The main stages of painting work. Technique and technology of painting works. Preparation of surfaces for painting

A single layer of paint does not provide sufficient protection for the substrate, so you need to apply several layers of paint in succession, each of which performs its own function.

The bottom layer serves to adhere the multilayer coating to the base. The finishing layer, which completes the paint coating, protects the lower layers from external influences and performs a decorative function. If oil paint is applied in one layer, the surface will be wrinkled, and cracks will appear on it over time.

Each subsequent layer should contain more pigment and less binder. For example, an emulsion from a primer is strongly diluted with water, and for a coating layer it is not diluted at all.

If the wood is dry on the surface and damp inside, when heated under the sun's rays and under other influences, water vapor will press from below on the paint coating and break it.

To obtain a high-quality paint coating, it is not necessary to paint at low or too high temperatures, as well as in the sun, in a draft, in fog and in light rain. During painting work, the temperature should not be lower than 5 °C.

First, the paint is applied on edges, in corners and hard-to-reach places, and only then on smooth surfaces. When overhead surfaces are being painted, the paint often drips onto the handle of the brush. To prevent this from happening, you can take an old rubber ball, cut it in half and thread the brush handle into one of the halves. To prevent the ball from jumping off the handle, an elastic band is strengthened under it. If there is no ball, a glassine circle with a diameter of 5-7 cm is put on the handle.

When cleaning the ceiling, if it has not been previously painted, first of all, the old nabel is removed. A small nabel can be washed out with hot water with a brush and a rag, and a thick one must be cleaned with a dry scraper. You can pre-moisten it with hot water with a brush and after 40 minutes remove it with a scraper or spatula.

Cracks in the ceiling and walls must first be expanded and then smeared with the appropriate compound. The grease is produced with a spatula, while filling up not only embroidered cracks, but also shells and cavities that are on the surface. After drying, the greased places are ground and primed.

BRUSH PAINTING
Although recently the application of paint with a roller or with the help of paint sprayers has become more common, at home they still use a brush.

The brush needs to be prepared - wash it between your fingers and blow it. For painting, you can use flat and round brushes. The size of round brushes is chosen depending on the nature of the surface or object to be painted, as well as on the density of paints and varnishes.

In the new round brush, you need to shorten the length of the hair with a garter, 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, shading well until the entire surface is evenly painted. The last movements with 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, the last layer is smoothed with light brush movements in a perpendicular direction. For smoothing, it is best to take a hair brush.

Large areas during painting should be divided into several small ones, limited by seams or slats. This takes into account the type of paintwork material. The door leaf with paint on drying oil can be painted all at once. If the room is painted with oil enamel, then it is better to apply paint on smaller surfaces.

If a complex relief surface with various recesses is being painted, it must be remembered that too much paint should not be applied to 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 a self-adhesive tape glued to a line previously beaten off with a cord or a plumb line.

ROLLER PAINTING
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 meshes of 10-20 mm is installed in the box, through which a roller soaked in paint is passed to eliminate excess and evenly distribute the paint around the entire perimeter of the roller.

The work is done in this way. On a surface of about 1 m2, 3-4 strips of paint are applied, after which these strips are rolled with a roller with squeezed paint in a horizontal direction (with a slight inclination of the roller) until the paint is evenly distributed on the surface. If it is required to limit the area to be painted, its edges are covered with thick paper or sealed with adhesive tape.

SPRAYING
This method of applying paint has several advantages, especially if large, uniform, non-overlapping surfaces are being painted. Coating materials of all kinds are applied quickly and evenly in this way.

When applying paint in this way, you need to cover all the surrounding surfaces that are not to be painted, so that later you do not waste time and effort on cleaning them. Adhesive tapes are suitable for this purpose, with which you can fix paper or film.

To obtain a smooth edge of the surface to be painted, you can use a self-adhesive tape glued to a line previously beaten off with a cord or a plumb line. As soon as the liquid level drops, the container must be filled, otherwise, after sucking in air, the paint gun will throw out an uncontrolled amount of paint.

SPONGE TREATMENT
This method creates a soft spotted pattern. Moreover, the light tone of the lower layer (background) will look like veins of an indefinite shape. The paint should not be pure white, it should be slightly tinted, which will give a more subtle effect. If you need to get a more contrasting solution, you need to apply a dark pattern on 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 roll, you need to choose harmoniously combined shades of a single color scheme or additional colors of equal intensity. Tightly 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.

Sponge treatment is suitable for almost any surface, but it is most effective on large surfaces, such as walls. Interestingly, this method is indispensable for masking not very attractive items, such as radiators.

Both for the main layer and for the decorative layer applied on top of it, undiluted emulsion paint is used for walls, and butcher's paint is used for wooden parts and metal parts. For such work, a natural sea sponge is used, the structure of which has the largest number of voids. If the pattern obtained on the wall repeats, becomes regular, you need to break the sponge and continue working with its inner, most uneven surface.

TECHNOLOGY OF APPLYING A PATTERN WITH A SPONGE
Pour the paint of a darker tone, intended for applying a pattern with a sponge, into a tray and mix well. First you need to soften the sponge - soak it in water if it is to be painted with an emulsion, and when using oil paint - in white spirit. Wring out, then dip the sponge into the paint and press against the grooved slanted compartment of the tray so that the paint soaks the entire sponge.

After that, it is necessary to remove excess paint from the sponge with light, jerky touches of a sheet of paper: with a supersaturated sponge, the pattern may turn out to be blotchy or even blurry.

Movement should start from top to bottom. Work with light, jerky touches, do not rotate or press the sponge hard. The position of the hand with the sponge must be changed in such a way as to avoid a regular, repetitive pattern. When the sponge becomes dry, you can work in the corners and along the plinth here you have to involuntarily press it in, and there is a real danger of squeezing out excess paint.

First, the surface must be treated with a rare 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 an overall pattern. When the second layer dries, you need to correct individual prominent spots with a light color. You can apply background color or "ivory", which will soften the overall pattern.

TRADITIONAL LINE METHOD
For this method, you need to prepare a glaze by mixing 70% varnish, 20% oil paint and 10% white spirit, and then apply the composition along the main tone with a strip 500 mm wide from top to bottom. Until the icing is dry, you need to apply a dotted stroke on it with a brush with a quick and confident movement, but in no case drag or rotate the brush. Then continue processing until the entire surface is covered with a stroke. To hide the joints, an overlap of the adjacent strip is necessary.

If the surface treated in this way needs to be washed in the future, a layer of matt polyurethane varnish must be applied on top of it.

Dotted Stroke Drawing A color stroke gives a finer pattern than a sponge stroke. Usually it is done on 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 is chosen according to the same principle as when processing with a sponge.

Let the background have a lighter shade so that a kind of color haze forms, and a darker tone for the stroke: it will better reveal the pattern. The reverse combination is also possible.

You can apply a line drawing on any surface, but it looks especially impressive on the walls of small rooms, on doors and on furniture.

For line work, it is better to use undiluted emulsion or oil paint (according to the surface material). Only oil paint can be used to apply a stroke on wet glaze. Special brushes designed for this job are made of badger hair, but almost any flat brush (even a new shoe brush) can be used, provided the bristles are the same length.

LINE DRAWING TECHNOLOGY
Pour a small amount of paint of the lightest color into a tray or flat dish (at least 3 mm thick), 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.

Start processing from top to bottom, making jerky movements with a brush and changing the angle of its position on the plane of the wall.

To intensify the pattern, apply another layer (pressing lightly on the brush) to achieve more contrast. When blots appear, cover them with a shade of the main soil.

At the end of the work, fill in the corners, the surface around the architraves and near the baseboard with an almost dry brush, applying the color of the first layer of rolling.

FABRIC PROCESSING
This method creates a more distinct pattern than sponge or brushing. There are several ways in which it can be done. Applying paint with a crumpled piece of fabric (similar to sponge processing) gives a certain clear pattern.

Stripping paint or rolling with a tourniquet gives a softer and more indefinite pattern, but these methods require more skill. Prints that look like folded petals are obtained by applying or, conversely, removing paint with a piece of cloth.

