In 'Practical Carriage and Wagon Painting' by M. C. Hillick, readers are presented with a comprehensive guide on the intricate art of painting carriages and wagons. The book provides detailed instructions on techniques, color combinations, and tools needed to achieve professional results. Written in a clear and concise manner, this manual serves as a valuable resource for artists, historians, and enthusiasts interested in the craftsmanship of carriage painting. Hillick's attention to detail and practical advice make this book a must-have for anyone looking to learn or perfect the art of carriage painting. Set in the context of a time when horse-drawn carriages were a common mode of transportation, this book sheds light on a traditional skill that still holds relevance today. M. C. Hillick, a skilled artisan and expert in the field of carriage painting, brings a wealth of knowledge and experience to 'Practical Carriage and Wagon Painting'. His passion for preserving and sharing this historical craft led him to create a comprehensive guide that has become a classic in the industry. Through his meticulous research and dedication to the subject, Hillick has crafted a book that is not only informative but also a testament to his commitment to the art form. I highly recommend 'Practical Carriage and Wagon Painting' to anyone interested in the history and techniques of carriage painting. Whether you are a novice or an experienced painter, this book offers valuable insights and tips that will enhance your understanding and skills in this specialized field.

Example in this ebook In may of its elementary principles the art of carriage and wagon painting as at present exemplified does not materially differ from the art as it was interpreted in the remote past. Processes and systems have changed and adapted themselves to the swifter modes of life, but not a few of the paint materials, especially those used in the foundation and surfacing coats, remain practically the same as used in former times. The P. W. F.'s, as surfacing agents expected to take the place of white lead and oil and their assistant pigments, tossed merrily upon the topmost wave of favor for a brief period some two decades ago, but the fiat of their decline went forth and at the present time the great majority of carriage and wagon painters still adhere to white lead, raw linseed oil, ochres, and regulation roughstuff pigments for their foundation materials, as did their instructors and predecessors. The abbreviated time allowance accorded the painter for the painting and finishing of a vehicle has made necessary a readjustment of proportions of both liquid and pigment ingredients which, it must be confessed, has operated in a way harmful to the natural durability of the material employed. The painter, however, can in no wise be held responsible for the general lack of durability which is said to distinguish the painting of the present as compared to that of the past. The great inexorable Public is the master, the painter its unwilling but submissive servant. Nevertheless, conditions of permanency and durability are still wrought and achieved in the modern field of carriage and wagon painting, conditions which conform, with a large measure of credit to the art of painting, to the other resultant durable effects obtained along nearly all other lines of industrial activity. Our painting today fails to excel the painting of tradition simply because the exactions of a wonderfully fast age tend directly to promote failure rather than to aid success. The job of painting which withstands fierce and continuous attacks of service for a reasonable length of time must be justly registered durable, regardless of what it would have been termed in the past. Past conditions and circumstances cannot fairly be used as yardsticks to measure what we at present call beautiful and enduring in the art of painting. In the matter of tools, appliances for handling work, colors and varnishes used, carriage and wagon painting, amid the advances made in all the other constructive departments of industry, has enjoyed improvement. Brushes in greater variety, finer in quality, and better adapted to the practical needs of the painter, are in evidence. Colors of a wider range of hues, tints, shades, and incomparably finer as to quality than were obtainable formerly, are now at the disposal of the painter. And the varnishes—surely they have been improved, made more reliable, more uniform in quality, better behaved and more suited to the ever-varying requirements of service. Carnage and wagon painting has become as much of a business as an artistic venture. Commercial conditions have of late years so shaped themselves that the painter, to successfully conduct a painting business, must of necessity study the profound science of business quite as thoroughly as he does the science of building paint structures and developing color effects. He imparts a moral, business, and mechanical force to the community. He now has available sources of education more easily within his reach than at any former time. Paint trade literature, so far as it is represented in magazine form at least, is at hand to render him aid and encouragement. He is rapidly becoming better fitted to meet the expanding limits of competition, to critically analyze both the theory and practice of painting, to become, in short, a greater power for good in the community as well as a studious and original mechanic. To be continue in this ebook

In many of its elementary principles the art of carriage and wagon painting as at present exemplified does not materially differ from the art as it was interpreted in the remote past. Processes and systems have changed and adapted themselves to the swifter modes of life, but not a few of the paint materials, especially those used in the foundation and surfacing coats, remain practically the same as used in former times. The P. W. F.'s, as surfacing agents expected to take the place of white lead and oil and their assistant pigments, tossed merrily upon the topmost wave of favor for a brief period some two decades ago, but the fiat of their decline went forth and at the present time the great majority of carriage and wagon painters still adhere to white lead, raw linseed oil, ochres, and regulation roughstuff pigments for their foundation materials, as did their instructors and predecessors.

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Excerpt from Practical Carriage and Wagon Painting: A Treatise on the Painting of Carriages, Wagons and Sleighs, Embracing Full and Explicit Directions for Executing All Classes of Work Including Painting Factory Work; Lettering, Scrolling, Ornamenting, Varnishing, Etc It has been almost twenty years since a volume on carriage and wagon painting made its appearance in this country, during which time the enterprising carriage painter has been wide awake. He has found many new processes and a multitude of new materials of which the workman of twenty years ago knew nothing; he has raised vehicle painting from a simple mechanical process, which was intended to preserve the surface from decay, to a fine art of the highest order, and fashionable people now take as much pride in having beautiful and stylish equipages as they do in wearing clothing that is up to date, or in securing jewels that are sufficiently brilliant to dazzle all beholders. No one realized more fully than the writer that an up-to-date work on the difficult but noble calling of the carriage and wagon painter was badly needed, so he began to cast about for someone who was fully qualified for the task of writing such a book. He knew that the author of such a work should be a man of extended trade practice and one who could divest himself of high-flown scientific terms and make his language so plain that any workman who cared to do so could easily comprehend the instruction given. A careful survey of the field led to the selection of Mr. M. C. Hillick, whose work for the magazines during the past ten or twelve years has done so much to assist carriage and wagon painters to elevate their calling to its present high standard. Mr. Hillick has long held a high place among the best-known carriage painters in this country, is thoroughly posted on all the various branches of the business, and has the happy faculty of being able to impart his knowledge to others in such a plain, practical way that they cannot fail to understand him. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.