls, stairways and liv-
ing-rooms in residences, and helps to over-
come bad wall conditions. More artistic
and sanitary, it has all the advantages of
wall paper in completely covering the wall
with a pleasing figured pattern that can be

16

chosen to match or harmonize with chintz,
cretonne, silk and other fabrics, often at
less than half the cost of suitable papers.
There is no special skill or equipment
required, but with a good wall brush and
sponge an unlimited variety of designs can
be produced. Almost any combination of
Alabastine tints can be used, but a little
practice will reveal novelties of design,
tastefulness of color combination and
charming results never imagined as pos-
sible with Alabastine alone. Send for the
booklet "Alabastine Opaline Effects" with
full directions and 20 samples made by ap-
plying Alabastine on paper in the same
manner and producing the same effects as
can be done on a plastered wall, wallboard,
wood or any clean surface. For Decora-
tors, we have a large "Portfolio of Opaline
Designs."

DIRECTIONS FOR
ALABASTINE OPALINE EFFECTS

First coat the wall or other surface with
one coat of Alabastine in the usual way,

17

mixed according to directions on the
package.

To produce the Opaline Effects secure a
large sponge, tirm but with coarse or fair
size openings. Cut the sponge evenly
across the grain to produce a flat or level
surface. Soak the sponge in warm water
before using. Mix the colors desired, in
separate dishes, a little thinner than re-
quired for regular wall work, in the pro-
portion of about one pound Alabastine to a
pint of warm water.

Dip the whole sponge, so as to get the
material all through it, holding it face up,
squeeze it with both hands until fairly dry
but do not wring it, then stipple or dab
firmly on the wall, irregularly by sections
or squares, not in strips or rows. To get
into corners perfectly, it is well to provide
another sponge with one edge trimmed to
a square shoulder.

Have a piece of glass, tin or heavy paper
on which to pounce the sponge so as to get
the Alabastine well distributed on surface
of sponge and leave a distinct pattern.
Each dip of a good sized sponge should
cover about a yard square. If too wet the
sponge will smear, if too dry the colors
will not show up properly.

If you are putting on two colors, the
second can be applied as soon as you have
gone over the wall with the first. One or
two pounds of each color will be found suf-

18

ficient for an ordinary room. Any of the
regular Alabastine tints or Alabastine
Fresco colors can be used.

If a satisfactory sponge cannot be
secured locally, will be glad to mail a
sponge suitable for the work on receipt of
75 cents. An ordinary soft sponge can be
used to produce small, blurred or indistinct
impressions, but a coarse open sponge is
required to make clean, distinct patterns.

TO VARNISH ALABASTINE

First Opaline the walls as directed
above, then glue size with a very fine, clear
glue, isinglass or gelatine, not very strong,
as it is preferable to size lightly and go over
the surface twice to ensure that no spot has
been missed. Three ounces of glue to one
quart of water is quite as strong as it
should be made. Soak the glue a few hours,
when it melts readily. Apply with a soft
brush, going quickly over surface to avoid
moving the Alabastine; reduce the
strength of the size for the second coat;
have the work thoroughly dry before re-
coating, varnishing may be done usually in
an hour or two after sizing. If a gloss is
desirable use a light Varnish or "Hard Oil
Finish."

TO PRODUCE A FLAT WASHABLE

SURFACE

Size as before, then apply one coat of
"Flat Varnish," which can be had of any
painters' supply house.

19

Decorators usually employ a flat varnish,
as they consider the dull finish preferable
to the high gloss.

Alabastine varnished is the proper thing
for Kitchens, Bathrooms, Wainscoat or
Dados, etc. It is more beautiful over Opa-
line Process, and very much cheaper and
quicker than paint or enamel. This is a
great advantage in doing over Kitchen or
Bathroom as the entire operation can be
completed in one day. It is just the thing
for theatrical decoration, window trim-
ming, and for marbling and imitating some
kinds of wood effects.

ALABASTIC CRACK FILLER, as its

name implies, is for mending walls and
other surfaces. It is made ready for in-
stant use when mixed up in water. It will
set hard in about half an hour, and dries
without shrinking.

Price — Alabastic 1 lb. package, 15 cents.

5 lb. package, 50 cents.

Our Relief Machine with six styles of
nozzles — price, $3.00. Postage 15c. extra.