All of these methods are carried out using a fresh glaze solution. As with the previous processing methods, the pattern is applied from top to bottom along vertical stripes 500 mm wide. Pre-soak a piece of cloth in white spirit, wring it out and crumple it in your hand or twist it into a tourniquet (into a roller). Then lightly dip the fabric into the glaze.

To apply a pattern with a roller, it is necessary to hold it with two hands and roll it from top to bottom both in a straight line and in irregular, random directions. In this case, you can get an indefinite, confusing pattern. The patch needs to be shaken off often and crumpled again in the hand or changed (the flap) as soon as it becomes too oversaturated with paint. The joints between the individual strips must be masked especially carefully.

The color for the roll will be the main tone, so you need to choose it darker than the background.

The fabric method, in addition to decorating walls or individual furniture elements, is good in cases where you want to match the color of the 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 paint well.

TECHNOLOGY OF APPLYING A PATTERN WITH THE HELP OF FABRIC
To begin, pour some paint into a flat-bottomed tray. When dipped into the emulsion, a dry cloth gives a clear, hard pattern. If it is slightly dampened, softer prints will be obtained. In the case of using oil paint, you need to soak a rag in white spirit, and then wring it out properly. Before use, crush the fabric in your hand.

Dip a rag into the paint and wring it lightly on a piece of paper to remove any excess. Apply strokes from top to bottom or along the eaves with free movements, similar to working with a sponge. The rag must be shaken off frequently and squeezed again in the hand to avoid a repeating pattern. Change it to a fresh one as soon as you notice that the drawing becomes less clear.

At the end of the work, be sure to touch up insufficiently filled areas of the surface. In some cases, a second coat of color can be applied, but usually this is not required, as a rule, the expected effect is achieved the first time.

Painting work is the application of paint compositions on the surfaces of structures 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 the premises becomes more and more elegant, the requirements for architectural expressiveness, interior and exterior design of buildings, and the quality of decoration are increasing. These requirements are met by new effective, economical finishing materials - new synthetic drying oils, varnishes and paints, especially water-based and organosilicon ones.
It would seem that painting a wall is not difficult. However, painting requires especially careful preparation of the wall for repair work: the paint will not hide cracks, bumps, or any other wall defects. In addition, there are many ways to apply paint, depending on which the appearance is improved and the paint lasts longer. The cleanliness of the 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, various brushes, rollers, spatulas, rulers are needed.

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 random substance, such as a solvent, instead of improving the quality of the painted surface, can lead to its decrease.

Usually the paint is sold ready-made. If you need to dilute it, you need to add only the most necessary amount of thinner, otherwise the paint will drain, especially from vertical surfaces. If the paint in the can is covered with a film, in no case should it be stirred, but carefully cut 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 system of designations for paints and varnishes, which reflects their properties, purpose, operating conditions - a kind of compass in a boundless sea of varnishes and paints.

Types of paints

According to their primary purpose and in relation to the operating conditions of coatings, paints and varnishes are divided into groups:

Weather-resistant, partially weather-resistant, protective, conservation, water-resistant, special, oil and petrol resistant, chemically resistant, heat-resistant, electrically insulating. The classification also takes into account the type of film former, which for brevity is denoted by two letters.

Varnishes, enamels, primers and fillers are produced on the basis of various resins: polycondensation, polymerization, natural, based on cellulose ethers.

Paints and varnishes based on polycondensation resins:

alkydurethane - (AU), glyphthalic - (GF), organosilicon - (KO), melamine - (ML), urea (urea) - (MCh), pentaphthalic - (PF), polyurethane - (UR).

Polyester: unsaturated - (PE), saturated - (Sh), phenolic - (FL), phenol-alkyd - (FA), cyclohexane - (CH), epoxy - (EP), epoxy ether - (EF), etrifthalic - (ET).

Paints and varnishes based on polymerization resins: rubber - (KCh), oil - and alkyd styrene - (MS), petroleum polymer - (NP), perchlorovinyl - (XV), polyacrylate - (AK), polyvinyl acetal - (VL), polyvinyl acetate - (VA) ). Based on copolymers: vinyl acetate - (VS), vinyl chloride - (XC), fluoroplastic - (FP).

Paints and varnishes based on natural resins: bituminous - (BT), rosin - (KF), oil - (MA), shellac - (SHL), amber - (YAN).

Paints and varnishes based on cellulose ethers: cellulose acetate - (AB), cellulose acetate - (AC), cellulose nitrate - (NC), ethyl cellulose - (EC).

Marking of paints and coating materials

Each paint and varnish material is assigned a name and a designation consisting of letters and numbers. The designation of varnishes consists of four, pigmented materials - from five groups of signs.

The first group means the type of paint and varnish material and is written in the word - varnish, paint, zmal, 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 predominant operating conditions of the paintwork material, indicated by one number from 1 to 9. A hyphen is placed between the second and third groups of characters (ML-1 enamel .., PF-2 varnish ...).

The fourth group is the serial number assigned to the paintwork 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 paintwork material - enamels, paints, primers, putties - in full (grey-white enamel ML-P 1.0). When designating the first group of signs for oil paints containing only one pigment in their composition, instead of the word “paint”, the name of the pigment is indicated, for example, “red lead”, “mummy”, “ocher”, etc. (miniature MA-15).

For a number of materials, indices are put between the first and second groups of characters:

B - without volatile solvent

B - for water-borne

VD - for water dispersion

OD - for organodispersion

P - for powder

The third group of signs 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, one zero is put before the third group of characters for thick oil paints (minium MA-Q15).

For paints and varnishes obtained on mixed film formers, the second group of characters is designated by the film former, which determines the properties of the material.

In the fourth group of signs for oil paints, instead of a serial number, a number is put indicating which drying oil the paint is made on: natural drying oil, Oksol drying oil, glyptal drying oil, pentaphthalic drying oil, combined drying oil.

In some cases, to clarify the specific properties of the paintwork, after the serial number, an alphabetic index is put in the form of one or two capital letters, for example: B - high viscosity; M - matte; H - with filler; PM - semi-matte; PG - low flammability, etc.

All the information necessary for the consumer of the paint and varnish material is given on the label, which gives the full name of the material indicating GOST or TU, its purpose, method of application, precautions, manufacturer, date of issue and batch number. The label is a very important part of the paint packaging. It is not always fair to require that a 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 resistant the coating should be during operation, take into account its decorative appearance and do not forget about the cost.

Types of wall paints

Outdoor and indoor paints differ in their resistance to rain, sun and temperature fluctuations. Paints that are intended for outdoor use, if necessary, can also be used for interior decoration. The choice of this or that paint depends on what kind of decoration of the room you need to produce - simple, improved or high-quality.

Paints based on mineral binders are designed for simple finishing of stone, concrete and plastered walls, for painting swimming pools, wells and fences. They give loose, breathable coatings that withstand water, especially cement-based paints, and temperature changes well.

Glue paints finish plastered, concrete and wooden surfaces, and casein paints are suitable for both exterior and interior work. Paints on dextrin, starch and bone glue can only be painted on walls and ceilings in enclosed spaces. An important advantage of adhesive paints is their porosity: coatings from them do not interfere with air exchange, moisture easily evaporates through them, which can form on a damp wall or ceiling.

The best are paints and enamels on synthetic binders or varnishes, which are used for high-quality finishes. 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) are porous. Paints that form continuous coatings are unsuitable for damp or damp walls, and alkyd ones are also unstable to alkalis, and therefore they cannot be painted on 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

Fly brushes. They are produced mainly in large sizes - d 60 and 65 mm with a hair length of 100 mm. In order to choose a good brush, you need to check it for a fold - when bending, the hair should straighten immediately, leaving no visible curvature.

Brushes in the form of a beam that require special knitting are called weight brushes, brushes in a cartridge with a handle are called piece brushes. Weight brushes after a garter with a strong twine are planted on a long handle-pin. Any brush is tied up, because long hair does not shade the paint well and creates a lot of streaks. Therefore, professional painters believe that for glue coloring, untied hair should be 7-9 cm long, for oil and enamel - 5-7 cm.

