Before painting any surface, it must be properly prepared.
New plastered, concrete or plaster surfaces must first be cleaned of dust. After this, unevenness, roughness and other defects are eliminated using pumice or sandpaper. Existing cracks are cut to a depth of a couple of mm. After deepening, the cracks are moistened with water and treated with gypsum mortar, putty or putty. The surface treated in this way is leveled with a trowel.
New wooden surfaces must be cleaned from dirt and dust. After this, they are freed from knots, plugs and tars. Plugs are also removed by cutting 3-5 mm. Cracks and crevices are also cut. If this procedure is not followed, the knots will protrude in the form of tubercles as the wood dries out. The same thing will happen with tars. In addition, the paint will be destroyed by these defects from the inside.
Everyone is needed e preparatory operations for those surfaces that have previously been painted with oil paints depend on how preserved old paint, and what kind of surface it is. If the old coating and plaster hold up well, then it is enough to wash the surface with a 2% soda solution.If there are places where the oil paint has weakened, then it must be partially or completely scraped off. Then, when the old paint covered mwrinkles and cracks, but it cannot be cleaned off, you need to apply a remover to the surface to remove the old paint. After some timeAfter washing (0.5-2 hours), the paint softens and is easy to remove with a spatula. Old paint can also be removed with a blowtorch, a special hairdryer (temperature air flow such hair dryers reach 280-300 degrees), or even an iron, the hot surface of which (to preserve the appearance of the iron) is covered with aluminum foil.
If there is a thick layer of old coating left on the wooden surface, then before repainting it is necessary to wash the surface with a 2% layer of soda and warm water. After washing, it doesn’t hurt to clean the surface with pumice mixed with water. If there are cracks, sagging, peeling, and other surface damage on the previous paint layer, then old paint in damaged areas, it is imperative to remove it down to a solid wooden base. These areas cleared of paint then need to be treated with clean drying oil, as well as smeared with putty and treated with a primer.
Facade finishing elements and metal surfaces must be cleaned of rust, as well as paint that has become unusable. To perform such work, you need to use a spatula, scraper, sandpaper or metal brush. In addition, all surfaces that must be painted must be thoroughly cleaned of dust, dirt, and splashes. plaster mortar and other traces of building materials.
Surfaces for painting with water-based and enamel paints must be prepared in the same way as before painting with oil paints. Water-based paints can be used to paint surfaces that have traces of oil paint and other paints. However, as mentioned before, it is allowed to leave only that layer of paint that adheres firmly to the carrier material.
Before painting with Finnish or Swedish emulsion paints, wood that has just been planed must be cleared of resin. In order to remove tar from wood, you need to wipe its surface a couple of times with an 8-10% soda ash solution. The temperature of the solution should reach 50-60 degrees. After wiping with soda ash, the surface is cleaned (wipe) with warm water.
Those surfaces that were previously painted with lime compounds must be carefully inspected. If there are traces of whitening, they need to be cleaned. A layer of thick old nabel should be moistened generously with water (water temperature - 50-70 degrees). After blotting the layer, you need to clean the paint with a spatula and rinse the surface with water.
If the surface was previously painted with chalk (adhesive) paint, then re-painting this surface with an adhesive composition is prohibited. After all, the new layer of paint will pull back the old one. Consequently, the new layer will peel off along with the old one. Old adhesive paint can be cleaned dry. But you can, again, use hot water (to treat the surface hot water use a brush that is well wetted with large portions of water). After cleaning, remove the old adhesive paint with a scraper or spatula. To completely eliminate stains on the surface, they are also washed away with hot water.
If surfaces were painted with silicate or casein paints, they should be cleaned with 2-3% hydrochloric acid. Under its influence, the chalk reacts. In this condition, the old paint can be easily removed with a spatula or scraper.
SURFACE PRIMER
An important operation in painting work. It is carried out so that the pores that are present on almost any surface (especially wooden surfaces) are closed. In addition, the primer creates more reliable adhesion of the base paint layer to the surface of the material.
The primer is applied in one go. Or make several layers of primer. Apply the primer only to a prepared and dry surface. The primer should be applied with a brush and blended very carefully. The previous layer of soil, when re-priming, puttying or greasing, must dry well.
For enamel or oil paint, the surface must be primed with clean drying oil. However, for convenience, you can add a little paint to the drying oil of the color in which the surface will be painted in the future. Thanks to this, the surface on which unprimed stains remain will become visible. For lime paints, the primer is applied over a damp surface. This improves the adhesion of the paint and also increases its durability. Such surfaces must be treated with a type of primer that is suitable for such paints. For silicate or casein paints, the surface is primed with the same primer, but with a thinner consistency. For water-based paints, the primer is made with a composition that is suitable for water-based paints. However, the surface must be pre-treated with putty and drying oil. If painting is carried out with Finnish or Swedish paints, then a primer is not needed.
In painting work, the next operation (after priming) is priming. Using appropriate lubricants, defects on the surface of the material being painted can be eliminated. The undercoat must strictly correspond to the type of paint that will be used.
The grease is applied with a spatula. The dried grease is ground (cleaned). After that - primer. After greasing and priming, the surface should be leveled. For this purpose putty is used. The putty should also be selected in accordance with the paint used. The putty is applied in an even thin layer using a spatula over the entire surface to be painted. Like the putty, the putty is cleaned off (after it has completely dried). And they prime again.
The paint must be applied to a clean and dry surface. To apply paint you need to use a roller, sprayer or brush. Each subsequent layer can be applied only after the previous layer has dried.
When working with a brush, hold it almost perpendicular to the surface to be painted. The brush should slide easily with just its tip over the surface to be painted. It should move with light pressure. The layer should be thin. Vertical surfaces should be painted from top to bottom (especially in last time). The wooden surface is shaded only along the grain. The surface can be painted in 1-2 layers. If necessary, the number of paint layers is increased to three.
In order to varnish painted surfaces, you need to use oil paints. In addition, such surfaces can be coated with oil varnish. This results in increased surface gloss. In addition, varnish prolongs the life of the paint coating. Before use, the oil varnish is heated. Then mix and apply to warm with a brush onto a well-dried surface that has already been painted with oil paint. The varnish layer should be thin. After the initial coat of varnish has dried, you can, if necessary, apply another coat.
Before painting the windows, glass near the frames must be covered with adhesive tape or strips of paper. If strips of paper are used, they must first be moistened with water and rubbed with soap. Such measures will protect window glass from paint contamination. In addition, for these purposes you can use shields made of plywood, cardboard or tin. The paint should be shaded along the bars of the window frame. In areas of the vestibule, until the paint is completely dry, the windows must be left open.
When painting doors, paint must first be applied horizontally. And then - in vertical. To align the facade ( final stage surface painting), special trimming tools and flute brushes are used.
Without pressing, the tip of the flute should be drawn across the painted surface. Gaps should be carefully shaded. As soon as the flute is saturated with paint, it is carefully wrung out, wiped with a rag, and only then work continues. Flutes can be washed. But before use, the flute must dry thoroughly. After all, when wet, the flute will not even out the paint. The surface after fluting will be smooth and even. There will be no clumps of paint on it and, importantly, no brush marks.
When working with a trim brush, apply gentle blows to the newly painted surface. Thus, a rough texture is obtained. Tortsovk at During operation, wipe with a dry cloth. Like the flute, the crosscut should be washed and dried thoroughly. A wet brush is practically unsuitable for trimming.