A Relief Mixture

Alabastic Crack Filler is a special ma-
terial that is adapted for use in relief bulbs,
and for plastic work. To mix Alabastic for
this purpose, take thick, well cooked flour
paste and thin it so that it flows freely
when poured from one dish to another.
When the Alabastic is mixed up in this
paste to a proper consistency it will flow

20

freely through the relief nozzles and give
clean cut forms. The mixture will work
well for some hours, and is very durable. If
the paste is quite thick, the mixture can
stand a day without hardening in the dish.
A little practice will enable anyone to hit
the mixture that suits them best.

Amateurs are not likely to succeed in
producing effective Relief and Modelled
Designs on large surfaces. There is a field,
however, in which Plastic Relief is used
where the Decorator or show-card writer
can produce free hand, by the use of an air
gun or relief machine, very satisfactory
results at very little expense; that is for
show cards and window display work,
backgrounds, etc.

PRICE LIST OF BRUSHES

Each
7" 8/0 Premium Wall Brush, Black Bristle. .$6.60

3x8" Stippling Brush 4.00

1^" Round Stencil Brush 60

6" Household Tinting Brush 1 40

21

Church's Alabastine

Et Comment Temployer avec
avantage

Suggestions utiles a Fhomme pratique

DIRECTIONS

Pour la Peinture a L*eau Froide " Alabastine "

Notre nouveau precede a I'ALABAS-
TINE possede plusieurs points excellents
sur notre ancien genre de fabrication.

II s*affirme par sa superiorite sur toutes
preparations, soient a Teau chaude ou
froide. Quand I'Alabastine est melangee
et appliquee suivant les directions, elle ne
s'enleve pas, craque ou pele, et fait une
surface parfaite, solide, et douce, libre de
toutes defectuosites.

IMPORTANT. — Afin d'eviter les mor-
ceaux qui pourraient se produire en
melangeant, il est necessaire d'observer les
directions suivantes: Mettez une pinte
d'eau dans une chaudiere ou (sceau en
bois) et ajoutez le coutenu d'un paquet de
5 lbs. d' ALABASTINE. Pour un paquet
de 2V2 l^s. mettez une chopine d*eau. Con-
tinuez a brasser jusqu'a ce que le liquide
soit doux et exempt de tout morceau.
Ensuite, eclaircissez selon la surface a
couvrir. Cela prendra une chopine a
trois demies chopines d*eau additionnelles,
suivant la condition de la surface a couvrir,
qu^elle soit absorbente ou non.

22

En melangeant prenez soin de ne pas
trop eclaircir. Dans une temperature
froide, employez Teau chaude pour me-
langer et eclaircir.

Dans des appartements ou de temper-
ture froide, sMI advient que epais le me-
lange d'ALABASTINE devient trop a ap-
pliquer librement, faites rechauffer.

PREPARATION DE LA SURFACE

A COUVRIR

Pour enlever les vielles couches d'ALA-
BASTINE sur les murs, ou plafonds,
epongez avec de Teau chaude.

Les Kalsomines, ou peinture a Teau, qui
se melangent avec de Teau bouillante, et
ne peuvent etre enlevees au moyen du
lavage, sont nuisibles a la sante.

Les couches accumulees s*enlevent et
laissent des surfaces irregulieres.

Pour produire un ouvrage durable, sur
un mur voyez a ce que toute salete, blanc-
de-ceruse, vieilles couches de kalsomines,
ou vieilles tapisseries soient enleves avant
d'appliquer TALABASTINE.

METHODES POUR APPLIQUER

L'ALABASTINE

II y a certains reglements a observer
avant d'appliquer I'Alabastine, sur les
murs ou plafonds. Premierement servez-
vous d'un pinceau de 6 ou 7 pouces de
largeur en soie noire, et non d*un blanchis-
soir en fibre.

23

U eflt h mnnpipr qti'un pcintre n'emploie
jam;iiH do chniHc, ric tabic «)U (run eHca-
b('au Himf>lc pour drtMrier unc courhc Hur uri
lilafoiid ou un mur <J'un appart.omorit. II
He Hert louJourH de deux eHcabeaux ou
trnHHoatix ct (Pune plarKhf, ce qui forme
un ^'chafaud a travcrH dc I'apparU'rrK*nt.

