5. Colouring : Colour theory, and the general principles underlying pleasing chromatic effect. The grouping of colours in practice according to these principles, e.g.—

(a) Schemes in colour closely related to a single hue.
(b) Assortments of powerfully contrasting hues.
(c) Combinations in which both these principles operate together. (Such dispositions to be considered complete in themselves.)

6. Brushes, tools, plant, and appliances : The composition of, and the material used in painters' brushes ; the characteristics of a good brush and its preparation for use ; the use of plant and appliances ; precautions in the use and arrangement of simple scaffolding.

7. Materials : Oils and diluents—their properties, distinctive qualities, and uses ; driers or siccatives—their composition, nature, and actions ; pigments—their physical properties and comparative value as painters’ materials ; comparative durability of pigments ; fugitive and permanent colours ; varnishes—their constituents and nature ; pigments which may or may not be mixed with one another.

8. Grounds for Painting : Dampness and its treatment ; faulty woods ; knots, sap, &c., and their correction ; the proper application of paints and the best method of painting various surfaces.

• 9. Painting : Faults in painting and their avoidance; the necessity of various mixings of successive coats for producing glossy, flat, semi-flat, varnish, and enamel finishes ; stippling.

10. Distemper : Washable and other distempers and their limitations ; colours affected by lime ; tempera and water paints ; stencilling and lining ; stippling.

11. Scrimming, taping, strapping, &c. ; pasting.

12. Wall-hangings : Varieties and makes of wall-papers and other hangings, such as textile fabrics, imitation leather papers, Japanese grass-cloth, and relief materials. Selection of papers for walls and ceilings ; setting-out and hanging.

13. Imitative Painting : The artistic use of graining, marbling, and gilding ; colours for, and methods of working graining of different woods ; marbling and graniting.

14. Lettering : Styles and principles governing their application for various uses ; elaboration, emphasis, ornamentation, and punctuation.

15. Decorative Processes : Striping, lining, and outlining ; stencilling, designing, and cutting stencils ; oil gilding, painting in monochrome and in polychrome, glazing and scumbling.

16. Staining Woods : Wood suitable for staining ; preparation and application of stains ; oil and wax polishing ; special treatment of New Zealand timbers before staining or painting, such as totara and matai.

17. Varnishing : Faults in varnishing and their prevention and cure ; flatting and encaustic varnishing ; selection and application of varnish.

18. Burning off : Care of lamps ; precautions against risks of fire from lamps, cleaning down ; preparing and priming.

(2) PRACTICAL EXAMINATION AND SPECIMEN WORK.—The practical work required of a candidate will consist of an obligatory portion on the selection and harmony of colours, and of two other tests to be selected from the subjects enumerated below :

(a) Preparation and plain painting.
(b) Enamelling and varnishing.
(c) Stencil cutting and stencilling.
(d) Plain and ornamental lettering.
(e) Simple decoration in oil or distemper.
(f) Graining and marbling.

The obligatory test or tests are to be specimens of the candidate’s work executed in his own time ; the remaining tests are to be executed under examination conditions.

FINAL EXAMINATION.

The Final Examination will consist of a written examination, a practical test, and specimen work. With his application for entry to the Final Examination every candidate must produce evidence of at least five years’ training in a trade workshop, or in a recognized school teaching painting and decorating, or partly in a workshop and partly in a school.

[A form for this purpose may be had upon application to the Director. Under the latter alternative the periods of training must not run concurrently.]