Painting works— applying paint compositions to the surfaces of buildings and structures in order to increase their service life, improve sanitary and hygienic conditions in the premises and give them a beautiful appearance.
Every year, the interior decoration of premises becomes more and more elegant, the requirements for architectural expressiveness, interior and exterior design of buildings, and the quality of finishing are increasing. These requirements are met by new effective, economic Decoration Materials- new synthetic drying oils, varnishes and paints, especially water-based and organosilicon.
It would seem that painting a wall is not a difficult task. However, painting requires particularly careful preparation of the wall for repair work: paint will not hide any cracks, irregularities, or any other defects of the wall. In addition, there are many ways to apply paint, depending on which it improves appearance, and the paint lasts longer. The cleanliness of painted surfaces depends on the quality of the operations performed and the sequence of work. In high-quality painting, the smallest grains in the paint are unacceptable. For painting work you need various brushes, rollers, spatulas, and rulers.
When painting, paints of various compositions are used: glue, lime, oil, enamel and others. All paints contain various binders, pigments and auxiliary substances. The ratio of parts in paints is not random, so adding some substance at random, such as a solvent, instead of improving the quality of the painted surface can lead to its decrease.
Typically paint is sold in finished form. If you need to dilute it, you need to add only the necessary amount of solvent, otherwise the paint will run off, especially from vertical surfaces. If the paint in a can is covered with a film, you should under no circumstances stir it, but carefully cut it with a knife as close to the body of the can as possible and remove it. If the film cannot be completely removed, it is advisable to strain the paint. For this purpose, a nylon stocking is usually used, which is used to cover the opening of an empty, clean jar. There is a generally accepted notation system paint and varnish materials, which reflects their properties, purpose, operating conditions, is a kind of compass in the boundless sea of varnishes and paints.
Types of paints
Based on their primary purpose and in relation to the operating conditions of coatings, paint and varnish materials are divided into groups:
Weather-resistant, limited weather-resistant, protective, conservation, water-resistant, special, oil- and petrol-resistant, chemical-resistant, heat-resistant, electrical insulating. The classification also takes into account the type of film former, which for brevity is denoted by two letters.
Varnishes, enamels, primers and putties are produced on the basis of various resins: polycondensation, polymerization, natural, and cellulose ethers.
Paints and varnishes based on polycondensation resins:
alkyd-urethane - (AU), glyphthalic - (GF), organosilicon - (KO), melamine - (ML), urea (urea) - (MP), pentaphthalic - (PF), polyurethane - (UR).
Polyester: unsaturated - (PE), saturated - (SH), phenolic - (PL), phenol-alkyd - (FA), cyclohexane - (CH), epoxy - (EP), epoxyether - (EF), etrifthalic - (ET).
Paints and varnishes based on polymerization resins: rubber - (KCh), oil- and alkyd-styrene - (MS), petroleum-polymer - (NP), perchlorovinyl - (CV), polyacrylate - (AK), polyvinyl acetal - (VL), polyvinyl acetate - (VA ). Based on copolymers: vinyl acetate - (VS), vinyl chloride - (CS), fluoroplastic - (FP).
Paints and varnishes based on natural resins: bitumen - (BT), rosin - (KF), oil - (MA), shellac - (ShL), amber - (YAN).
Paints and varnishes based on cellulose ethers: cellulose acetobutyrate - (AB), cellulose acetate - (AC), cellulose nitrate - (NC), ethylcellulose - (EC).
Marking of paints and paintwork materials
Each paint and varnish material is assigned a name and designation consisting of letters and numbers. The designation of varnishes consists of four, pigmented materials - of five groups of signs.
The first group means the type of paint and varnish material and is written with the word - varnish, paint, varnish, primer, putty.
The second group indicates the type of film-forming substance, denoted by the two letters indicated above - MA, PF, ML, etc. (ML enamel...; PF varnish...).
The third group indicates the preferential operating conditions of the paint and varnish material, indicated by one number from 1 to 9. A hyphen is placed between the second and third groups of characters (enamel ML-1.., varnish PF-2...).
The fourth group is the serial number assigned to the paint and varnish material during its development, denoted by one, two or three digits (ML-1110 enamel, PF-283 varnish). The fifth group (for pigmented materials) indicates the color of the paint and varnish material - enamel, paint, primer, putty - in full (ML-P enamel 1.0 gray-white). When designating the first group of marks for oil paints containing only one pigment, instead of the word “paint” the name of the pigment is indicated, for example “red lead”, “mummy”, “ocher”, etc. (red lead MA-15).
For a number of materials, indices are placed between the first and second groups of signs:
B - without volatile solvent
B - for water-based
VD - for water-dispersed
OD - for organodispersive
P - for powder
The third group of marks for primers and semi-finished varnishes is designated by one zero (primer GF-021), and for putties - by two zeros (putty PF-002). After the hyphen, a single zero is placed before the third group of characters for oil based paints (red lead MA-Q15).
For paints and varnishes produced with mixed film-forming agents, the second group of signs is designated by the film-forming agent, which determines the properties of the material.
In the fourth group of signs for oil paints, instead of a serial number, a number is placed indicating which drying oil the paint was made from: natural drying oil, drying oil "Oxol", glyphthalic drying oil, pentaphthalic drying oil, combined drying oil.
In some cases, to clarify the specific properties of the paint and varnish coating, after the serial number a letter index is placed in the form of one or two capital letters, for example: B - highly viscous; M - matte; N - with filler; PM - semi-matte; PG - reduced flammability, etc.
All the information necessary for the consumer of the paint and varnish material is provided on the label, which contains the full name of the material indicating GOST or TU, its purpose, method of application, precautions, manufacturer, production date and batch number. The label is a very important part of the packaging of paint and varnish material. It is not always true that the jar must be made of lithographed metal. A colorful label made on good paper is not inferior to lithography in artistic and aesthetic terms.
When choosing a paint, first of all you need to proceed from how durable the coating should be during operation, take it into account decorative look and don't forget about the cost.
Types of wall paints
Paints for exterior and interior work vary in resistance to rain, sun and temperature fluctuations. Paints that are intended for outdoor use can also be used for interior decoration premises. The choice of one or another paint depends on what kind of finishing the room needs to be done - simple, improved or high-quality.
Paints based on mineral binders are intended for simple finishing of stone, concrete and plastered walls, for painting swimming pools, wells and fences. They provide loose, breathable coatings that can withstand water, especially cement-based paints, and temperature changes.
Adhesive paints are used to finish plastered, concrete and wooden surfaces, and casein ones are suitable for both external and internal work. Dextrin, starch and bone glue paints can only be used to paint walls and ceilings in enclosed spaces. An important advantage of adhesive paints is their porosity: coatings made from them do not interfere with air exchange; moisture that can form on a damp wall or ceiling easily evaporates through them.
The best are paints and enamels based on synthetic binders or drying oils, which are used for high-quality finishing. There are among them suitable for both external and internal work, as well as those intended only for internal work. They can give matte, glossy and semi-gloss finishes. Some of them form continuous coatings (for example, alkyd), others (for example, water-based coatings) are porous. Paints that form continuous coatings are unsuitable for damp or damp walls, and alkyd paints are also not resistant to alkalis, and therefore cannot be used to paint freshly plastered or concrete walls.
Oil paints are similar in properties to paints based on synthetic binders. They form non-porous coatings that are not resistant to alkalis and moisture.
Painter's tools
Swing brushes. Mainly produced large sizes- d 60 and 65 mm with a hair length of 100 mm. To choose good brush, you need to check it for bending - when bending, the hair should straighten immediately, leaving no visible curvature.