DariH un apparlmeni de 12 picdH d**
larK^ur par 15 piedH de loriKeur, c*t dc J
pi('(lH de hauteur, utw planch*?, n?pr)Hant Hur
d(*ux lahlcH, i)(*rm(?i d'at.t.<Mridre aiKcrnent, le
r)larond. f/c(-haf;iud ctatit phic6 danH un
cndroil. 6troiL de I'appartement et pr^s
d'unc fenetre, car il «'hI, phm facile de
travaillcr k la lumiere, (jue contre la
lumiere.

Avnnt, de commencer k donner une
couchc, voyez k fermer loulitH les porlen et
IcH fcfu't n-H afin d'cvilcr N'h couranlH
d'airs el de concent r(»r loute rhiimidite
dans l'appartcm(!nt a blanchir.

Mainlenant. rernar((U(v/ l)i(;n (ju'un
peinlre commenc" lonjourH a appli'picr une
couche Hur un iAaiOuilf en partant d'un
coin dc rapf>ar1('rn<'nt JuHqu'a raul.rc coin,
il rctoiirnc cnHuite au point de dcjmrt, et
applique une autre couche et ainHi de Huite
juHqu'enfm le /)lai'ftnd Hoit fini. D'ordiii-
aire cen couchcjK de peinture a I'eau n'ont
pJiH pIiiH de fiuit a dou/e pouceH dc larjfe.
CMv. methode d'apphtjuer coriHt-rve !es
h(jrd.s de I'ouvraj^e, <!anH un 6tat humide
et empcch(? lew taches et Ich ecouloment».
AuHsitot. (jue le plafond CHt blanchi ouvrez
leH port('H et fenetrcH jjour laisHer H^ch6r
rapidement.

24

Pour couvrir le mur d*un appartement
il n*est pas necessaire de se servir d'un
echafaud. La methode ordinaire est d'ap-
pliquer une couche du haut du mur, en
descendant jusqu'a ce que le mur soit
blanchi.

. II y a trois raisons qu'un peintre devrait
savoir pour obtenir de ires bons re-
sultats avec TAlabastine. Premierement
il emploie un pinceau en soie. Deuxieme-
ment, il melange TAlabastine suivant la
direction inscrite sur le paquet. Troisie-
mement, il prepare avec soin la surface a
couvrir. Ceci est ecrit pour vous aider a
faire pareillement.

Preparation des Murs

La chaux en morceau, les saletes, les
couches molles de Kalsomine ou autres
doivent etre enlevees a Teau avec une
eponge ou une brosse.

Les murs doivent etre prepares, en em-
plissant les trous et craques avec le Crack
Filler Alabastic, ou d'un autre melange fait
d*un tiers de platre cuit et deux tiers d'-
ALABASTINE. Nous avons vu les fentes
et les trous de clous remplis de petites
lisieres de papier. Cela se fait en meme
temps qu'en posant TAlabastine, le papier
etant trempe dans I'ALABASTINE avant
de le poser et puis en le couvrant une fois
pose. Une fois seche le papier ne parait
pas. Les taches peuvent etre couvertes
de la meme maniere.

25

Maniere de poser une seule couche

Posez I'ALABASTINE sur le mur a

KrantlH coupK de pinceau, de la meme ma-
niere que la kal.somine.

Ne craignez pas d'en employer; elle »'-
etend facilement et se travaille bien. Lors-
que que le mur est en bonne condition et
exempt de salete, une couche peut suffir.
Mais 8*11 y a des defectuosites dans le mur,
ce qui peut etre facilement juge avant de
commencer, une seconde couche peut etre
appliquee pour donner I'apparence d'un
mur clair et solide.

La Seconde Couche

Aussitot que Teau laisse la premiere
couche, la seconde couche peut etre ap-
pliquee. II n'est pas necessaire d'attendre
que la premiere couche soit dure, car F-
ALAHASTINE devient tre dure. La beaute
de la seconde couche sera semblable a la
premiere; en cela elie differe du kalsomine
qui ne parait pas aussi bien.

Malgre qu'une couche d'ALABASTINE

donne une tres belle apparence, ce que les
peintres attendent de la kalsomine, une se-
conde couche est preferable. En donnant
une seconde couche, le melange doit etre
plus epais ou plus clair que le melange de
la premiere couche. Si la premiere couche
est epaisse, la seconde tres claire donnera
un beau fini. La prise lente de FALABAS-
TINE est ce qu'il y a de mieux sur le
march e.

26

Pour Enlever les Vieilles Couches

L'ALABASTINE s'enleve facilement en
lavant a la grande eau et une eponge ou
une brosse la fera disparaitre.

