Part 292

LEMON SHERBET POWDER: See Salts, Effervescent.

LEMONADES, LEMONADE POWDERS, AND LEMONADE DROPS: See Beverages.

LEMONADE POWDER: See Salts, Effervescent.

«LENSES AND THEIR CARE:»

«Unclean Lenses» (see also Cleaning Preparations and Methods).—If in either objective or eyepiece the lenses are not clean, the definition may be seriously impaired or destroyed. Uncleanliness may be due to finger marks upon the front lens of the objective, or upon the eyepiece lenses; dust which in time may settle upon the rear lens of the objective or on the eye lens; a film which forms upon one or the other lens, due occasionally to the fact that glass is hygroscopic, but generally to the exhalation from the interior finish of the mountings, and, in immersion objectives, because the front lens is not properly cleaned; or oil that has leaked on to its rear surface, or air bubbles that have formed in the oil between the cover glass and front lens.

Remedy.—Keep all lenses scrupulously clean. For cleaning, use well-washed linen (an old handkerchief) or Japanese lens paper.

Eyepieces.—To find impurities, revolve the eyepieces during the observation; breathe upon the lenses, and wipe gently with a circular motion and blow off any particles which may adhere.

Dry Objectives.—Clean the front lens as described. To examine the rear and interior lenses use a 2-inch magnifier, looking through the rear. Remove the dust from the rear lens with a camel’s-hair brush.

Oil Immersion Objectives.—Invariably clean the front lens after use with moistened linen or paper, and wipe dry.

In applying oil examine the front of the objective with a magnifier, and if there are any air bubbles, remove them with a pointed quill, or remove the oil entirely and apply a fresh quantity.

LETTERS, TO REMOVE FROM CHINA: See Cleaning Preparations and Methods, under Miscellaneous Methods.

LETTER-HEAD SENSITIZERS: See Photography, under Paper-Sensitizing Processes.

«Lettering»

CEMENTS FOR ATTACHING LETTERS ON GLASS: See Adhesives, under Sign-Letter Cements.

«Gold Lettering.»—This is usually done by first drawing the lettering, then covering with an adhesive mixture, such as size, and finally applying gold bronze powder or real gold leaf. A good method for amateurs to follow in marking letters on glass is to apply first a coat of whiting, mixed simply with water, and then to mark out the letters on this surface, using a pointed stick or the like. After this has been done the letters may easily be painted or gilded on the reverse side of the glass. When done, wash off the whiting from the other side, and the work is complete.

«Bronze Lettering.»—The following is the best method for card work: Write with asphaltum thinned with turpentine until it flows easily, and, when nearly dry, dust bronze powder over the letters. When the letters are perfectly dry tap the card to take off the extra bronze, and it will leave the letters clean and sharp. The letters should be made with a camel’s-hair brush and not with the automatic pen, as oil paints do not work satisfactorily with these pens.

For bronzed letters made with the pen, use black letterine or any water color. {457} If a water color is used add considerable gum arabic. Each letter should be bronzed as it is made, as the water color dries much more quickly than the asphaltum.

Another method is to mix the bronze powder with bronze sizing to about the consistency of the asphaltum. Make the letter with a camel’s-hair brush, using the bronze paint as one would any oil paint.

This method requires much skill, as the gold paint spreads quickly and is apt to flood over the edge of the letter. For use on oilcloth this is the most practical method.

Bronzes may be purchased at any hardware store. They are made in copper, red, green, silver, gold, and copper shades.

«Lettering on Glass.»—White lettering on glass and mirrors produces a rich effect. Dry zinc, chemically pure, should be used. It can be obtained in any first-class paint store and is inexpensive. To every teaspoonful of zinc, 10 drops of mucilage should be added. The two should be worked up into a thick paste, water being gradually added until the mixture is about the consistency of thick cream. The paint should then be applied with a camel’s-hair brush.

Another useful paint for this purpose is Chemnitz white. If this distemper color is obtained in a jar, care should be exercised to keep water standing above the color to prevent drying. By using mucilage as a sizing these colors will adhere to the glass until it is washed off. Both mixtures are equally desirable for lettering on block card-board.

Any distemper color may be employed on glass without in any way injuring it. An attractive combination is—first to letter the sign with Turkey red, and then to outline the letters with a very narrow white stripe. The letter can be rendered still more attractive by shading one side in black.

«Signs on Show Cases.»—Most show cases have mirrors at the back, either in the form of sliding panels or spring doors. Lettering in distemper colors on these mirrors can easily be read through the fronts or tops of cases. If the mirror is on a sliding panel, it will be necessary to detach it from the case in order to letter it. When the mirror is on a spring door the sign can be lettered with less trouble.

By tracing letters in chalk on the outside of the glass, and then painting them on the inside, attractive signs can be produced on all show cases; but painting letters on the inside of a show case glass is more or less difficult, and it is not advisable to attempt it in very shallow cases.

«“Spatter” Work.»—Some lettering which appears very difficult to the uninitiated is, in fact, easily produced. The beautiful effect of lettering and ornamentation in the form of foliage or conventional scrolls in a speckled ground is simple and can be produced with little effort. Pressed leaves and letters or designs cut from newspapers or magazines may be tacked or pasted on cardboard or a mat with flour paste. As little paste as possible should be used—only enough to hold the design in place. When all the designs are in the positions desired, a toothbrush should be dipped in the ink or paint to be employed. A toothpick or other small piece of wood is drawn to and fro over the bristles, which are held toward the sign, the entire surface of which should be spattered or sprinkled with the color. When the color is dry the designs pasted on should be carefully removed and the paste which held them in place should be scraped off. This leaves the letters and other designs clean cut and white against the “spatter” background. The beginner should experiment first with a few simple designs. After he is able to produce attractive work with a few figures or letters he may confidently undertake more elaborate combinations.

«Lettering on Mirrors.»—From a bar of fresh common brown soap cut off a one-inch-wide strip across its end. Cut this into 2 or 3 strips. Take one strip and with a table-knife cut from two opposite sides a wedge-shaped point resembling that of a shading pen, but allow the edge to be fully 1⁠/⁠8 inch thick. Clean the mirror thoroughly and proceed to letter in exactly the same manner as with a shading pen.

«To Fill Engraved Letters on Metal Signs.»—Letters engraved on metal may be filled in with a mixture of asphaltum, brown japan, and lampblack, the mixture being so made as to be a putty-like mass. It should be well pressed down with a spatula. Any of the mass adhering to the plate about the edges of the letters is removed with turpentine, and when the cement is thoroughly dried the plate may be polished.