Brushes in the shape of a bunch, requiring special knitting, are called weight brushes, brushes in a cartridge with a handle are called piece brushes. The weight brushes, after being tied with strong twine, are placed on a long pin handle. Any brush must be tied up, because long hair does not blend the paint well and creates a lot of drips. Therefore, professional painters believe that for glue painting, untied hair should be 7-9 cm long, for oil and enamel painting - 5-7 cm.
Whitewash brushes are 200 mm wide, 45-60 mm thick, and hair length is 100 mm. Such brushes are 2.5 times more productive than fly brushes and allow you to obtain cleaner coloring. Sometimes they are used instead of a whitewash brush - a whitewash brush, which is made from half-ridge bristles with 50% horsehair. They are round in shape (diameter 120 and 170 mm, with a bristle length of 94 -100 mm) or rectangular. The handle of the maklovits is attached in the middle of the block or made removable with screws. The work of the mackerel is carried out from a stepladder or from the floor. Paint brushes and whitewash brushes are recommended for use with glue and casein paints. Painting done with whitewash brushes or paint brushes does not require fluting.
Handbrake Have small size and are placed on a short wooden handle. They are made from pure bristles, as well as with the addition of horsehair. Handbrake handles are available in d - 26, 30, 35, 40, 45, 50, 54 mm. The handbrake is tied with twine, which, as the hand wears out, is moved, increasing the length of the hair. The length of the remaining hair should be no more than 30-40 mm. Handbrake paints are used for painting small surfaces with glue and oil paints. Handles made of soft bristles fixed in metal rings are suitable for any work. If the bristles are fixed with glue, then the brushes should not be used for painting with adhesive and lime-based paint compositions.
Flutes are flat brushes with a width of 25, 60, 62, 76 and 100 mm, made of high-quality bristles or badger hair, fixed in a metal frame, which is put on a short wooden handle. Flutes are used mainly to smooth out freshly applied paint, that is, to eliminate marks from a hand brush or handbrake. Flutes can also be used for coloring.
The trimmers are rectangular in shape and made of hard bristles. Their main purpose is to treat a freshly painted surface. The trimmer is applied evenly, smoothing out uneven paint. As a rule, glue and oil paints are used for finishing. File brushes are available in diameters from 6 to 18 mm and are made of white, stiff bristles mounted in a metal cartridge frame. The cartridges are mounted on wooden handles various lengths. These brushes are designed for drawing out narrow strips, called panels, or for painting hard-to-reach places where the handbrake does not fit. For painting radiators, special radiator brushes with a handle curved at the base are produced.
In many respects, rollers are much more convenient and more productive than brushes. Especially when painting large areas. In addition, rollers can not only be used for painting, but also for priming. Depending on the work performed, rollers of various sizes are used: with a diameter from 4 to 7 cm, a length from 10 to 25 cm. Fur, foam and velor rollers are most often used. When preparing for work, the fur roller needs to be immersed in water for some time - this will reduce the hardness of the hair covering. However, it should be remembered that it is not recommended to use a fur roller when working with lime paints - lime destroys fur very quickly. At the end of the work, be sure to wash the rollers in warm water and soap, completely removing the paint.
Painting technology
When performing painting work, you need to have various auxiliary materials on hand: gypsum for sealing cracks and correcting surface defects, a solution for repairing plaster or fluting stains and deposits on the surface of chimney masonry, degreasers, adhesive tape for covering areas that cannot be painted, etc. Single-layer painting does not provide sufficient protection for the base, so you need to successively apply several layers of paint, each of which performs its own functions. The bottom layer serves to adhere the multilayer coating to the base. The covering layer, which completes the paint coating, protects the lower layers from external influences and performs decorative functions. If oil paint is applied in one layer, the surface will become wrinkled and cracks will appear over time.
The number of layers depends on the type of paint, the required quality of coating and the type of base. Adhesive paint is applied in two layers, water-based paint in three, and some glossy polishes in six or more layers. Each subsequent layer should contain more pigment and less binder. For example, the emulsion from the primer is heavily diluted with water, but for the coating layer it is not diluted at all.
Before you start painting, you need to prepare the base. The surface to be painted must be cleaned of dirt, rust, grease stains and, in addition, dried (this especially applies to wooden surfaces). If water remains in the pores of the wood, the paint will not penetrate there. It will remain on the surface and then fall off. If the wood is dry on the surface but wet inside, when heated under the sun's rays and other influences, water vapor will put pressure on the paint coating from below and tear it apart. To obtain a high-quality paint coating, you do not need to paint at low or too high temperatures, as well as in the sun, draft, fog and light rain. During painting work, the temperature should not be lower than 5 C.
When painting, hold the brush with a slight inclination to the surface. It is immersed in paint, dipping not completely, but only a quarter of the length of the hair; excess paint from the brush is removed on the edge of the jar. First, paint is applied to the edges, corners and hard to reach places and only then on smooth surfaces. When painting overhead surfaces, paint often drips onto the brush handle. To prevent this from happening, you can take an old rubber ball, cut it in half and insert a brush handle into one of the halves. To prevent the ball from jumping off the handle, an elastic band is secured underneath it. If there is no ball, put a glassine circle with a diameter of 5-7 cm on the handle.
When cleaning a ceiling, if it has not been previously painted, first remove the old paint. A small stain can be washed off with hot water using a brush and a rag, but a thick one must be cleaned dry with a scraper. You can pre-moisten it with hot water using a brush and after 40 minutes remove it with a scraper or spatula.
The scraper or spatula is placed at an angle to the surface and, pressing lightly on the tool, removes the layer of whitewash with sliding movements forward. In the same way, splashes of solution, paint layers and other contaminants are removed. Cracks in the ceiling and walls must first be widened and then lubricated with the appropriate composition. The grouting is done with a spatula, sealing not only the embroidered cracks, but also the cavities and depressions that are on the surface. After drying, the greased areas are sanded and primed.
Paint application methods
Although recently applying paint with a roller or using paint sprayers has become increasingly common, at home they still use a brush. You need to prepare the brush - rinse it between your fingers and blow it out. For painting you can use flat and round brushes. The size of round brushes is selected depending on the nature of the surface or object being painted, as well as the thickness of the paint and varnish materials. In a new round brush, you need to shorten the length of the hair by tying it, otherwise it will splatter the paint.
The length of free hair is approximately 30-40 cm. The paint is applied evenly, first with movements in one direction, and then perpendicular to it, blending well until the entire surface is evenly painted. The last movements of the brush on horizontal surfaces are performed along their long sides, on vertical ones from top to bottom, and if wooden surfaces are painted, then in the direction of the annual layers of wood. If the paint is on drying oil, smooth out the last layer with light brush movements in a perpendicular direction. For smoothing, it is best to use a hair brush.
Large areas when painting need to be divided into several small ones, limited by seams or strips. This takes into account the type of paint material. Door leaf With drying oil paint you can paint everything at once. If you are painting a room with oil enamel, it is better to apply the paint to smaller surfaces.
When painting vertical surfaces, the paint must be thoroughly shaded so that it does not run off or form streaks. The paint runs off some time after it is applied, so you don’t need to take too much liquid paint or apply it in a thick layer. If you are painting a complex relief surface with various recesses, you need to remember that you cannot apply too much paint in them, because it will drain, wrinkle the surface and dry poorly.