Les Vieux Murs Peints

Ces murs sent ordinairement malpropres
et graisseux, par suite d'une accumulation
et d'huile de fumee. Us doivent etre net-
toyes avant. Employez sal-soda ou tout
autre savon fort qui fera disparaitre la
graisse.

Les Murs en Platres

Les murs ordinaires de platre seront tres
jolis, en appliquant une couche d'ALABAS-
TINE, mais avant ils doivent etre bien
prepares car beaucoup de ces murs ne sont
pas aptent a rien recevoir.

Les differentes preparations ci-dessous

peuvent etre employee sans crainte. Elles
sont employees par plusieurs et les re-
sultats ont donne satisfaction.

Pour les Murs
No. 1

Une colle est ce qu'il y a de moins dispen-
dieux, facile a faire et donne de bons re-
sultats car elle permet a la surface d'absor-
ber ce qu'elle peut absorber. Ceci est beau-
coup employe. Pour une grande chambre
un quart de Hvre de ponne colle dissoute
pendant deux heures dans une pinte d'eau,
puis ajoutez de I'eau pour former un gallon.

27

No. 2

Tout vernis qui seche rapidement dans
laquelle un peu de terebenthine est me-
langee, ou meme du benzine, fera aussi une
bonne preparation. D sechera dans
quelques heures et donnera satisfaction.

No. 3
Une preparation peu dispendieuse
pour les murs de papier ou sur fini de sable.

Dissoulvez du savon tres dur dans de
Teau et en appliquer, afin de former une
petite couche presqu'imperceptible. Trop
de savon amollit. Cette preparation est
employee sur un fini de sable.

L'ALABASTINE comme peinture a

Texterieur

Pour appliquer sur la brique, tuile,
ciment, planche ou autres surfaces de bois,
melangez 5 lbs. d'ALABASTINE dans une
pinte d*eau bouillante et une fois bien
melangees, ajoutez une pinte d'huile de lin
crue ou bouillie, (I'huile de lin crue est
preferable) ; remeuz le tout. Eclaircissez
avec de I'eau et appliquez une bonne couche.
Cela paraitra aussi bien que deux ou trois
couches de peinture, mais sechera comme
une peinture a Teau. Elle durera aussi
longtemps et paraitra 100 pour cent mieux
qu'une couche de peinture a I'huile. Le
prix n*est rien compare a la peinture. Un
exterieur brillant peut aussi etre obtenu
avec I'ALABASTINE. Les teintes claires
paraissent tres bien et donnent satisfac-
tion.

28

Employee comme couche de fond sous la

Peinture

Employee comme couche de fond sous la
peinture, sur n'importe quelle surface, me-
langez avec de Thuile, de lin bouillie et
coulez-la (une toile a fromage fera tres
bien). Cette couche est egale a la peinture
melangee, et est moins dispendieuse. Avant
d'appliquer la seconde couche, il est essen-
tiel que la premiere soit seche. Employez
toujours I'ALABASTINE qui ira avec la
teinte du fini.

Dans la Teinte des Murs, deux couleurs
combinees sont tres populaires et artis-
tiques. Appliquez une couleur reguliere
pour les murs, et pour le plafond employez
de quatre a six parties d'ALABASTINE
melangees avec une partie de la teinte du
mur. Si moins de contraste est desire, em-
ployez moins de blanc dans le melange du
plafond.

La couleur du mur pent aller jusqu'au
plafond, et une bordure appliquee sur la
couleur du mur, ou la couleur du plafond,
peut descendre sur le mur de 12 a 18 pouces
afin de former une bordure, qui peut etre
laissee unie ou un patron place dessus.

Une autre maniere est d'employer une
teinte reguliere d'ALABASTINE pour le
mur et une autre pour le plafond.

Les couleurs suivantes s'harmonisent

tres bien

Dans la liste suivante nous donnons une
teinte pour le plafond et differentes teintes

29

pour les murs qui s'harmonisent avec elle.

Avec plafond No. 17. Murs, 4, 10, 15,
18, 31, 38.

Avec plafond No. 14. Murs, 10, 15, 21,
31, 33, 39.

Avec plafond No. 15. Murs, 4, 9, 13, 18,
21, 31.

Avec plafond No. 15. Murs, 35, 37, 38,
39.

Avec plafond No. 5. Murs, 4, 9, 10, 31,
38, 39.

