HERITAGE COLORS - A HISTORICAL PERSPECTIVE
PARA Paints is pleased to introduce authentic 18th & 19th century colors for interior and exterior application. Plain walls have rarely been fashionable. Ever since the cave painters, man has decorated his house. Down through the years, frescoes, paneling, carving and, in particular, paint have embellished his environment.
The New World was no exception. Virtually everything was painted including walls, trim, floors and, in many cases, furniture. Stencil designs, wood graining and ragging were used to highlight walls and painted furniture. A typical habitant's house in Quebec, although modest in size, used color in a positive and dramatic fashion. The exposed ceiling beams were usually painted in yellow and the ceiling above a brilliant blue. This was a direct influence of color used in the church, including trompe l'oeil illusions of blue sky and clouds on ceilings, and walls accented by gold leaf applied to sculpture and furnishings.

PIGMENTS & PAINTS
Early paint types included whitewash, milk and linseed oil vehicles. Whitewash, a mixture of slaked lime and water, was readily available, but did not stand up well to washing. Milk and linseed oil paints produced a more permanent finish and readily mixed with powered pigments. These pigments were largely earth based and included red oxide, yellow ochre, cobalt blue and lamp black. By the mid 18th century, Quebec had developed a full range of pigments in sufficient quantities to supply not only local needs, but also the requirements of the Maritimes and the New England states. It is important to remember the that all paint was hand mixed and, to ensure uniformity of color, a sufficient quantity had to be mixed to complete the project at hand. These early paints tended to be somewhat uneven in color and texture. It was not until the start of the commercial paint industry i the late 19th century that ready-mixed paint was available. From this modest beginning, the type of paint manufactured and range of colors have increased dramatically. And interestingly enough, the faux finishes such as graining, sponging and ragging used extensively 150 years ago, are today enjoying a resurgence in popularity.

PAINTED FURNITURE
Soft woods such as the readily available pine were often used as the substrate for painted furniture. Paint was used to simulate the more expensive imported woods such as walnut and mahogany, and to carry on the ethnic tradition of folk art design.

WOOD GRAINING
To simulate a wood grain effect, the artisan would first apply the ground color and allow that paint to thoroughly dry. This was followed by the graining color(s), using special brushes, combs and even feathers to simulate the desired grain pattern. A coat of varnish was then applied to protect the surface.