To obtain a smooth edge of the surface to be painted, you can use self-adhesive tape, glued to a line previously marked using a cord or plumb line. To wet the rollers with paint, you will need a flat metal box with longitudinal walls in the shape of a trapezoid. A sieve with cells measuring 10-20 mm is installed in the box, along which a roller soaked in paint is passed to eliminate excess and evenly distribute the paint along the entire perimeter of the roller.
The work is done this way. 3-4 strips of paint are applied to a surface of about 1 m2, after which these strips are rolled with a roller with wrung-out paint in a horizontal direction (with a slight inclination of the roller) until the paint is evenly distributed on the surface. If it is necessary to limit the area to be painted, its edges are covered with thick paper or sealed with adhesive tape.
The spray paint method has several advantages, especially when painting large, uniform, non-overlapping surfaces. Paint and varnish materials of all types are applied in this way quickly and evenly.
This method is also convenient for painting hard-to-reach surfaces, for example the inside of central heating radiators. During the spraying process, tiny particles of paint fall on the surface to be painted, connect with one another and form a uniform layer. When applying paint in this way, you need to cover all surrounding surfaces that are not to be painted, so as not to waste time and effort cleaning them later. Adhesive tapes that can be used to secure paper or film are suitable for this purpose. To obtain a smooth edge of the surface to be painted, you can use self-adhesive tape, glued to a line previously marked using a cord or plumb line. As soon as the liquid level drops, the container must be filled, otherwise, after sucking in air, the paint sprayer will eject an uncontrollable amount of paint.
When processed with a sponge, a soft spotted pattern is created. Moreover, the light tone of the lower layer (background) will look like veins of an indeterminate shape. The paint should not be pure white, it should be slightly tinted, which will give a more sophisticated effect. If you need to get a more contrasting solution, you need to apply a dark pattern over matte emulsion paint - you will get an original shimmering pattern. Applying paint with a sponge can lighten or, conversely, darken the overall tone. For the background and foreground, you need to choose harmoniously combined shades of a single color scheme or additional colors of equal intensity.
Densely applied, without significant gaps, the pattern gives the impression of an intensely colored surface. In turn, the color and tone of the main background can affect the intensity of the pattern applied on top of it. Sponging is suitable for almost any surface, but it is most effective on large surfaces, such as walls. Interestingly, this method is indispensable for disguising not very attractive objects, such as radiators.
For both the base layer and the decorative layer applied over it, undiluted emulsion paint is used for walls, and butcher paint is used for wooden parts and metal parts. For such work, they use natural sea sponge, the structure of which has the largest number of voids. If the pattern obtained on the wall repeats and becomes regular, you need to tear the sponge and continue working with its inner, most uneven surface.
To apply a pattern with a sponge, paint of a darker tone, intended for applying a pattern with a sponge, needs to be placed in a tray and stirred thoroughly. You will first need to soften the sponge - soak it in water if you are going to paint with an emulsion, and if using oil paint - in white spirit. Wring out the sponge, then dip it in the paint and press it against the grooved inclined compartment of the tray so that the paint saturates the entire sponge.
After this, it is necessary to remove excess paint from the sponge using light, jerky touches of a sheet of paper: if the sponge is oversaturated, the drawing may end up with blots or even blur.
Movements need to start from top to bottom. Work with light, jerky touches, do not rotate or press the sponge too hard. The position of the hand with the sponge must be changed in such a way as to avoid a regular, repeating pattern. When the sponge becomes drier, you can work in the corners and along the baseboard, here you involuntarily have to press it, and the danger of squeezing out excess paint is real.
First, the surface must be treated with a sparse pattern that does not completely cover the lower, main tone and left to dry. Rinse the sponge, and then apply a second layer, overlapping the first so that they merge into the overall pattern. When the second layer has dried, you need to touch up individual spots that stand out with a light color. You can use a background color or “ivory”, which will soften the overall pattern.
To touch-up walls, you need to prepare a glaze by mixing 70% varnish, 20% oil paint and 10% white spirit, and then apply the composition along the base tone in a strip 500 mm wide from top to bottom. While the glaze has not dried, you need to apply a dotted stroke over it with a brush with a quick and confident movement. Then continue processing until the entire surface is covered with a stroke. To hide the joints, it is necessary to overlap the adjacent strip. If the surface treated in this way needs to be washed in the future, a layer of matte polyurethane varnish should be applied on top of it.
A touch of color produces a more elegant design than sponging. It is usually done over uncured glaze or varnish and creates a spectacular surface dotted with dots through which the background shines through. The tone and color for the line drawing are chosen according to the same principle as when processing with a sponge. Let the background have a lighter shade, so that a haze of color is formed, and for the stroke more dark tone: It will bring out the pattern better. The reverse combination is also possible.
Line art can be applied to any surface, but it looks especially impressive on walls. small rooms, on doors and on furniture. For shading, it is better to use undiluted emulsion or oil paint (according to the surface material). To apply strokes to uncured glaze, you can only use oil paint. Special brushes designed for this work are made of badger hair, but almost any flat brush(even a new shoe) can be used, provided that the bristles on it are the same length.
Technology for applying line art: pour a small amount of paint of the lightest color into a tray or flat dish (with a layer of at least 3 mm), dip a dry brush into the paint, only lightly touching the surface with it so that the bristles do not absorb too much of it. Treatment should begin from top to bottom, making jerky movements with the brush and changing the angle of its position on the plane of the wall. To enhance the design, you need to apply another layer (using light pressure with the brush) to achieve greater contrast. If blots appear, they should be covered with a shade of the base primer. At the end of the work, you need to fill the corners, the surface around the platbands and near the baseboard with an almost dry brush, using the color of the first layer of knurling.
Processing with fabric
Peeling off the paint or rolling out with a rope produces a softer and more indefinite pattern, but these methods require more skill. Prints that look like folded petals are made by applying or, conversely, removing paint using a piece of fabric.
All of these methods are carried out using fresh glaze solution. As with previous processing methods, the pattern is applied from top to bottom in vertical stripes 500 mm wide. First you need to soak a piece of fabric in white spirit, wring it out and crumple it in your hand or twist it into a rope (into a roller). Then lightly dip the fabric into the glaze.
To apply a design with a roller, you need to hold it with both hands and roll it from top to bottom, both in a straight line and in irregular, random directions. In this case, you can get a vague, confusing pattern. The flap needs to be shaken off often and crumpled in your hand again or changed (the flap) as soon as it becomes too oversaturated with paint. The joints between individual strips must be masked especially carefully.
To apply paint using a crumpled piece of fabric, use emulsion or oil paint (according to the surface material). For the roller rolling or paint removal method, only oil paint should be used, both for the bottom, main layer, and for rolling. The color for the roll will be the main tone, so you need to choose it darker than the background. Fabric method, in addition to decorating walls or individual elements furniture, good in cases where you need to match the color of built-in equipment to the color of the walls. You can use any fabric - from muslin or gauze to suede - as long as it is non-fibrous and takes the dye well.
Technology of applying a pattern using fabric.
A little paint needs to be poured into a tray with a flat bottom. When dipped into the emulsion, a dry cloth produces a clear, hard pattern. If you wet it a little, you will get softer prints. If using oil paint, you need to soak a rag in white spirit and then wring it out thoroughly. Before use, crumple the fabric in your hand, then dip the rag into the paint and lightly squeeze it onto a sheet of paper to remove excess. Apply strokes from top to bottom or along the cornice free movements, similar to working with a sponge. The rag must be shaken off and re-squeezed in your hand frequently to avoid a repeating pattern. As soon as the pattern becomes less clear, the rag needs to be replaced with a fresh one.