Whitewash brushes have a width of 200 mm, a thickness of 45-60 mm, and a hair length of 100 mm. Such brushes are 2.5 times more productive than fly brushes and allow you to get a cleaner coloring. Sometimes they are used instead of a whitewash brush - maklovitsa, which are made from semi-spinal bristles with 50% horsehair. In shape, they are round (120 and 170 mm in diameter, with a bristle length of 94-100 mm) or rectangular. The handle of the maklovits is attached in the middle of the block or is made removable with screws. The work with a maklovitsa is performed from a stepladder or from the floor. Maclovitz and whitewash brushes are recommended for use with glue and casein stains. Coloring done with whitewash brushes or maklows does not require fletching.

Handbrakes. They are small and fit on a short wooden handle. They are made from pure bristles, as well as with the addition of horsehair. Handbrakes are produced d - 26, 30, 35, 40, 45, 50, 54 mm. Handbrakes are tied with twine, which, as the brush 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 is 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 brushes should not be used for painting with glue and lime paints.

Flutes - flat brushes with a width of 25, 60, 62, 76 and 100 mm, are 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 freshly applied paint, that is, to destroy traces of a fly brush or handbrakes. Flutes can also be used for coloring.

Trimmers have a rectangular shape and are made of hard bristles. Their main purpose is to treat freshly painted surfaces. Trimming is applied evenly, smoothing out the unevenness of the paint. As a rule, glue and oil paints end up. Paneled brushes are produced from d from 6 to 18 mm and are made of white hard bristles fixed in a metal frame-cartridge. The cartridges are mounted on wooden handles of various lengths. Such brushes are designed for drawing narrow strips called panels, or for painting hard-to-reach places that the handbrake cannot reach. For painting radiators, special radiator brushes are produced with a handle curved at the base.

In many respects, rollers are much more convenient and productive than brushes. Especially when painting large areas. In addition, rollers can not only be painted, but also primed. Depending on the work performed, rollers of various sizes are used: with a diameter of 4 to 7 cm, a length of 10 to 25 cm. Fur, foam and velor rollers are most often used. In preparation for work, the fur roller needs to be immersed in water for a while - this will reduce the rigidity of the hairline. However, it should be remembered that the fur roller is not recommended when working with lime paints - lime destroys the fur very quickly. At the end of work, the rollers must be washed in warm water with soap, completely removing the paint.

Technology of painting works

When performing painting work, you need to have various auxiliary materials at hand: gypsum for repairing cracks and correcting surface defects, mortar for repairing plaster or fluating stains and deposits on the surface of chimney masonry, degreasing agents, plaster for covering places that cannot be painted, etc. A single layer of paint does not provide sufficient protection for the substrate, so you need to apply several layers of paint in succession, each of which performs its own function. The bottom layer serves to adhere the multilayer coating to the base. The finishing layer, which completes the paint coating, protects the lower layers from external influences and performs a decorative function. If oil paint is applied in one layer, the surface will be wrinkled, and cracks will appear on it over time.

The number of layers depends on the type of paint, the required quality of the coating and the type of substrate. Glue paint is applied in two layers, water-based paint in three, and some glossy varnishes in six or more layers. Each subsequent layer should contain more pigment and less binder. For example, an emulsion from a primer is strongly diluted with water, and for a 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 free from dirt, rust, grease and, moreover, dried (this is especially true for wooden surfaces). If water remains in the pores of the wood, the paint will not penetrate there. It will stay on the surface and then fall off. If the wood is dry on the surface and damp inside, when heated under the sun's rays and under other influences, water vapor will press from below on the paint coating and break it. To obtain a high-quality paint coating, it is not necessary to paint at low or too high temperatures, as well as in the sun, in a draft, in fog and in light rain. During painting work, the temperature should not be lower than 5 C.

When painting, the brush is held 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 is removed from the brush on the edge of the can. First, the paint is applied on edges, in corners and hard-to-reach places, and only then on smooth surfaces. When overhead surfaces are being painted, the paint often drips onto the handle of the brush. To prevent this from happening, you can take an old rubber ball, cut it in half and thread the brush handle into one of the halves. To prevent the ball from jumping off the handle, an elastic band is strengthened under it. If there is no ball, a glassine circle with a diameter of 5-7 cm is put on the handle.

The scraper or spatula is placed at an angle to the surface and, by slightly pressing on the tool, the layer of whitewash is removed with sliding movements forward. In the same way, mortar splashes, paint layers and other contaminants are removed. Cracks in the ceiling and walls must first be expanded and then smeared with the appropriate compound. The grease is produced with a spatula, while filling up not only embroidered cracks, but also shells and cavities that are on the surface. After drying, the greased places are ground and primed.

Methods for applying paint

Although recently the application of paint with a roller or with the help of paint sprayers has become more common, at home they still use a brush. The brush needs to be prepared - wash it between your fingers and blow it. For painting, you can use flat and round brushes. The size of round brushes is chosen depending on the nature of the surface or object to be painted, as well as on the density of paints and varnishes. In the new round brush, you need to shorten the length of the hair with a garter, 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, shading well until the entire surface is evenly painted. The last movements with 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, the last layer is smoothed with light brush movements in a perpendicular direction. For smoothing, it is best to take a hair brush.

When painting vertical surfaces, the paint must be carefully shaded so that it does not drip or form streaks. The paint runs off some time after it is applied, so do not take too thin paint or apply it in a thick layer. If a complex relief surface with various recesses is being painted, it must be remembered that too much paint should not be applied to 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 a self-adhesive tape glued to a line previously beaten off with a cord or a 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 meshes of 10-20 mm is installed in the box, through which a roller soaked in paint is passed to eliminate excess and evenly distribute the paint around the entire perimeter of the roller.

The spray paint method has several advantages, especially if large, uniform, non-overlapping surfaces are being painted. Coating materials of all kinds are applied quickly and evenly in this way.

For painting hard-to-reach surfaces, this method is also convenient, for example, the interior of central heating radiators. In the process of spraying, the smallest paint particles fall on the painted surface, combine with one another and form a uniform layer. When applying paint in this way, you need to cover all the surrounding surfaces that are not to be painted, so that later you do not waste time and effort on cleaning them. Adhesive tapes are suitable for this purpose, with which you can fix paper or film. To obtain a smooth edge of the surface to be painted, you can use a self-adhesive tape glued to a line previously beaten off with a cord or a plumb line. As soon as the liquid level drops, the container must be filled, otherwise, after sucking in air, the paint gun will throw out an uncontrolled 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 indefinite shape. The paint should not be pure white, it should be slightly tinted, which will give a more subtle effect. If you need to get a more contrasting solution, you need to apply a dark pattern on matte emulsion paint - you get an original shimmering pattern. Applying paint with a sponge can lighten or, conversely, darken the overall tone. For the background and roll, you need to choose harmoniously combined shades of a single color scheme or additional colors of equal intensity.

Tightly 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. Sponge treatment is suitable for almost any surface, but it is most effective on large surfaces, such as walls. Interestingly, this method is indispensable for masking not very attractive items, such as radiators.

To apply a pattern with a sponge, the paint of a darker tone, intended for applying a pattern with a sponge, must be placed in a tray and mixed well. First you need to soften the sponge - soak it in water if it is to be painted with an emulsion, and when using oil paint - in white spirit. Wring out the sponge, and then dip it into the paint and press it against the corrugated sloping compartment of the tray so that the paint soaks the entire sponge.

After that, it is necessary to remove excess paint from the sponge with light, jerky touches of a sheet of paper: with a supersaturated sponge, the pattern may turn out to be blotchy or even blurry.

First, the surface must be treated with a rare pattern that does not completely cover the lower, main tone, and left to dry. Rinse the sponge and then apply a second coat, overlapping the first so that they blend into the overall pattern. When the second layer dries, you need to correct individual prominent spots with a light color. You can apply background color or "ivory", which will soften the overall pattern.