Avec plafond No. 12. Murs, 4, 10, 18,
21. 33.

Avec plafond No. 31. Murs, 10, 13, 37,
39.

Avec plafond blanc. Murs, 4, 5, 9, 10, 12,
15.

Cette liste de 43 combinaisons peut
variee indefiniment par le melange des
teintes.

Comment Choisir un Patron

Les Patrons des Bordures doivent faire
ressortir les principales lignes. Les bor-
dures qui ont une lignes au dessous, ou qui
sont entre deux lignes, sont appelees *'bor-
dures confinees." Les patrons sans ligne
definie, sont appeles *bordures libres."

Lorsqu'une decoration simple est desiree
et que la couleur du mur se rend au pla-
fond, un patron a **bordure libre" peut etre
employe. Ce dessin peut etre applique sur

30

la couleur du mur. Mais lorsque la couleur
du mur est differente de celle du haut, une
bordure, en laissant la ligne de separation,
peut etre employee, ou encore faire une
large ligne de separation et laisser le haut
uni.

Des petits patrons peuvent etre em-
ployees dans les decorations des maisons.
lis sont espaces en intervales regulieres
afin de produire un bon effet.

H est important de donner au dessin un
effet harmonieux et faire eorrespondre les
couleurs. Si des formes conventionnelles
sont employees elles doivent s'harmoniser
par toute la grandeur de I'appartement.

Les salles de reunions et les eglises de-
mandent un soin special. Nous nous ferons
un plaisir de vous aider a choisir les dessins
que vous pouvez employer dans ces sortes
de decorations.

Pinceau prime offert au Peintre

Tout peintre devrait decouper le mot
ALABASTINE du cote des grands et petits
paquets. Nous les rachetons. 150 mots
des grands paquets ou 300 mots des petits
paquets qui nous sont envoyes, nous lui
envoyons un pinceau Alabastine de 7
pouces, ou encore envoyez 100 mots des
grands paquets ou 200 mots des petits
paquets, et nous vous enverrons $2.50 en
argent.

Ne manquez pas cela. Cela equivaut
a une prime de 21/2C sur chaque grand
paquet.

31

Comment Obtenir des Patrons en Prime

Nous offrons un patron en prime a ceux
qui font usage de I'Alabastine et suivant
les regies suivantes.

Chaque employeur d'ALABASTINE peut
obtenir les patrons montres dans ce livret
en nous envoyant trois etiquettes qui sont
au dessous des grands paquets ou six des
petits paquets pour chaque patron. Vous
devez aussi envoyer dix cents pour couvrir
les f rais de malle ou de poste.

En commandant des patrons assurez-
vous que celui choisi est trois ou quatre
pouces plus etroit que Tespace ou il doit
etre employe. Exemple: si une bordure
est de dix-huit pouces de large, le patron
doit etre de 12 a 14 pouces.

Dans notre liste nous indiquons les
grandeurs exactes, nous n'allouons rien
pour la marge.

Les patrons prets a etre employes

Sont fait de bonne manille et les huilons
avant de les expedier, mais en leur donnant
une couche de shellac, vous les ferez durer
beaucoup plus longtemps.

A chaque bout il y a des coupures, in-
diquant comment unir, un bout a un autre,
afin de faire un dessin continu.

Comment Employer les Patrons

Un Pinceau a Patron. Si un pinceau a
patron regulier ou un pinceau ponce ne peut
etre obtenu, vous pouvez employer un pin-
ceau ordinaire en entourant les soies d'un

32

linge, vers le milieu, afin de les rendre plus
solides et les empechant de s'etendre. Le
pinceau doit etre bien rempli de la couleur
employee, puis le frottant sur les bords
du plat, afin de laisser ce qui est strictement
necessaire, car s*il y avait trop de couleur,
elle coulerait sous le patron.

Les Patrons sur un mur peuvent etre
employes par une seule personne; si le
patron est petit il peut etre tenu d'une main
pendant que Tautre main passe le pinceau.
Le patron doit etre tenu fermement au mur
afin que les lignes soit bien distinctes. Pour
employer un grand patron employez les
petites epingles Moore, ou ayez I'aide d*une
autre personne. De grosses aiguilles peu-
vent aussi etre employees, en les passant
dans des vieux fuseaux, ces fuseaux ser-
vant de poignees. Des broquettes feront
des trous dans le mur, tandis que les
epingles Moore et les aiguilles ne laisseront
aucune trace.