At the end of the work, be sure to correct insufficiently filled areas of the surface. In some cases, a second layer of color may be applied, but usually this is not required; as a rule, the expected effect is achieved the first time.
Depending on the type of painting work and the composition of the paint used for painting, you may need various brushes, rollers, spatulas, and rulers. Brushes good quality Made from pure bristles. They absorb a large amount of paint composition and hold it inside so that the paint does not flow off. Cheap, but less practical and durable are brushes made from bristles with the addition of about 50% hard horsehair.
The largest in size (the tuft of hair reaches a length of 180 mm, diameter - 60-65 mm) fly brushes, having round section and a long handle (1.8-2 m). They are sold ready-made (a tuft of hair is secured in a metal ring) or in the form of a tuft of hair that requires knitting. In any case, you need to check the length of the brush hair in order to tie it up if necessary. After bending the brush, the hairs should immediately straighten, taking their previous shape. Swing brushes are convenient for painting large surfaces, such as ceilings and walls.
Vitaly Lvova
Composition of technological operations
Construction standards establish three types of paints according to quality: simple, improved and high-quality and a list of technological operations that must be performed in order for the corresponding paint to meet the sanitary, technical or aesthetic requirements imposed on it.
The use of foreign-made paint and varnish materials, characterized by high technological and performance qualities, does not contradict the technology adopted by us regarding the given composition of operations in their technological sequence, but provides a real opportunity to significantly improve the quality of painting work and reduce the time it takes to complete it. To do this, it is necessary to study the composition of technological operations and select the necessary materials according to their purpose and properties, using the information contained in this reference book and the manufacturers’ instructions.
Table 1. Technological operations performed when preparing and painting indoor surfaces with oil, enamel and synthetic paints
|
Color type |
||||||||
|
Technological operations |
improved and high high quality |
improved and high high quality |
improved and high high quality |
|||||
|
woodworking |
for plaster and concrete |
for metal |
||||||
|
1. Cleaning | ||||||||
|
2. Surface smoothing | ||||||||
|
3. Cutting out knots and tars with filling of cracks | ||||||||
|
4. Repairing cracks | ||||||||
|
5. Primer (primer) | ||||||||
|
6. Partial lubrication polishing the greased | ||||||||
|
7. Primer of greased areas | ||||||||
|
8. Solid putty | ||||||||
|
9. Sanding | ||||||||
|
10. Primer | ||||||||
|
11. Fluting | ||||||||
|
12. Sanding | ||||||||
|
13. First coloring | ||||||||
|
14. Fluting | ||||||||
|
15. Sanding | ||||||||
|
16. Second coloring | ||||||||
|
17.Flying or trimming | ||||||||
Table 2. Technological operations performed during the preparation and painting of external surfaces
|
Technological operations |
Paint compositions |
|||||
|
silicate |
lime- high and cement |
emulsion synthetic |
perchlor-vinyl |
oil and enamel |
cement and viscous cement |
|
|
1. Cleaning | ||||||
|
2. Joining | ||||||
|
3. Grease | ||||||
|
4. Sanding | ||||||
|
5. Putty | ||||||
|
6. Sanding | ||||||
|
7. Wetting | ||||||
|
8. Primer | ||||||
|
9. First coloring | ||||||
|
10. Second coloring | ||||||
Note: 1. When painting high-quality surfaces, add solid putty followed by sanding.
2. The “+” sign indicates processes whose execution is mandatory.
Surface preparation and treatment technology
1. Cleaning
Cleaning - removing dust, splashes and drips of solution from the surface with metal spatulas, scrapers, steel brushes, rags or mechanized methods. These operations also include drying individual damp places, removing grease stains, efflorescence, rust, and scale.
To remove oily stains, surfaces are washed with a 5% solution of trisodium phosphate (washing powder) or soda ash, diluting them in water at a temperature of 30-40 ° C. After 0.5-1 hour, the surface is neutralized with a 5% solution of hydrochloric acid.
If resinous substances appear on the plastered surface, the plaster is replaced completely.
Oil stains are removed with burnt magnesia paste mixed with gasoline, toluene or benzene.
Oil stains are removed with a paste consisting of two parts fluff lime and one part pumice powder (by weight).
Non-drying oil stains are removed using oily clay applied to the stain in a layer of 3-4 mm. After drying, the clay is cleaned off and the surface is washed.
Efflorescence is removed with metal brushes, the surface is washed with a weak solution of hydrochloric acid (5%), followed by rinsing clean water and drying.
When repairing and restoring surfaces previously painted with chalk, adhesive, and casein compounds, they are first moistened with water and scraped off; The covering layer of plaster is ground again with lime mortar on fine sand and, after drying, primed with the composition recommended for new painting.
If the plaster is heavily damaged or dirty, it is advisable to replace it completely.
When repairing and restoring surfaces previously painted with oil, synthetic or enamel compounds, the remaining layers should be removed. If the old paint holds firmly, it is not scraped off, but cleaned with sandpaper. Contaminated surfaces are washed with warm soapy water, and in case of significant contamination - with solvents (turpentine, kerosene, white spirit, gasoline). Oil paint is removed and chemically using pastes that soften the old paint layer, which is then easily scraped off.
Paste composition:
Lime dough - 0.5 kg, sifted chalk - 0.5 kg, caustic soda (20% solution);
Sifted chalk - 0.5 kg, asbestos dust - 0.5 kg, caustic soda (20% solution).
The softened layer is scraped off with scrapers or spatulas, then washed with a 2% solution of acetic acid, then with clean water, wiped with a rag and dried.
2. Smoothing the surface.
The end of a tree, a piece of flake stone (hard rock sand stone) or sand-lime brick is used to remove roughness and clear mortar splashes when preparing new plastered surfaces.
3. Cutting out knots and tars with filling of cracks.
Cutting is done using carpentry tools. The cracks are repaired with a metal spatula.
4. Joining (cutting) cracks.
The jointing is done with a knife or steel spatula to a depth of at least 2 mm for filling with putty. After smoothing and filling the cracks, the surface is thoroughly dust-free.
5. Primer (primer).
The cleaned and dust-free surface is primed to level and reduce its porosity, strengthen the surface layer of the base, improve adhesion to subsequent layers (putty, paint) and reduce the overall paint consumption. To perform these functions, the primer must penetrate deep into the pores of the substrate and therefore must be thinner and more flexible than the paint that will be used in subsequent paint layers. The primer composition is selected in accordance with the binder of the coloring composition; most often a diluted coloring composition is used. Typically, manufacturers producing paint compositions also recommend appropriate primers for them.
6. Partial lubrication with grinding of greased areas.
Embroidered and primed cracks, potholes, and irregularities are filled with putties, and more often with putties using metal or rubber spatulas.
First, fill the cracks with transverse movements of the spatula, then the applied layer is leveled with movements of the spatula along the cracks, achieving a flat and smooth surface.
After the putty has dried, it is sanded.
7. Priming the greased areas.
The sanded areas are dusted off and primed with the same primer that was used to prime the entire surface.
8. Solid putty.
It is produced with improved and high-quality painting of surfaces to level out roughness and unevenness on plastered, wooden, concrete and other surfaces. Apply with spatulas with metal, plastic or rubber blades. depending on the nature of the surface and the degree of preparation of the base.