To line the 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 main tone with a strip 500 mm wide from top to bottom. Before the glaze is dry, brush it with a dotted stroke with a quick and confident movement. Then continue processing until the entire surface is covered with a stroke. To hide the joints, an overlap of the adjacent strip is necessary. If the surface treated in this way needs to be washed in the future, a layer of matt polyurethane varnish must be applied on top of it.

A touch of color gives a more elegant pattern than sponge processing. Usually it is done on 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 is chosen according to the same principle as when processing with a sponge. Let the background have a lighter shade so that a kind of color haze forms, and a darker tone for the stroke: it will better reveal the pattern. The reverse combination is also possible.

You can apply a line drawing on any surface, but it looks especially impressive on the walls of small rooms, on doors and on furniture. For line work, it is better to use undiluted emulsion or oil paint (according to the surface material). Only oil paint can be used to apply a stroke on wet glaze. Special brushes designed for this job are made of badger hair, but almost any flat brush (even a new shoe brush) can be used, provided the bristles are the same length.

Line drawing technology: 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 so that the bristles do not absorb it too much. Processing should begin from top to bottom, making jerky movements with a brush and changing the angle of its position on the plane of the wall. To intensify the drawing, you need to apply another layer (by pressing lightly on the brush) to achieve greater contrast. When blots appear, they should be covered with a shade of the main soil. At the end of the work, you need to fill in the corners, the surface around the platbands and near the plinth with an almost dry brush, applying the color of the first layer of rolling.

Processing with fabric

All of these methods are carried out using a fresh glaze solution. As with the previous processing methods, the pattern is applied from top to bottom along 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 tourniquet (into a roller). Then lightly dip the fabric into the glaze.

To apply paint using a crumpled piece of fabric, use emulsion or oil paint (according to the surface material). For roller rolling or paint stripping, only oil paint should be used for both the base coat and the paint stripping. The color for the roll will be the main tone, so you need to choose it darker than the background. The fabric method, in addition to decorating walls or individual furniture elements, is good in cases where you want to match the color of the 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-fibery and takes paint well.

The 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 gives a clear, hard pattern. If it is slightly dampened, softer prints will be obtained. In the case of using oil paint, you need to soak a rag in white spirit, and then wring it out properly. Before use, crease the cloth in your hand, then dip the rag into the paint and wring it lightly on a sheet of paper to remove excess. Apply strokes from top to bottom or along the eaves with free movements, similar to working with a sponge. The rag must be shaken off frequently and squeezed again in the hand to avoid a repeating pattern. As soon as the pattern becomes less clear, the rag must be changed to a fresh one.

At the end of the work, it is imperative to correct insufficiently filled areas of the surface. In some cases, a second coat of color can 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 different brushes, rollers, spatulas, rulers. Good quality brushes are made from clean bristles. They absorb a large amount of paint composition, keep it inside so that the paint does not drain. Cheap, but less practical and durable brushes are made from bristles with about 50% stiff horsehair added.

The largest in size (a bundle of hair reaches a length of 180 mm, diameter - 60-65 mm) fly brushes, having a round section and a long handle (1.8-2 m). They are sold ready-made (the hair bundle is fixed in a metal ring) or in the form of a hair bundle that requires knitting. In any case, it is necessary to check the length of the brush hair in order to tie it up if necessary. After bending the brush, the hairs should straighten immediately, taking their previous shape. Fly brushes are convenient to paint large surfaces, such as ceilings, walls.

Vitaly Lvov

Technology lesson on the topic

"Fundamentals of painting technology"

Thing: technology.

Class: seventh.

Quarter: third.

Number of hours: 1

The date: 13.03.17

Lesson #45

Chapter: "Repair and finishing works"

Teacher: Bondarenko A.A.

Target: introduce students to the technology of painting works.

Must know: sequence of repair and painting works. Rules for safe work.

Should be able to: prepare the surface for painting and carry out painting and construction work.

Teaching methods: story, conversation, frontal survey, demonstration of visual aids, work with a book, practical work.

Lesson type: combined.

Formed UUD: personal, regulatory, cognitive, communicative.

Basic concepts: Painting works, pigments, binders, drying oil, oil paint, enamel, varnish, solvent, primer, brushes: whitewash, panel, maklovitsa, handbrake, flute, trimming; roller, stencil, painter.

DURING THE CLASSES

Repetition of the material covered.

Front poll:

What types of wallpapers do you know?

What is the difference between finishing a room in one color and finishing in two colors?

What is a fillet?

What is the difference between a border and a frieze, from a tapestry?

How to prepare walls for wallpapering?

Name the sequence of wallpapering the walls.

Message about the topic and purpose of the lesson.

Lesson topic: "Fundamentals of painting technology."

The purpose of the lesson is to get acquainted with the technology of painting works.

Presentation of new material.

To painting work applies to various surfaces. To perform these works, materials are used: pigments (dry building paints), adhesives, drying oil, etc.

pigments, or dry building paints, are natural and artificial and are thin powders of various colors: white, yellow, blue, red, etc.

In order for the pigments to adhere firmly to the surface to be painted, they addbonding materials . Glue is added to aqueous compositions, and to oil -drying oil . Natural drying oil is produced by boiling at a temperature of 275 0 With linseed or hemp oil with the addition of some special substances. Drying oil can also be synthetic.

Oil paints prepared at factories: drying oil is mixed with dry pigments and the mixture is ground on special paint grinders. These paints are used for work inside and outside the premises, painting metal, wood, and plaster with them. Drying time for oil paints after painting the surface is 24 hours.

Enamels - These are painting compositions prepared by grinding a mixture of pigments and varnishes on paint grinders. If stored for a long time, the enamel may thicken. Dilute them with various solvents. The drying time of the enamel applied to the painted surface is from 1 to 24 hours.

Lucky are solutions of resins in various solvents, have different names and purposes, are light and colored. They dry in 24-48 hours.

Solvents used for dissolving and diluting various thickened paint compositions to a working density, washing tools, etc.

Before painting, it is recommended that the surface be primed - coated with a certain composition -primer , which adheres well and leaves a thin film on it, on which the paint composition lies evenly. Unprimed surfaces absorb paint differently, so in some areas it will be more or less, and the color will become uneven - spots or stripes. Under oil paint the best primer is drying oil.

Various tools are used for oil work: brushes, rollers, spatulas, rulers.

brushes made from bristles and horsehair. Fly brushes have a length of a tuft of hair up to 180 mm and a stick-handle up to 2 m long.Whitewash brushes (Fig. 102, a ) have a width of up to 200 mm, a thickness of 45 ... 65 mm and a hair length of 100 mm.Maklovitsy(Fig. 102, b ) are flat brushes with a width of 25 ... 100 mm, made of high-quality bristles or badger hair. They are used to smooth freshly applied paint.

Paneled brushes (Fig. 102, d ) are designed for narrow horizontal strips (panels) or for painting hard-to-reach places.

Handbrake and flute(Fig. 102, c, g ) are universal brushes, most often used when painting surfaces with oil paints and enamels.

Trimming(Fig. 102, e ) are used for special treatment of freshly painted surfaces. Trimming is applied evenly, smoothing out the unevenness of the paint applied with a brush.

For painting large planes (ceilings, walls) applyrollers (Fig. 103). Rollers can apply a more even layer of paint than a brush, as well as perform painting work with greater productivity. A roller is made of fur or foam rubber.

Surface painting begins with the choice of interior decoration of the room, similar to the options for pasting walls with wallpaper: in one or two colors, with a border, frieze or tapestry, etc. (see Fig. 98).

Before painting, all surfaces must be repaired, dried and primed.

The quality of the painted surface largely depends on the force of pressure on the brush. If you press the brush hard enough, then the paint falls in narrow strokes or stripes. If you press too hard on the brush, paint flows off it.

Each subsequent layer of paint should be applied only on a well-dried previous one.