Les teintes employees pour les patrons
doivent etre preparees de la mcme maniere
que pour les murs.

DIRECTIONS POUR PRODUIRE L'EF-
FET OPALINE AVEC L'ALABASTINE

Premierement, couvrez la surface ou le
mur avec une couche d'ALABASTINE de
la maniere indiquee sur les paquets.

Pour produire des effets Opaline montres
dans le livre d'echantillons, procurez-vous
une grosse eponge solide avec les trous

33

1

d'une moyenne grosseur. Coupez Teponge
egalement a travers le grain pour produire
une surface plate. Saucez Teponge dans
Teau chaude avant de vous en servir. Me-
langez les couleurs desirees un peu plus
claires que vous vous servez pour Touvrage
des murs dans differents plats, et dans la
proportion d'a peu pres une livre d'ALA-
BASTINE a une chopine d'eau chaude.

Saucez toute Teponge afin que le liquide
y penetre completement, serrez-la avec vos
deux mains jusqu'a ce que tout le liquide
sorte mais ne la tordez pas. Apres appli-
quez-la sur le mur irregulierement par
section carre, mais pas en ligne. Pour
aller dans les coins, c'est mieux de se servir
d'une autre eponge avec un bord coupe.

Ayez un morceau de vitre ou un morceau
de papier mince ou epais sur lequel appli-
quez Teponge pour que I'ALABASTINE se
distribue sur la surface de Teponge et laisse
un patron clair. Chaque fois que vous
saucez une eponge de bonne grosseur vous
devriez couvrir une verge carree. Si
Teponge est trop pleine de liquide vous allez
faire un barbouillage, et si vous n'en n'avez
pas assez les couleurs ne pax'aitront pas
distinctement.

Si vous avez deux couleurs a poser, vous
pouvez commencer a appliquer la seconde
aussitot que la premiere sera posee. Une ou
deux livres de chaque couleur sera suffi-
sante pour une chambre de grandeur ordin-
aire. N'importe quelles couleurs d'Ala-

34

bastine ou Alabastine Fresco peuvent etre
employees.

Si c'est impossible de vous procurer une
eponge convenable envoyez-nous 75 cts et
nous vous enverrons une eponge satisfai-
sante pour Touvrage.

POUR VERNIR L'ALABASTINE

Premierement couvrez le mur avec
I'ALABASTINE Opaline Effect. Servez-
vous de colle tres claire ou de la gelatine,
pas tres forte comme c'est preferable
de passer deux fois afin de bien couvrir
la surface. Trois onces de colle a une pinte
d'eau, cela serait suffisant. Appliquez avec
un pinceau molle, tres vite sur la surface
afin de ne pas enlever TALABASTINE.
Reduisez la force de la colle pour la deuxi-
eme couche. Ne donnez pas une deuxieme
couche avant que la premiere soit seche, le
vernis peut etre pose en general dans une
heure ou deux apres. Si un luisant est
desire, employez un vernis clair ou (Hard
Oil Finish).

POUR PRODUIRE UN FINI MAT

LAVABLE

Appliquez la colle comme auparavant.
Ensuite posez une couche de *'Vernis
Mat," que vous pourrez vous procurer dans
les magasins de peinture.

Les peintres generalement emploient un
vernis mat, ils considerent qu'un fini mat
est preferable au fini luisant.

35

L'ALABASTINE vernis est Tarticle
pour cuisines, chambre de bains, et
boiseries, etc. C'est un grand avantage
en faisant une cuisine ou une chambre de
bain comme Toperation entiere peut etre
finie dans une journee.

C'est aussi Tarticle pour les decorations
de theatre, et pour imiter le marbre ou le
bois.

Nous montrons les dessins dans le livre
d'Effets Opaline vernis avec des directions.

LE CRACK FILLER ALABASTIC

tel que son nom Tindique, est pour reparer
les murs et autres surfaces. II est prepare
et peut etre employe en le melangeant avec
de I'eau. II durcira en une demi-heure et
seche sans se condenser.

Prix — Alabastic, paquet de 1 lb. 15 cents.

paquet de 5 lbs. 50 cents.

Notre Machine a relief avec six modeles
de bouts— price, $3.00. Malle 15c.