If the unevenness cannot be eliminated with one continuous putty, continuous putty is repeated (after sanding).
9. Sanding solid putty.
It is carried out after the putty layer has completely dried and hardened using devices in which sanding paper is attached. Dust formed after sanding is removed by sweeping and using vacuum cleaners.
10. Priming the surface after solid putty.
The putty layer must be primed, since it, like the base, is quite porous.
11. Surface fluting.
Flattening of a surface primed with a brush is carried out immediately after applying the primer to small area until the primer is absorbed into the putty layer. It is done with a flat brush with long and soft hair (fleet brush) to remove marks from a hard handbrake or fly brush. Flatting is not performed when applying the primer using rollers or spray guns.
12. Sanding the entire primed surface after it has dried.
It is done with fine sandpaper to remove individual protruding irregularities from random inclusions caught in the primer, dust particles, etc. and creating some surface roughness for better adhesion to the subsequent paint layer.
13. First coloring.
It is carried out after completion of the entire complex of technological operations for preparing and treating the surface for painting.
14. Fluting (see paragraph 11).
15. Grinding (see point 12).
16. Second coloring.
Completes the application of preparatory and painting layers. If all previous operations were performed efficiently, then after the first painting the surface looks so good that there is no need for a second painting, which, however, is required by the standards.
17. Fluting or facing.
The performance of these operations is purely decorative. Trimming is done with a trimming brush, the hair of which is fixed in the handle not along its axis, like all other brushes, but perpendicularly. By striking such a brush with the ends of the hair on a completely painted surface, its uniform roughness is achieved and a silky matte effect is achieved. Fluting enhances the shine of oil-resin paints to a mirror finish. Fluting is only possible when using paints with a sufficiently long drying time, comparable to oil paints and the like. Flattening and trimming are not done when using quick-drying paints and paints that give a matte texture when dried.
This is done to increase their service life and create an attractive appearance, as well as, and last but not least, to improve sanitary conditions in the room. For example, in various government institutions, schools or hospitals, painting work is required annually.
Painting work is carried out using modern paints or their mixtures of different compositions and colors, mainly in oil, but sometimes in water based. When using aqueous compositions, there is a need for binding materials such as lime, glass, glue or cement, while for non-aqueous compositions you will need drying oil different types either synthetic or natural resins.
Painting work is carried out using oil, lime, enamel and glue paints, as well as various varnishes. The vast majority of paint and varnish products can be purchased in specialized stores, and some compositions can be prepared at home.
During painting work, you will need solvents such as white spirit (white alcohol) or acetone, paint thinners, as well as additional mixtures - primer, lubricating paste, putty.
Despite the apparent simplicity of painting and preparing paints, the technique of painting objects and applying coatings to them developed and specialized slowly, over a long period of time. Simultaneously with the economic ramifications of the industry, the dyeing technique also became more complex and changed depending on the purpose for which it was intended. For example, fine glaze, rough plaster and transparent varnish paint - they are all technically far from each other.
This variety of colors occurs because in various cases dyeing practices have special requirements. Thus, the coloring of the facade of a house must withstand completely different influences than the same coloring of the interior of the same house.
Further, the difference in requirements also depends on whether the paint will subsequently have to be washed or whether it will not be subjected to any mechanical cleaning. Is the object being painted in a dry or damp room and what type of dampness is it? Does it precipitate from warmer air or does it directly evaporate? In addition, whether this dampness has neutral properties or acts chemically, dissolving, corroding, or washing away the color, or depositing foreign substances on it. Likewise, when painting, it must be taken into account whether the painting will be in the form of a porous mass or whether it is necessary to make a coating impermeable to water and gases. Should the paint be matte or glossy? Finally, the requirements for painting are very dependent on many secondary issues: whether the painting must withstand temperatures above or below normal, be fire-resistant and to what extent.
These are in general outline the most common requirements for various types of paints. They relate only to the coloring technique itself and have almost nothing to do with the aesthetic side. In the latter respect it can also be set whole line requirements like practical choice colors that are important not only for interior decoration, building facades, car painting, etc.
The different requirements for paints also entail a variety of types of paints and the materials from which they are made.
Painting art in its works either imitates nature or creates contrasts with it. Nature is generally not familiar with monotony and homogeneity; by reproducing them, painting art reproduces contrasts. It's very an important condition is the softness of tone, graceful transitions of tones, which determines the pleasant impression made on the viewer.
All colors found in nature can be reduced to three basic ones: red, yellow and blue, however, not all colors can be obtained from them, since the paints we have are not ideally pure in economic and optical terms. So, for example, the beautiful color of carmine cannot be achieved by mixing cinnabar with azure. A pure dark blue color can never be obtained from blue and black.
Let us assume that we have a circle divided into three equal parts, one of which is colored red, the other yellow and the third blue.
Each of these parts can be divided into two, so by mixing yellow with blue you get green; red and blue - purple, red and yellow - orange.
All these colors, in turn, can each be divided into two: the violet color can be red-violet if red predominates in it, and blue-violet if blue predominates.
The colors (tones) reproduced in this way will show us additional colors that will be located opposite each other along the diameter.
If we look at a small red rectangle on a white background, it will seem to us that it has greenish contours; if you take a yellow quadrangle, the outline will appear bluish; green gives pale red outlines; blue - red-yellow and black - white outlines. Then, if after a long and intent gaze you quickly turn your eyes to White background, then we will see a quadrangle of the color with which its contours seemed to be painted.
Therefore, instead of a red quadrilateral we will see a green one; instead of yellow - blue, etc.
Such colors are called complementary; Thus, two colors, complementary to each other, placed side by side, mutually cancel out the colored rays with which each of them was individually surrounded, and therefore stand out more sharply. If the colors are not the same in brightness, then the dark one will seem even darker, and the light one will appear even lighter. Changes in touching colors depend on the play of complementary colors with touching ones.
Let's explain this with examples.
Red and blue. The complementary color of red is green, and therefore blue becomes darker when adjacent to red; red becomes yellowish, because the complementary color of blue is orange.
Red and yellow. Red, with its complementary green color, turns yellow into yellow-green; yellow, with its additional violet color, turns red into violet.
Yellow and blue. The complementary color of yellow, violet turns bright blue into indigo; the additional blue - orange - turns yellow into orange-yellow, etc.
All primary colors benefit when touched with white, because their complementary colors mix with white, making the colors bright and shiny. However, on a white background, light colors, such as light blue, pink, etc., make a more pleasant impression, because the primary colors blue, red and others form a sharp contrast with white.
A black background is equally suitable for dark and light bright colors. The colors on it appear very beautifully: red, rose-red, orange, yellow, light green and blue; The violet color appears less beautifully on black.
Due to its combination with dark colors, such as blue and violet, whose complementary colors are orange and yellow-green, black loses its power.
On various backgrounds this color receives the following changes: on a red background it appears dark green; on yellow - pale purple; on orange - blue-black; on green - reddish-gray and on purple - yellow-green-gray.
The gray background can be modified as follows: under the influence of red it becomes greenish; under the influence of yellow - blue-not-violet; under the influence of orange - bluish, green - reddish and blue - orange.
All these observations prove that the impression produced by colors is the result of mixing one of them with a complementary color of the latter. Thus, knowing the impression produced by this complementary color, one can combine colors and determine in advance the impression that will occur with such a combination.
Painting technology
Surface preparation
Before you begin painting any surface, it should be properly prepared.