The direction of the strokes during coloring plays a significant role. If the wall is painted twice, then the first strokes are parallel to the floor, and when painting with the second layer, vertically from the ceiling to the floor (Fig. 104). When painting the ceiling, the strokes of the last layer are carried out parallel to the light rays falling from the window.

The junction of two paints of different colors is not always even, so the junction is painted over with an even strip of paint of a different color - a panel. The panel is carried out (taken away) along a ruler or stencil (Fig. 105).

To give the surfaces painted with oil paints even more shine and extend the life of the paint, they are varnished.

For applying various patterns to the walls, they are usedstencils . Stencils are made from thick paper. A pattern is applied to it and cut out with a sharp knife. So that the patterns do not fall out, connecting bridges (strips of paper) are left between them. For each color, they make their own stencil (Fig. 106).

Stencil drawings are done together. One worker presses the stencil to the surface, and the other moistens the handbrake in the paint so that it is semi-dry, and inflicts slight end blows on the stencil, filling the space of the pattern in the stencil with paint. After stuffing, an exact copy of the stencil pattern will remain on the surface.

When finishing with multi-color drawings, each color is stuffed with a separate brush and only after the previously filled drawing has dried.

At the end of the painting work, the brushes and rollers are squeezed out and washed in a solvent. It is allowed to keep the brush or roller lowered into the paint container for a short time.

Painting repair and construction work in residential and administrative buildings is carried out by painters. They must know well the technology of painting, be able to use paints and enamels of various compositions, own painting tools, choose the right colors when painting rooms, and follow the rules of safe work.

Rules for safe work

Paints and enamels should be stored in a special room away from heating appliances.

When painting surfaces, ventilate the room.

Do not touch your face and clothing with hands contaminated with paint.

Do not leave rags stained with paint in the room.

Do not tilt your face close to the paint container.

Wash hands thoroughly with soap at the end of work.

Frontal survey on new material.

What kind of work is called painting?

What safety precautions should be observed when performing painting work?

What is drying oil? Where is it used?

What is the difference between enamel and varnish?

What is the purpose of surface priming before painting?

What tools are used for painting?

What is a flute?

How to make stencils for drawing a picture on the surface?

Practical work.

Studying the technology of painting works

Consider the painting tools available in the training workshops (brushes, rollers, etc.). Write down the purpose of each tool in your workbook.

Come up with and depict in a workbook with paints or felt-tip pens an option for interior decoration of the room (workshops, living room, kitchen).

Make a stencil in the form of a border for applying any pattern to the surface of the wall. Check the correctness of the manufacture of the stencil by drawing with it a drawing on a sheet of a workbook.

Under the guidance of a teacher, take part in the repair painting work in the school workshops.

Summary of the lesson.

Setting and commenting marks for the lesson. At the end of the lesson, students are given a mark. Together with the students, conclusions should be drawn on the studied material.

Homework. 1) Answer the questions given at the end of § 31 of the textbook (p. 115).

2) Come up with and depict in a workbook with paints or felt-tip pens a variant of the interior decoration of the school workshop.

A single layer of paint does not provide sufficient protection for the substrate, so you need to apply several layers of paint in succession, each of which performs its own function.

Each subsequent layer should contain more pigment and less binder. For example, an emulsion from a primer is strongly diluted with water, and for a coating layer it is not diluted at all.

If the wood is dry on the surface and damp inside, when heated under the sun's rays and under other influences, water vapor will press from below on the paint coating and break it.

BRUSH PAINTING

Although recently the application of paint with a roller or with the help of paint sprayers has become more common, at home they still use a brush.

In the new round brush, you need to shorten the length of the hair with a garter, otherwise it will splatter the paint. The length of free hair is approximately 30-40 cm.

If the paint is on drying oil, the last layer is smoothed with light brush movements in a perpendicular direction. For smoothing, it is best to take a hair brush.

If a complex relief surface with various recesses is being painted, it must be remembered that too much paint should not be applied to 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 a self-adhesive tape glued to a line previously beaten off with a cord or a plumb line.

ROLLER PAINTING

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 meshes of 10-20 mm is installed in the box, through which a roller soaked in paint is passed to eliminate excess and evenly distribute the paint around the entire perimeter of the roller.

Painting works

Rice. one.
Painting tools and accessories:
1 - flywheel;
2 - flute brush;
3 - brush-brush;
4 - handbrake;
5 - panel brush;
6 - trimming brush;
7 - steel brushes;
8 - roller;
9 - metal spatula.

Painting works– finishing works associated with painting various surfaces – ceilings, walls, floors, equipment, etc. – to increase their service life, give a beautiful appearance, as well as improve sanitary and hygienic conditions in the premises. When performing painting work, various paint compositions are used, or paints containing pigments and liquid binders, both water-based and non-aqueous. Lime, cement, liquid glass and adhesives are usually used as binders in water-based paint compositions, while natural and artificial drying oils, synthetic resins and bitumen are used in non-aqueous paints. For interior decoration, the most common are glue, lime, oil, enamel, water-based paints and various varnishes. Most paints and varnishes can be purchased in stores ready-made or in the form of semi-finished products, but some are easy to make yourself. From other materials, paint thinners (,), as well as auxiliary painting mixtures - primers, putties and lubricating pastes will be required for work.

The main operations during painting work: cleaning and leveling (smoothing) the surface, applying a primer, lubricating defective areas, puttying and grinding, actually painting and finishing the surface. In some cases, all kinds of artistic finishes can be attributed to painting work: spraying, rolling a pattern with a roller, textured painting, stencil painting, etc. Only with the right work can you get durable coatings that will last a long time.

Tools and fixtures. To perform painting work, various (including special) tools are required, the main of which are shown in Fig. 1. To apply paint compositions and primers, brushes, rollers, spray guns (spray guns) and spray guns are used.

Paint brushes are usually made from bristle, horsehair, or a mixture of bristle and hair (the most common); Depending on the purpose, they come in various sizes and shapes.

Fly brushes, having long hair, are used mainly for painting large surfaces - walls, ceilings. The industry produces fly brushes, both requiring a special garter (so that the hair does not fall out), and ready-made, the hair of which is strengthened in a metal ring with a handle (the diameter of the finished brushes is 60-65 mm, the length of the hair is about 100 mm). To tie the brushes (Fig. 2), first, a loop is made of twine 2-3 mm thick so that one (short) end of it has a length of 50-60 mm, put the loop on the brush, stepping back from its end by 10 mm, and tighten it tightly . Then the short end of the twine is pulled along the hair bundle, and the long end is wrapped around the brush for a length of 50-60 mm, a loop is made and the ends are tightened. The tied brush is tightly planted on the handle - a sharpened round folder (pin), the end of which is pointed in the form of a pyramid so that the brush does not rotate on the pin. Before work, the finished flywheel should be wrapped (tied) with strong twine so that the length of the free hair is 70-90 mm (when working with water-based paints) and 50-70 mm (when using oil and enamel). A tied brush becomes more elastic, rubs better and is less clogged with paint. As the hair wears out, the strapping should be gradually reduced. During staining, the fly brush is held perpendicular (or at a slight angle) to the surface, while making uniform waves with the hand and covering the surface with long wide stripes (the so-called strokes), which are shaded in the course of work. The pressure on the brush during the stroke should increase as the paint is used up. They hold the flywheel with either two hands on the pin and drive it in full swing, or hold the pin firmly with the left hand, and drive it with the right hand; while the right hand slides along the pin, then approaching the left hand, then moving away from it. The paint is applied to the wall with both horizontal and vertical strokes, blending them well (Fig. 3). So that the paint composition does not flow onto the hands, the pin is wrapped 30-50 cm below the brush with a rag or foam rubber in the form of a roller.

When painting with chalk and lime compositions, instead of fly brushes, it is recommended to use wide whitewash brushes and brushes, characterized by high productivity and allowing to obtain high quality coloring. Surfaces painted with these brushes do not need to be flattened.