Un Melange a Relief

Le Crack Filler Alabastic est un materiel
special qui s'adapte tres bien pour les ou-
vrages en relief et plastiques. Pour me-
langer TAlabastic, pour ce genre d'ouvrage,
prenez de la pate a fleur epaisse et cuite
et rendez-Ia claire pour qu*elle puisse se
transvaser f acilement. Lorsque TAlabastic
est melangee avec cette pate elle passera

36

facilement dans les bouts de la machine a
relief, et donne des formes nettes et claires.
Si la pate est bien epaisse, le melange peut
rester dans une assiette pendant une
journee sans durcir. Un peu de pratique
vous permettra de f aire un bon ouvrage.

Les Amateurs ne reussiront pas peut etre
a donner un bon effet au relief et un beau
dessin sur une large surface. II y a cepen-
dant un champ, ou le Relief Plastique,
employe par le decorateur ou le dessinateur,
peut donner un bon effet a main libre par
Tusage d'une machine a relief, et cela a
tres peu de frais ; pour les dessins et
ouvrages de parures, arriere-plans, etc.

LIST OF PRIx: DES PINCEAUX

Pinceau Alabastine pour mur, 7 po.,

sole noire $6.50 chacun

Pinceau pointillage, 3x8 po 4.00 chacun

Pinceau rond a patron, IVi po. 60 chacun

Pinceau a nauncer 1.40 chacun

\

\
1

37

CATALOGUE No. 16

CANCELLING ALL PREVIOUS LISTS

Prices of Alabastine Stencils and widths
printed under each illustration.

The Alabastine Stencils are intended to
be used with Alabastine only and are sent
direct to users of Alabastine who comply
with our Stencil Premium Offer,

See Premium Label on bottom of every
package.

If the premium labels and postage are
not sent with order, we charge the full list
price.

CATALOGUE No. 16

Cancellant Toutes Nos Anciennes Listes.

Les prix et les largeurs des Patrons d'-
ALABASTINE sont imprimes sur chaque
vignette. Les Patrons d'ALABASTINE

sont supposes etre employer pour I'ALA-
BASTINE seulement, et sont envoyez a
ceux qui en font usage en se conformant
a notre offre de primes pour les Patrons.
A chaque bout des petits et gros paquets
voyez I'etiquette pour les Primes.

Si les etiquettes et les timbres ne sont
pas inclus avec la commande nous vous
chargeons le plein prix de la liste.

38

^di '-"^

Mo loa gQc y ixt:m;R viui:

9 X 25 inches, $1.75 ^Vl "^ ^^S^ *

NSII4-6 INCHES WIDE

fl.25

rUHISH RENAISSANCE-N9 |J7-U IHCifES WIPE (2.50

No.it<J $1.25 II »«cnt"2 MOB

43

t^

7 X H inrhrH

. - 60c

T Mo. 120

-A^ A^. ^^.

Nt).l2r) $1.35 i5iKi:Hns «n>i:

^ ^^ jj(j 130 60c I^INCHES WID

No.l4() 76c 4 IWCHES *fic

44

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N<j.l95 50c

2 INCHES WIDB

No. 199 25*^ |i.\i:h»:k vim:

Mo. 203 € ixcHKS vii)i: ssc

?! No. 204

vf-:^^^ N«.209

N(i.20fl$i.on

11 X 14 inches

75c 5'/z in. wide

i

90c
12x 17 inches

i^''jlkUi<.''A^^I.

Nu.aO si.oo lliNCHOS Vine

45

No.2l4 5M0

I3ix(^ns mui

Nn.2fr>

S1.35

lOlNCHES wtO

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35c 1 in. wide

No.2l7

$1.50

No223

40c

12 INCHES wii
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46

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NO.211 $1.25 IO[NCHGS HIDC

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J2.50 15 INCHES WIDE

N().224 *i-00 7iN(;in:s uidk

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48

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N().234 $1.00

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No.235 Si-25

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No. 239 $1.00 I3i.\{:in:s uini;

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No. 240

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NO.258 $1.50 14 INCHES WIDE

53

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5 inches wide, 55c'

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ALA By^TTNTCO MPANY

I^S^" PARIS ^NT. CANADA^'J^

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WALKER PRESS LIMITED
PARIS, OHT.

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Digitized by:

INTERNATIONAI.

ASSOCIATION FOR
PRESERVATION TECHNOLOGY,
INTERNATIONAL

BUILDING
TECHNOLOGY
HERITAGE
LIBRARY

www.apti.org

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