Plaster, concrete or pre-plastered walls are first cleaned of dust. Then the surface is leveled using sandpaper or pumice, various defects and roughness are eliminated. If there are cracks, they need to be deepened a few millimeters. The deep crack is moistened with water and then treated with putty or gypsum mortar. The resulting surface is leveled using a grater.
The wooden surface must be cleaned of dirt, and corks, knots and tar must be removed. The plugs are removed by cutting 3-5 mm. You also need to clean out the cracks and cracks. If you neglect this recommendation, when the wood dries out, the knots will appear on the surface in the form of tubercles. The situation is similar with tars. Moreover, due to these defects, the paint will deteriorate from the inside.
The list of preparatory operations for a surface that has already been painted depends on its condition and type, as well as the preservation of the paint.
If the original coating and plaster adhere well, it is enough to wash the surface with a 2% soda solution. In places where the oil paint has weakened, it must be scraped off. If the old paint is cracked and cannot be removed, the surface should be treated with a special remover that will help remove the paint. After a certain time after applying the remover (from half an hour to 2 hours), the paint softens and can be easily removed with a spatula. A layer of old paint can also be removed using blowtorch, a special hair dryer, and also using an iron, having previously protected its sole with aluminum foil so as not to spoil it.
The wooden surface on which a layer of the previous coating remains must be washed with a 2% soda solution and warm water before painting again. After this, it is recommended to clean the surface using pumice mixed with water. If there are lags, cracks, peeling and other damage on the original paint layer, the old paint must be removed right down to the wooden base. The areas that have been cleared of paint must be treated with drying oil, putty and primer.
Metal surfaces and facade finishing should be cleaned of rust and paint that has lost its attractive appearance. To do this job you will need a scraper, spatula, wire brush or sandpaper. In addition, the surface to be painted must be cleaned of dirt, traces of plaster mortar and other remnants of construction work.
Surfaces intended for painting with enamel or water-based paint, are prepared in the same way as before working with oil paint.
A surface that has traces of previous paint, such as oil paint, can be coated with water-based paint. In this case, it is necessary to leave a layer of only that paint that adheres well to the original material.
Before you start painting wood with emulsion paint made in Sweden or Finland, you must first clean the surface of resin. To do this, the wood should be wiped several times with a 10% soda ash solution, the temperature of which should not exceed 50-60 °C. Then the surface must be rinsed with warm water.
If a lime composition has been applied to the surface, it is necessary to carefully inspect it and, if necessary, remove traces of whitewash. A dense layer of old whitewash is generously moistened with water at a temperature of up to 70 ° C, and when it gets wet, the paint is removed with a spatula and the surface is washed with water.
If the surface has been finished with adhesive or chalk paint, it is not recommended to reapply the adhesive composition to it. This is because fresh paint will pull off the existing layer and as a result, both the old and new layers will peel off.
You can clean the surface of a layer of old paint “dry”, but it is also possible to use hot water. In the latter case, it is better to use a brush that will be well wetted. Next, the old adhesive paint is removed with a spatula or scraper.
To prepare the surface for coating with casein or silicate paint a 2-3% solution of hydrochloric acid is used. By interacting with chalk, hydrochloric acid allows you to easily remove old paint with a scraper or spatula.
Surface priming
One of the most important stages of painting work is priming the surface. It is carried out in order to close the pores, which, as a rule, are present on the surface of any material, especially wood.
The primer also provides a stronger adhesion of the paint to the base.
Typically, priming is carried out once, sometimes in several layers. Make sure the surface is dry before applying. The primer is applied with a brush and then thoroughly shaded.
Before you begin applying the next layer of primer or putty, you must make sure that the primer layer has dried thoroughly.
To prime the surface for enamel or oil paint, use pure drying oil. For convenience, namely so that you can see unprimed areas, you can add a little paint to it, which will then be used to paint the surface.
Priming for lime paints is carried out on a damp surface, which increases the adhesion of the paint to the base and increases the durability of the coating.
To treat such surfaces, appropriate types of primer are used. The same type of primer, but with a thinner consistency, is used to prepare the surface for casein or silicate paint.
For water-based compositions, select a primer suitable for working with this type of paint.
However, such a surface must be pre-treated with drying oil or putty. To work with Swedish or Finnish paint, priming is not required.
Puttying
The next step after priming is filling the surface. It is necessary to eliminate defects in the processed material.
The surface must be leveled using putty, which is selected taking into account the type of paint used.
Using a spatula, apply an even layer of putty to the entire surface to be treated, which, after it has completely dried, must be cleaned and primed again.
More about paints. For interior work, oil (alkyd) and emulsion (water-dispersed, latex) paints are used more often than other paints and varnishes. The first ones are made on the basis of various drying oils or alkyd film-forming agents. Latex paints and varnishes are aqueous solutions of polymers. Both types of paints are available in ready-to-use form. In addition to paints and varnishes, when carrying out painting work, liquids are needed that change the thickness of paints - solvents and thinners, and substances that accelerate the drying of paints. The choice of one type of paint or another is determined by the nature of the surfaces being painted. Plastered, gypsum and concrete walls and ceilings are usually painted with latex paints. This is due to the properties of these coatings: they dry quickly, form a matte surface with a pleasant appearance, have high performance properties, and are relatively cheap. In addition, as mentioned above, latex paints can be applied to wet surfaces, while alkyd (oil) paints can only be applied to dry surfaces. Water-dispersed paint It is easy to remove with a damp cloth from an accidentally stained item, and the instrument is washed with warm water, and finally, these paints are non-flammable. Oil paints and enamels have their own “sphere” of application - these are hallways, kitchens, bathrooms and other rooms with increased hygienic requirements. They are also used to paint wooden and plastered surfaces, since these compounds, when painted, form durable, water-resistant coatings that reliably protect wooden products from rotting, and plastered surfaces from minor mechanical damage.
Undoubtedly, when choosing paints, the optical properties of the coatings formed after painting play an important role. Matte paints hide surface defects well, but they become dirty and wear off faster. Semi-matte coatings last longer and get less dirty. These qualities are even higher in semi-gloss compositions, and the most wear-resistant are glossy paints that are easy to clean; but do not hide the imperfections of painted surfaces. Glossy enamels and varnishes, which contain the largest amount of film-forming substances, shine brighter than others. We can recommend the following use of certain types of paints: ceilings, living room, hall, bedroom - matte or semi-matte paint; children's room - semi-matte or glossy; kitchen, kitchen cabinets, window frames and other wood parts, bathroom - semi-matte, semi-gloss or high-gloss.
Calculation required quantity paints. It consists of the following simple procedures: Determine the perimeter of the room. For example, rectangular room 4x5 m has a perimeter of 4+4+5+5=18m. Calculate the area of the walls of this room. To do this, multiply the perimeter by the height of the walls. If the height of the room is 2.6 m, then the area of the walls is 46.8 m2. From the resulting area, subtract the area of doors (about 1.9 m2 for a standard door) and windows (about 1.4 m2 each; but, generally speaking, the sizes of windows and doors can vary and are best measured). The resulting value is the required area. Based on the paint consumption rate indicated on the jar label, calculate the amount of paint you need to paint a given room.
Preparing the paint. It is usually enough to stir a little commercially produced paint. It is necessary to drain the top liquid layer from the can, mix the remaining grounds, pour in the previously poured paint and mix everything again. If there are several cans of the same paint, then their contents may differ slightly in color, especially if the paint is from different batches (the batch number is indicated on the can). To obtain paint of the same color, the paint is mixed by repeated pouring (the so-called “boxing”). "Boxing" All the paint to be used is poured into a large container, for example a bucket, and mixed until a mass is uniform in color and consistency. Then the paint is poured into jars and tightly closed. In addition to “boxing”, sometimes it is necessary to apply such procedures as filtering and dilution.
