Photosensitive Varnish: The floorboards were stripped of old, peeling varnish and lightly sanded. A ready-tinted varnish, that gives the impression of whitewash, was then painted over the boards. In a hallway, a space that sees lots of traffic, it's a good idea to choose a quick drying varnish, so the Floor isn't out of bounds for too long at a time. On the stairs, carpet has been laid, which helps deaden noise when people walk up and down.
In 1967 the Columbia Broadcasting System (CBS) laboratories developed the Linotron, a fast photocomposition system which uses cath¬ode-ray methods. In previous photocomposing systems, images of letters, sometimes on rotat¬ing wheels, were mechanically brought to a focus, one after another, on a plate covered with a photosensitive varnish. In the Linotron, tele¬vision techniques are used to place images of standard letter forms on the surface. The Lino-tron can set up to 1,000 high-quality characters per second, and speeds up to 10,000 characters per second can be attained with characters of typewriter quality. The Linotron has been in¬stalled in the U.S. Government Printing Office in Washington, D.C.See Also Printed In Varnish On Paper:During the 15th and 16th centuries, the wealthy classes in Europe were covering their plaster walls with wood, tapestries, and leather. In the 17th century the walls of the palaces were hung with brocades, velvets, and damasks. Le Francois in 1620 introduced a method of imitating brocaded velvets in paper. Paper made in this fashion was known as flock paper. A Textile pattern was printed in varnish on paper sheets; powdered wool was then scattered over the pattern, and when dry, the result looked re¬markably like velvet. Flock papers were made in England in 1634.
Antiquing of wallpaper. Painters are often called upon to give wall¬paper an antique, mellow effect. This softens the colors and draws them together. If the wallpaper pattern is printed in water color (tempera), the paper should first receive a coat of gelatin size, followed by a coat of shellac. The glaze itself may be in oil or turpentine, and the procedure is the same as antiquing painted surfaces.
Metal leaf. The use of silver and gold leaf surfaces in Decoration has become popular in recent years. These effects are also part of the painter's work. Aluminum leaf is generally used in place of silver, as it is less ex¬pensive and does not tarnish. The application of metal leaf is accomplished by first applying a gold size to the surface to be treated. This is allowed to dry to a thick consistency, and the leaf is then applied to the size and allowed to dry thoroughly. It is best to varnish metal leaf for protection. Metal leaf is usually glazed over the varnish for antique effects.
On The Other Hand See For Varnish Ing:The final finish may be of a type that gives a surface film, such as French polish, varnish, or polyurethane. The latter two are available in gloss, satin, and matte finishes. Varnish stains are also available. These are convenient, since they will color and finish the wood in a single operation.
Do bear in mind that each extra coat of varnish stain will darken the color of the wood and, unless brushed out very evenly, the color will vary with the thickness of the film. When wood is stained with a penetrating dye, the color will not vary - no matter how many coats of clear finish you later apply.
Metal leaf. The use of silver and gold leaf surfaces in Decoration has become popular in recent years. These effects are also part of the painter's work. Aluminum leaf is generally used in place of silver, as it is less expensive and does not tarnish. The application of metal leaf is accomplished by first applying a gold size to the surface to be treated. This is allowed to dry to a thick consistency, and the leaf is then applied to the size and allowed to dry thoroughly. It is best to varnish metal leaf for varnish ing protection. Metal leaf is usually glazed over the varnish for varnish ing antique effects.
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