Handbrakes - small brushes with a short wooden handle; are intended mainly for painting small surfaces - window frames, doors, radiators, baseboards, etc. They are used in cases where it is impossible to do the job with large brushes, as well as when painting with oil paints. Handbrakes are made either entirely from semi-spinal bristles, or with a 50% addition of horsehair; their diameter is from 25 to 55 mm. The bristle (hair) can be fixed directly in the hole of a wooden handle (using glue), in a metal cartridge (clip) or in a thick metal ring. There are handbrakes that have voids between the bristle layers; this is done so that the brush springs better and picks up more paint. Brushes with bristles “on glue” should not be used for coloring with glue and other water-based compositions - in order to avoid soaking the glue and hair loss. Before starting work, the handbrakes, as well as the flywheels, must be tied up, leaving a hair no more than 40-45 mm long (when using glue paint) and 30-40 mm (for handbrakes of medium size - when painting with oil). The paint is picked up with a handbrake in small portions, immersing the brush by 10-20 mm, and applied with wide, even strokes, followed by shading with a thin layer, first in one and then in the other direction. The handbrake is held so that the hair of the brush works not with the end, but with the side part (Fig. 4, pos. 1). In this case, the pressure should be so strong that the hair slightly arches.

Flutes - flat brushes with long, thin and elastic hair; are made of high-quality semi-spinal bristle or badger hair with a width of 25 to 100 mm. They are mainly used for smoothing (flatting) freshly applied paint - removing stripes, clots, translucent areas and other defects, but can also be used for painting various surfaces to obtain a smooth, glossy finish. The freshly painted surface is fluted with the ends of the brush along the last shading. The flute should be carried over the paint layer with little or no pressure, with the very tip of the hair (Fig. 4, pos. 2). In the process of fletching, the brush is impregnated with a coloring composition, so it must be regularly wrung out and wiped with a rag. You can only flatten with a dry brush, so after washing, the flutes must be thoroughly dried.

Panel brushes from hard bristles are produced with a diameter of 6, 8, 10, 14 and 18 mm and are designed for applying narrow strips of paint (so-called panels), as well as for painting surface areas that are not accessible to the handbrake. If necessary, panel brushes are also tied.

Trimmers - rectangular brushes made of hard spinal bristles, reinforced in a wooden block with a handle (block size 154 × 76 mm). Serve for processing a freshly painted surface "under the shagreen". Trimming is applied with weak uniform blows so that the hair of the brush only slightly touches the paint (Fig. 4, pos. 3). From blows, the paint is leveled, forming a coating with a rough surface (in the form of tiny tubercles). It is not recommended to hit the same place more than once with a crosscut: after the paint dries, these places will stand out. Coatings of glue and oil paints are usually trimmed, always with a clean and dry brush, so during work the brush often has to be wiped with a dry cloth. After washing, the trim should be dried well. (In the absence of a special brush for trimming, a regular clothes brush can also be used.)

In the course of work, all brushes wear out. To ensure uniform abrasion of the hair around the entire circumference of the brush, when dyeing, it must be rotated from time to time, turning different sides to the surface to be painted.

For priming and painting smooth (non-relief), large surfaces (for example, walls, ceilings, door panels), instead of brushes, special rollers are used, with which you can apply any paint compositions. The roller is a wooden, plastic or duralumin cylinder, covered on top with a removable cover made of fleecy fabric, fur or foam rubber, freely rotating around the axis of the handle-holder, to which it is attached with a nut. Roller diameter from 40 to 70 mm, length from 100 to 250 mm.

To work with a roller, the paint composition is poured into a bucket or a special tray, into which it is necessary to insert a mesh on a frame or a steel sheet with punched holes to squeeze out excess paint collected by a roller. Having dipped the roller in the paint, it is rolled over the grid, brought to the surface and pushed in the right direction with pressure (Fig. 5). The paint must be carefully shaded, for which the roller is rolled several times in the same place (on the walls, usually first from top to bottom, then from bottom to top), applying stripes of paint (the so-called lases) one on top of the other so that they overlap by 40-50 mm. Excess paint collected by the roller is transferred to the unpainted part of the surface. As the paint is used up, the pressure on the roller is increased; at the same time, it is necessary to ensure that no streaks remain during the staining process. Roller painting is usually performed 1-2 times. Since the roller (compared to brushes) does not rub the paint into the surface so much, it is not recommended to use it for painting textured surfaces, as well as if they have cracks, potholes and other minor defects.

Water-based paints can be conveniently and quickly applied using various sprayers, such as a spray gun, a garden sprayer or a spray gun included with a vacuum cleaner. Before spraying, the paint composition must be carefully filtered.

When preparing surfaces for painting, you need to have a spatula - for applying and leveling putties, pastes and some other purposes; scraper, bream (pieces of brick made of white refractory clay), pumice or sandpaper- for cleaning and grinding surfaces, removing old paint; steel brushes - for cleaning metal products from rust.

For work, you will also need a wooden ruler (for marking, removing panels), a chopping cord with a hanging load, a level, a folding rule, a knife, a chisel, as well as various containers (basins, buckets, etc.) - for preparing and breeding paint compositions and primers, a frequent sieve or gauze - for filtering them. Enamelware is the most convenient: it does not rust, does not collapse as quickly as galvanized, and is easy to clean. To protect against premature destruction, utensils made of galvanized or black steel are preliminarily coated with oil paint 2-3 times (after each painting, the utensils must be dried for at least 2 days).

At the end of the painting work, the dishes and tools must be thoroughly washed. Adhesive and other water-soluble paints are easily washed off with warm or hot water. The inventory is first cleaned of oil and enamel paints with kerosene, turpentine or white spirit, and then washed with a weak soapy or soda solution (after removing the temporary strapping from the brush) until the water stops staining. It is not recommended to use gasoline and acetone for washing brushes, as they dry the hair and make it brittle. The washed brushes are squeezed out of excess water and dried in a suspended state with the hair down, giving the hair the shape of a torch and lightly tying it with twine or gauze so that it does not diverge to the sides when it dries.

All paint and varnish materials and solvents should be stored in hermetically sealed containers.

Preparation of surfaces for painting. Painting work begins with the inspection and preparation of surfaces. The list of the main preparatory operations and their sequence when finishing the room depend mainly on the surface material, the choice of paint composition, and also on what kind of finish is expected - simple, improved or high-quality (table).

List and sequence of basic operations when painting walls and ceilings

Operations	Type of finish
Operations	simple	improved	high quality
Surface cleaning	+	+	+
Surface Smoothing	+	+	+
Cutting and jointing of cracks and other defects		+	+
First priming	+	+	+
Lubrication of defective places		+	+
Sanding smudged areas		+	+
Solid putty			+
Sanding the putty surface			+
Second priming		+	+
First coloring	+	+	+
Flaming			+
Second coloring	+	+	+
Flattening or trimming		+	+

New plastered and concrete surfaces must be leveled (smoothed) before painting; they are cleaned with pumice, bream or sandpaper, removing bumps and roughness. Cleaning is carried out on dry surfaces. If there are cracks in the plaster, they are “embroidered”, that is, grooves with a depth of at least 3 mm (usually triangular in section) are cut out with a knife or a metal spatula along the cracks, cleaned of plaster residues, moistened with water and filled with a plaster mortar or a specially prepared lubricant. paste of chalk and gypsum, after which it is well dried and overwritten.

In preparation wooden surfaces first, it is necessary to cut down all the knots, dowels, resins in the wood to a depth of about 3 mm, to cut the cracks; then prime the surface and, after drying, apply putty or lubricant paste to the defective places, dry the leveled surface again and clean it. If knots, dowels are not removed and nails are not drowned, then when the wood dries out, they will protrude above its surface; as a result, the paint in these places will crack and flake off.

Training metal surfaces painting is reduced mainly to cleaning them with a metal brush from rust, dirt and subsequent priming.

Preparing earlier painted surfaces(this applies primarily to walls and ceilings) begin with the removal of whitewash - an old, usually thick layer of paint, cutting cracks, eliminating stains, chips and other plaster defects. Old stains and heavy dirt are abundantly moistened with hot water and scraped off with a scraper. If the nabels are difficult to remove, they are moistened with a 2-3% hydrochloric acid solution; the paint swells, after which the surfaces are washed with water.

