page 24

The Art of Painting

(By “Painter.“)

There is a sense of satisfaction, a pride in surveying a work which is rounded, full, exact, complete in all its parts, which the superficial man, who leaves his work in a slovenly, slipshod, half-finished condition, can never know. It is this conscientious completeness which turns work into art. The smallest thing, well done, becomes artistic.— William Mathews.

Since the inception of our Magazine, many interesting and instructive articles have appeared in its pages dealing with various aspects of railway work. To the writer's knowledge, however, only once has an article been featured dealing with the subject of painting.

The painter comes upon the scene of operations after other tradesmen have completed their part of a particular job—it is from his hands that the finished product comes—and for this reason his work is of special interest and importance.

It is for the purpose, therefore, of promoting increased interest amongst painters in their work for the Department, and at the same time to make brief reference to some of the principles which govern the art of painting (principles which have to be mastered before a painter can be said to have acquired a satisfactory knowledge of his trade), that this article is written.

Considered from the utilitarian point of view, the first and probably most important fact with which a painter is confronted, and which he must understand thoroughly, relates to the importance of the preservative properties of his paints. Following this there is the decorative principle to be considered. It, too, is very important, governing, as it does, colour schemes of harmony and contrast from the simple effects to the intricate, elaborate and delicate colourings which reach their highest expression in their appeal to the aesthetic sense.

Considerable theoretical knowledge and training on the part of the painter is necessary to understand, properly, these and other aspects of his work. They have much to do with successful workmanship.

He must, for instance, have a knowledge of the various pigments which constitute the base of all paint, from the common earth colours to the modern manufactured and synthetically produced products, each with its peculiar characteristic.

The compositions used are very important factors in determining the life of paint, and these, too, must be understood by the painter. They are varied according to the material used, and the purpose for which the work is required, and range from the slow drying oils to liquids that evaporate almost as fast as applied.

The special characteristics of the materials to which paint is applied must also be considered by the painter. These materials include calico signs, silk, all kinds of wood, minerals, brick, plaster and concrete surfaces.

Then there are to be considered the special atmospheric conditions which prevail at the time any particular painting work is being done. This factor is of great importance, and cannot be left out of account in doing successful work.

But perhaps the greatest difficulty with which a painter has to deal is associated with the identity and application of colour. One has only to turn to the manufacturers colour charts to appreciate the diversity of ideas on this subject. A comparison of one colour chart with another reveals that there is little unanimity of opinion, even amongst the experts, concerning the identity of particular colours.

However, in this connection it is interesting to note that standardisation is being attempted at the present time in England, where the colour chemists and leading paint manufacturers are co-operating to produce a base that will meet with general approval.

Too much importance cannot be attached to the colour aspect of painting. (Indeed, colour plays a very important part in our whole lives. The amount of pleasure or displeasure occasioned—with the corresponding effects on the nerves and feelings of individuals—by the judicious or injudicious use of color is far-reaching. It has much to do with the maintenance of good health and the harmony of life.)

By carefully studying the colour aspect of his work, the painter develops a taste for that which is beautiful in workmanship and in art and life generally, and at the same time he develops a higher sense of the service he renders to the Department and to the community.

page break