Filtration. The paint is thoroughly mixed, while lifting the grounds from the bottom of each jar. There should be as few lumps as possible. After this, they do “boxing” by pouring the paint into a bucket through a gauze filter. As is known, during long-term storage of paints and, to a lesser extent, enamels, stratification of the contents often occurs: a dense sediment containing fillers and pigments is formed at the bottom, and above - a layer of paint with a reduced content of pigments, then - a layer of film-forming substance, and on the top - dry film. Having opened such a jar, carefully cut out this film around the circumference and throw it away along with the jelly-like mass located under it. The layer of pure binder must be poured into a separate container, and the remaining part must be mixed with the sediment until a homogeneous mass is formed, into which then add the previously separated binder in 3-4 portions, thoroughly mixing the mass after each dilution. The final step is to strain the paint, which will then be ready for use.
Dilution. After long-term storage paint often needs to not only be mixed, but also diluted to the consistency required for normal operation. The need for dilution can be determined by mixing the paint, for which, after stirring the paint, you need to make several strokes. If the brush leaves grooves (strokes) or the paint drags behind the roller, then it should be diluted: add about 30 ml of thinner to a jar of oil paint, and the same amount of water with water-dispersed paint, then stir thoroughly and check again for thickness using brush or roller. This procedure must be repeated until an even film is laid on the surface to be painted, but be careful not to make the paint too liquid.
Brush technique. Brushes are used for painting wooden products, surfaces with a rough texture, as well as the boundaries of areas of walls and ceilings to be painted with a roller. You should not use a flat brush of the KP type if its width is greater than the width of the surface to be painted. The paint brush should be held freely, without squeezing it in your hand. The thumb supports the hand from below, and the remaining fingers lie on top, directing its movement. The brush is held with your fingers not by the handle, but by the crimp ring (Fig. 128).
Rice. 128.
Rice. 129. :
a - dipping the brush into paint; b - applying paint to the surface; c - shading; g - glaze
If desired, a small finishing brush can be held like a pencil. But in both cases, the handle of the hand lies in the “mouth” between the large and index fingers. The large brush can be held like a tennis racket.
Brush techniques(Fig. 129). Walls and ceilings are painted in sections 1.5-2 m wide, each subsequent one overlapping the previous one. Paint is applied to walls in vertical strokes, to ceilings - perpendicular to the window, to wooden parts - along the grain. The quality of the coating depends on the choice of brush, the volume of paint on it, the number of strokes made and the force of pressure on the brush.
How to dip a brush into paint. The brush should be lowered into the jar vertically, immersing the bristles into the paint by one third of its length. When removing the brush from the can, you need to lightly tap it on the inner wall to remove excess paint.
Applying paint. The brush should be held at an angle of 45° to the surface. The paint is applied in long, even strokes with the next one overlapping the previous one. The brush should touch the surface to be painted with all its bristles.
Shading is the next stage, the purpose of which is to evenly distribute the paint over the area to be painted. Shading is done by transferring paint from painted areas to unpainted areas using even strokes. The pressure on the brush is supposed to be such that the bristles soften, capture and transfer paint particles. The number of strokes should be minimal, since as a result of repeated leveling, the solvent quickly evaporates from the paint, and strokes remain on it.
Glaze. When finishing the stroke, use the very tips of the bristles to draw “tails” over the edges of the painted area. For this purpose, at the end of the stroke, you need to smoothly lift the brush from the surface - then the coating film at the edges becomes thin and mixes well with adjacent strokes.
Roller painting. The dyeing process consists of a number of stages.
Preparation. Before starting work, the roller is immersed in clean water, if you have to paint with latex paints, or in white spirit, if you have to work with alkyd paints, after which it is rolled dry on a clean cloth, thus removing all dust from the pile. The pile must be saturated with paint, for which the tool must be dipped into a painting tray filled with it, and then rolled along the edge of the tray or, say, a sheet of plywood. During painting, the roller should be saturated with paint, but it should not drip from it. Therefore, after wetting the roller, you need to squeeze out the excess paint onto the mesh of the tray.
Rolling paint. It is recommended to paint large surfaces in sections 1.5-2 m wide. Painting direction: walls - from the baseboard to the ceiling, ceilings - from wall to wall in width, not in length. In any case, you should paint with a slight mutual overlap, moving the roller evenly along a path in the shape of the letter “M” (Fig. 130) with medium pressure, at a slow pace. The pressure is increased as the paint is consumed.
Rice. 130.
1 - completion of movement
It is recommended to start painting from the plinth of the leftmost section: in one uniform movement, roll the roller vertically up to the ceiling, and then immediately obliquely down and to the right (Fig. 130), and finally from the ceiling to the floor, completing the letter “M”. They continue this way, moving from left to right until the right edge of the section, after which the whole process is repeated from right to left. When you return to the far left (starting) position, the wall should be painted. In the final phase, roll the entire section from top to bottom (vertically) with overlapping strips of 3-5 cm, smoothly tearing the roller off the wall after each stroke.
Pad coloring. Glazing the edges with a pad cannot be done in the same way as with a brush or roller, and therefore, to avoid overlaps, it is recommended to proceed as follows. Lightly moisten the pad with white spirit or water (depending on the type of paint), dry with a towel. Dip the pad into the paint, being careful not to stain the foam backing. Remove excess paint on the edge of the tray. Skirting boards, layouts, stripes bordering large surfaces should be painted in one direction with large strokes. It is better to paint large flat areas with intersecting horizontal and vertical strokes, without going over the same strip twice. The paint should not run off the pad. “Tails” at the ends of the strokes are obtained if you gradually reduce the pressure on the pad as you approach the end of the stroke. The applied coating should be leveled with light strokes, lightly running an almost dry pad over the freshly painted area in one direction, say, from top to bottom.
How to paint with a spray gun? First you need to dilute the paint so that it sprays well. After dilution, it should be strained through nylon stocking fabric or four layers of gauze and poured into a spray bottle. The opening angle of the jet must be adjusted according to the shape and width of the area to be painted. It is useful to keep in mind that a wide round torch entails increased paint consumption. The paint should fly out of the nozzle evenly and without splashing. A correctly adjusted jet produces a spot on the surface without sharp boundaries, fading to nothing at the edges. Since paint inevitably splashes to the side with any paint sprayer, the surfaces adjacent to the one being painted must be covered with something. At the beginning of painting, the sprayer should be kept at a distance of 25-35 cm from the surface, while the axis of the jet should be perpendicular to it (Fig. 131).
Rice. 131. :
1 - spray ellipse; 2 - surface to be painted
Generally speaking, the specific distance of the nozzle from the surface in each case depends on the viscosity of the paint and the required size of the spot - the greater this distance, the larger the spot, but the smaller the thickness of the paint layer. The tool is moved by moving the body and arm (but not the hand) only in the horizontal or vertical direction. Other trajectories result in uneven coloring. It is optimal to spray paint in 50 cm passes. The trigger that starts the paint sprayer should always be pressed after the start of the pass and released when it is completed. When painting in two layers, the first layer must be thin. When it dries, apply a second layer, with a slight overlap of passes. If the sprayer starts to spray, turn it off, disconnect the cord and clean the nozzle.