Stains of rust and soot on plastered surfaces are treated with hot grass - vitriol solution (for 1 liter of water - from 50 to 100 g of copper sulfate); oily stains - hot 2% soda solution. Rust stains can also be removed with a paste consisting of 1 part sodium citrate dissolved in 6 parts water with chalk or glycerin added, or washed with hot concentrated oxalic acid. If the stains on the plaster cannot be eliminated by the indicated methods, then they should be painted over with whitewash or oil paint.

Sooty surfaces are recommended to be washed with a 2% solution of hydrochloric acid, then with clean hot water and primed after drying. In case of severe contamination, after washing with acid and water, the surfaces are rubbed with a lime mortar prepared on fine sand.

Leak stains on the ceiling are best treated in one of the following ways:

wash the stain with water, dry, cover with white enamel or zinc white, then putty and proliferate before painting;

after drying, cover the stain with a hydrophobic putty prepared on the basis of an ordinary oil-chalk putty with the addition of a hydrophobic liquid (such as GKZH-10 or GKZH-11);

wash the stain with grass (see above), putty and dry.

To destroy mold on plastered surfaces, the affected areas should be smeared several times with a 15% solution of salicylic acid in denatured or pure alcohol, or with penicillin diluted in saline or novocaine.

Efflorescence (white salt deposits on paint or plaster) is usually removed with a wire brush, washed with a weak solution of hydrochloric acid, which is washed off with water.

When repairing surfaces previously painted with oil paint or other non-aqueous compounds, loose or weakly adhering layers of paint are scraped off with a spatula. If the old paint holds firmly, it is cleaned with a sandpaper, the contaminated surfaces are washed with warm soapy water, and in case of significant pollution - with solvents (turpentine, kerosene, gasoline); defective places close up with putty. If there are many defects on the old coating, then it has to be removed completely. In this case, the surface is best treated with special chemical compounds - washes (See about them in the article). Oil paint can also be softened with a 2:1 mixture of ammonia and turpentine. The composition is applied to the surface with a paint brush, after softening the paint is cleaned off with a spatula or scraper, the surface is washed and dried.

To remove the old varnish coating, a paste consisting of ammonia and soap is applied, the surface is wiped with a rag, while the varnish is removed along with the paste.

Before painting surfaces over old oil paint, newly plastered or puttied places should be pre-coated 1-2 times with paint of the same color as the old one, otherwise these areas will stand out due to uneven absorption of drying oil, which is part of the paint, and in addition, one-color the surface is easier to paint. Instead of pre-painting, puttied places can be covered 2-3 times with a primer (primer).

Surface priming- one of the main operations that is carried out to create an additional layer that provides strong adhesion of the paint to the surface. Forming a thin waterproof film on the surface, primers also provide uniform absorption of the paint composition, which makes it possible to obtain an even, uniform coating. Without priming, it is impossible to perform high-quality painting.

Depending on the quality of the surface, the primer is applied in one or more layers. Only dry surfaces are primed; each new layer of soil is applied on a well-dried previous layer. The last coat of primer should be carefully shaded, as otherwise streaks will remain on the treated surface, affecting the purity of the color. If the staining is supposed to be done at one time, then the shading of the primer and paint should be carried out in opposite directions: primers - with horizontal strokes, and paints - with vertical strokes. Strokes, intersecting, will allow you to get a more even color of the surface.

As a rule, primers have a strictly defined purpose, for example, only for adhesive or lime paints, but there are also universal ones.

Primer-soap maker. For 10 liters of the composition you will need: 2-3 kg of lime dough or 1-2 kg of boiled lime (lumpy quicklime), 200 g of laundry soap (40%), 100 g of drying oil and water. The soap is cut into small chips and dissolved in 2-3 liters of boiling water. Drying oil is added in a thin stream to hot soapy water, after which it is thoroughly mixed until a homogeneous composition (emulsion) is obtained. The resulting soap-oil emulsion is slowly poured into the lime paste, after thorough mixing, the mixture is diluted with water and filtered through a fine sieve. If boiled lime is used, then it is quenched in 5 liters of water and, during quenching, the emulsion is gradually added to the solution, stirring continuously. Oil drops should not float on the surface of the finished primer.

When processing strongly smoked surfaces in the composition of the soap maker, it is necessary to increase the content of soap by 2 times and drying oil by 3-4 times.

The soap-making primer is suitable for both lime and adhesive compositions (provided that alkali-resistant pigments are used in the paints), however, it is better to prepare a vitriol or alum primer for adhesive painting.

vitriol primer. For 10 liters of composition: 100-150 g of copper sulfate, 250 g of laundry soap (40%), 200 g of dry wood glue, 25-30 g of drying oil, 2-3 kg of sifted chalk. First, copper sulfate is dissolved in an enamel bowl in 3 liters of boiling water. In another bowl, glue is boiled in 2 liters of water; soap is dissolved separately in 2 liters of water, poured into the glue and mixed thoroughly. In a hot soapy-adhesive liquid, the drying oil is gradually introduced with constant stirring, and then a solution of copper sulphate. After cooling, chalk is added to the resulting mixture and topped up to a volume of 10 liters. The prepared primer (a homogeneous liquid of a greenish-bluish color) is filtered through a frequent copper sieve or several layers of gauze and poured into a wooden or enamel bowl for storage.

Alum primer. For 10 liters of composition: 150 g of potassium alum, 200 g of laundry soap (40%), 200 g of dry wood glue, 25-30 g of drying oil, 2-3 kg of sifted chalk. Dissolve alum in 3 liters of boiling water, and glue in another container (in 2-3 liters of boiling water). Soap is also better to dissolve - separately in 2 liters of hot water. Pour soap solution into the glue solution, mix and add drying oil. Then pour alum solution into the resulting emulsion with constant stirring, cool, add chalk and dilute with water to the specified volume, then mix the primer thoroughly and strain.

Priming water compositions are applied with fly brushes in 1-2 layers. In the process of priming, the brush must be moved sequentially, first in one (for example, longitudinal), and then in the other (transverse) direction. If dark stripes or spots remain after the primer dries, the surface is primed again. It is possible to cover the primed surface with color only after the primer has completely dried (in about a day).

If the surfaces are heavily smoked and they have to be primed 2-3 times, the first priming is performed with a strong (concentrated) hot composition with a temperature of 70-80 ° C, the second - with a slightly weaker concentration of a warm composition (40-50 ° C); for the third layer, an even weaker composition is used, slightly lukewarm or cold. Lowering the temperature is necessary so that each subsequent primer cannot “melt” the previously applied one. Primers of different concentrations are obtained by increasing or decreasing the amount of water or the amount of vitriol, alum and chalk, respectively, against that indicated in the recipe. It is recommended to store primers for adhesive painting no more than 2 days from the moment of preparation.

AT as a primer for oil painting when processing metal, plastered and wooden surfaces, drying oil is used in its pure form or with the addition of a small amount of pigments or grated paint. Coloring agents are added to drying oil in order to see gaps and other errors in the primer during work and correct them in time. In order for drying oil to penetrate deeper into wood or plaster, it is heated, then pigments are added, mixed and applied to the surface for 1-2 times.

In the case of an improved or high-quality finish, the surface is first primed, puttied, then thoroughly oiled before painting, or (preferably) primed again with liquid oil paint of the same color as the main composition. To do this, thickly grated oil paint is diluted with natural drying oil in a ratio of 1: 1 (2). Drying oil is poured into the paint, everything is thoroughly mixed and filtered through a fine sieve. Sometimes the RS-2 solvent is introduced into the primer (up to 100 g per 1 kg of drying oil).

grease defective areas also refers to the preparatory operations preceding painting, and consists mainly in sealing cracks, potholes and other small irregularities on the surface. Special pastes used for this purpose, as well as primers, are prepared on their own, depending on the type of paint composition used. Pastes are applied to cut cracks with a spatula, leveled, after drying, the surface is cleaned (grinded) with a piece of pumice stone or sandpaper and, if continuous puttying is not required, they proceed to re-priming.

