These may be always applied with the shellac varnish as a vehicle, and their upper or polishing coats may consist of common seed-lac varnish. ❋ William N. Brown (N/A)
Any of them may be used with good seed-lac varnish, for reasons already given. ❋ William N. Brown (N/A)
The seed-lac varnish is not so injurious to yellow pigments as it is to the tone of some other pigments, because, being tinged a reddish yellow, it does little more than intensify or deepen the tone of the pigment. ❋ William N. Brown (N/A)
Orpiment or King's yellow may be used, and the effect is enhanced by dissolving powdered turmeric root in the methylated spirits from which the upper or polishing coat is made, which methylated spirits must be strained from off the dregs before the seed-lac is added to it to form the varnish. ❋ William N. Brown (N/A)
The seed-lac will give a slight tint to this varnish, but it cannot be omitted where the japanned surface must be hard, though where a softer surface will serve the purpose the proportion of seed-lac may be diminished and a little turpentine oleo-resin added to the gum anime to take off the brittleness. ❋ William N. Brown (N/A)
In this case, that is when no priming coat is previously applied, the best way to prepare the surface is to apply three coats of coarse varnish (1 lb. seed-lac, 1 lb rosin to 1 gallon methylated spirit, dissolve and filter). ❋ William N. Brown (N/A)
The whiter seed-lac varnishes are used in the same manner as the common, except as regards the substances used in polishing, which, where a pure white or the greater clearness or purity of other pigments is in question, should be itself white, while the browner sorts of polishing dust, as being cheaper and doing their business with greater dispatch, may be used in other cases. ❋ William N. Brown (N/A)
Shake the mixture well together and place the flask in a gentle heat till the seed-lac appears to be dissolved, the shaking being in the meantime repeated as often as may be convenient; then pour off all the clear and strain the remainder through a coarse cloth. ❋ William N. Brown (N/A)
This, when judiciously handled, gives such a firmness and hardness to the work that, if it be afterwards further secured with a moderately thick coat of seed-lac varnish, it will be almost as hard and durable as glass. ❋ William N. Brown (N/A)
Take 1-1/2 lb. of seed-lac and wash it well in several waters, then dry it and powder it coarsely and put it with a gallon of methylated spirits into a Bohemian glass flask so that it be not more than two-thirds full. ❋ William N. Brown (N/A)
This mixed varnish should be made from the picked seed-lac as directed in the case of the white japan grounds. ❋ William N. Brown (N/A)
The hardened sap incrusts twigs forming _stick-lac_; when crushed, washed, and freed from the woody matter it is _seed-lac_; when melted and cooled in flakes it is _shell-lac_, the form best known in commerce. ❋ Unknown (1895)
This is best done in a general way with common seed-lac varnish, except on those occasions where other methods have been shown to be more expedient, and the same reasons, which decide as to the propriety of using the different varnishes as regards the colours of the ground, hold equally with those of the painting, for where brightness is a material point and a tinge of yellow would injure it, seed-lac must give way to the whiter resins; but where hardness and tenacity are essential it must be adhered to, and where both are necessary a mixed varnish must be used. ❋ William N. Brown (N/A)
Apply this intimate and homogeneous mixture on the body to be japanned, the surface of which has been suitably prepared either with or without the priming, then varnish it over with five or six coats of the following varnish: Provide any quantity of the best seed-lac and pick out of it all the clearest and whitest grains, take of this seed-lac 1/2 lb. and of gum anime 3/4 lb., pulverize the mixture to a coarse powder and dissolve in a gallon of methylated spirits and strain off the clear varnish. ❋ William N. Brown (N/A)