As a lubricant paste for adhesive coloring, it is recommended to use the following compositions.

Gypsum paste on glue: gypsum (1 kg), chalk (2-3 kg), 2-5% solution of wood glue (until a working consistency is obtained). Gypsum and chalk mixed together. Pour the glue solution into a baking sheet, while stirring, pour in a thin stream of the gypsum-melon mixture, then mix everything thoroughly until a homogeneous mass is obtained. The density of the paste can be adjusted by adding a gypsum-melt mixture or an adhesive solution.

vitriol paste. It is prepared on the basis of a gypsum-melt mixture (composed in a ratio of 1: 2) and a vitriol-adhesive emulsion obtained by adding a 10% glue solution to the vitriol primer (150 g of glue per 1 liter of primer). Gradually introduce the gypsum mixture into the emulsion with constant stirring, bringing the mass to a paste-like consistency.

For oil painting, it is best to use an oil-adhesive paste consisting of drying oil (1 kg), a 10% solution of wood glue (100 g), and chalk (2.5-3 kg). While stirring, slowly pour drying oil into the prepared hot adhesive solution, then pour chalk into the resulting emulsion in a thin stream and mix everything thoroughly. The density of the paste is adjusted by adding chalk or emulsion.

Solid spatula. The surfaces to be painted are not always smooth, so they have to be leveled with putty. The special compounds used for this purpose - putties - should have the consistency of loose dough (thick putties are difficult to level).

Putties on animal (bone) and vegetable glues are recommended for glue coloring. Widely used adhesive putty, which includes a 10% solution of bone glue (1 kg), drying oil (25 g) and dry chalk sifted through a fine sieve (about 2.5 kg). Drying oil is poured into the hot adhesive solution in a thin stream and mixed until a homogeneous emulsion is obtained. Chalk is kneaded on the emulsion, the amount of which is determined by the density of the putty. To facilitate leveling the putty on the surface, 15 g of laundry soap can be added to the composition; it is cut into thin chips, placed in a hot adhesive solution (before the introduction of drying oil) and continuously stirred until the soap is completely dispersed.

Putty on vegetable glue: 5% adhesive solution (1 kg), drying oil, preferably natural (30 g), sifted dry chalk (about 2.5 kg). A 5% paste is prepared from flour or starch; in a hot paste with constant stirring, first add drying oil, and then chalk, bringing the putty to a working density.

Adhesive putty with primer: 10% glue solution (150 g), vitriol or alum primer (900-1000 g), chalk (about 2.5 kg). The vitriol primer is mixed with an adhesive solution and chalk is kneaded on the resulting composition.

Under oil paints and enamels, semi-oil or oil putties are used. Semi-oil putty on natural drying oil it consists of 1 kg of drying oil, 250 g of solvent (turpentine), 50 g of a desiccant, 200 g of a 10% glue solution, 20 g of liquid soap and about 2.5 kg of sifted chalk. First, a soap-adhesive solution is prepared, drying oil is poured into it with thorough mixing, then a solvent, a desiccant, and chalk into the resulting emulsion. Semi-oil putty can also be prepared on drying oil Oksol; in this case, no solvent should be added to the putty.

Oil putty obtained by mixing natural drying oil (1 kg) and desiccant (100 g), followed by the addition of dry sifted chalk to the desired density. This putty is characterized by slow drying, but has increased strength. It is recommended for use in preparation for painting floors, window casings, window sills, exterior doors and other surfaces exposed to moisture.

As putties for alkyd paints, you can also use ready-made compounds produced by the industry: pentaphthalic putties PF-002 and PF-0044 - for filling wooden and oiled surfaces, Karbolat, Polyplast mastic and some others. When preparing surfaces for painting with nitroenamels, nitrocellulose putties are used (for example, NTs-007 and NTs-008).

Putty is usually applied with a wooden or metal spatula. They take a spatula in their right hand, take a small portion of putty with it and spread it on the surface; then press the spatula blade with the left hand and level with vertical or horizontal movements, holding the spatula at an angle to the surface (Fig. 6). The stronger the pressure, the thinner the layer of putty. Bindings, platbands, as well as various bottlenecks (in cases where it is inconvenient to work with a spatula) are smoothed out using hard rubber strips of the desired width with evenly cut or curly edges.

Depending on the quality of the surface, puttying has to be done from one to three times. After applying each layer of putty, the treated areas must be cleaned with sandpaper or pumice. It is better to apply the second layer of putty on a previously primed and dried surface - it lays down in a thinner layer, and besides, it is easier to putty on the primer. To clean the putty, the sandpaper is folded in several layers and rubbed with it in different directions. It will be more convenient to work if you wrap a wooden block with sandpaper. The remaining roughness, scratches are corrected by repeated puttying and cleaning (grinding). Cleans putty surfaces both dry and wet. Dry grinding is used for adhesive putties, wet - for semi-oily and oily.

In terms of surface finish, wet processing is generally superior to dry processing. The sanded surface is re-primed, allowed to dry and proceed to painting.

Preparation of paint compositions. Coloring. When performing painting work, paint compositions are used that are ready for use (factory production) or prepared independently from dry building paints, chalk, lime, water, etc. There are simple and complex paint compositions. Simple ones are obtained by mixing one pigment (for example, minium, ocher, mummy) with a binder. To obtain a complex color (colour), several pigments are usually required, which are mixed together in certain proportions. So, to get a beige color, mix chalk, cinnabar, umber. To give whiteness to chalk compositions, a little ultramarine is added to chalk, which has a pure yellowish tint. Compositions containing more than one pigment are called complex.

Not all pigments can be mixed with each other. Do not mix: zinc white with mercury cinnabar, barite yellow, zinc yellow and azure; white lead with lithoponic, mercury vermilion, barite yellow, zinc yellow, ultramarine; lithoponic white with zinc, yellow crown, lead chromium green, cobalt violet; titanium white with azure; crown yellow with mercury vermilion and barite yellow; zinc yellow with cobalt blue, violet, ultramarine, etc. Violation of this condition reduces the quality of the color, as it leads to a rapid change in the color of the coating. With all paints, you can mix chromium oxide, ocher, mummy, umber, iron minium, sienna, emerald green, malachite, burnt bone.

To obtain a high quality paint composition, you must strictly follow the technology of its preparation. All materials included in the composition must be pre-sifted through a fine sieve; before use, it is desirable to strain the finished composition. Pigments should not be introduced into the binder in dry form, as they do not always mix well and the remaining small grains can be shaded under the brush, leaving streaks on the painted surface. Dry paints are recommended to be diluted with water to the density of liquid sour cream, let stand for 1-3 days, stirring occasionally, then strain through a fine sieve and only then add to the composition.

Painting compositions are conditionally divided into water (lime, adhesive, silicate, etc.), water-based, oil and enamel.

Aqueous paint compositions are intended mainly for painting walls and ceilings. To give such compositions the necessary strength, they are fixed (or, as they say, glued) by adding glue, drying oil or table salt. White water-based paints are commonly referred to as whitewashes.

When self-preparing an aqueous paint composition, it is required to check it for the selected color, density and gluing. To check the color, you need to apply a small amount of the composition to a piece of glass or tin and dry it over a fire, then determine the color and, if necessary, add the missing pigments to the color scheme. To check the composition for density, a stick is immersed in it, after a while it is removed and held vertically. Density is considered normal if the stick is painted with an even continuous layer, and the excess composition flows down in a thin continuous stream. You can check the density and others in a different way. On a piece of clean, dry glass, apply a drop of the composition, put the glass vertically. If at the same time a drop flows down to 2-3 Look, then the composition has a normal density. To check for gluing, a trial coloring is done. With an excess of fixing material after drying, the paint film cracks and moves away (flakes off) from the painted surface; with a deficiency - the applied paint is shallowed (dirty).

- (from it. Mahler painter) application of paint compositions on the surface of structures 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. AT… … Great Soviet Encyclopedia