Introduction
Coloring with lime compositions. The ceiling is painted in two steps. I cover the surface with a brush! lime composition in the direction of the light flux, starting from the window. When the first coat of paint is dry, the second coat is applied in the same direction. Painting can also be done with a pneumatic paint sprayer, after moistening the surface. The wall is painted with a large brush, starting from the top, first in the horizontal direction, and then in the vertical direction. For painting corners and ceiling-wall transitions, use a smaller brush. Walls can also be painted with a spray gun.
When compiling a color scheme, it is necessary to prepare the composition for the entire surface to be painted, since it is very difficult to choose a color scheme to match. It is good to check the selection of colors and shades on a piece of glass, drying it over low heat.
Coloring with adhesives. Whitewashing the ceiling with an adhesive composition is also carried out in two steps. The walls are painted when the ceiling is completely dry. Adhesive coloring is best used warmed up so that it lays evenly on the surface.
Instead of a brush, when painting the ceiling, you can use an airbrush or spray gun, which is included in the vacuum cleaner kit, and a roller can be used to paint the walls. Before painting with an airbrush or spray gun, the adhesive paint must be carefully filtered.
Staining with casein compounds. Casein coloring is carried out on well-dried plaster in the same way as with adhesive compositions. The prepared casein color should be used during the working day, as after a day it loses its adhesive ability.
Painting with water-based compositions. When painting ceilings and walls with these compositions, brushes, rollers, spray guns can be used. Before use, the paint must be thoroughly mixed, and if it thickens, dilute with water. The paint should be applied to the surface in two layers. To change the white color of the paint, you can use an organic pigment, which must first be dissolved in water, and then added to the paint and mixed thoroughly.
Technological sequence of work
Technological operations performed during the preparation and painting of indoor surfaces with oil, enamel and synthetic paints
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Type of coloring |
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Technological operations |
improved and high quality |
improved and high quality |
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on wood |
for plaster and concrete |
for metal |
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1. Cleaning | ||||||
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2. Surface smoothing | ||||||
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3. Cutting out knots and resins with grouting | ||||||
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4. Jointing of cracks | ||||||
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5. Priming (pro-oiling) | ||||||
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6. Partial lubrication by grinding lubricated areas | ||||||
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7. Priming of greased places | ||||||
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8. Solid putty | ||||||
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9. Sanding | ||||||
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10. Priming | ||||||
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11. Flattening | ||||||
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12. Sanding | ||||||
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13. First coloring | ||||||
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14. Flattening | ||||||
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15. Sanding | ||||||
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16. Second coloring | ||||||
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17. Flanging or trimming | ||||||
Organization of labor and workplace
Labor productivity, profitability of work, the quality of painting finishes and the safety of performing certain operations to a large extent depend on the proper organization of labor and production culture.
The most progressive form of labor organization in production painting works is the scientific organization of labor (NOT) in relation to the conditions and structure of a particular finishing organization. Each construction finishing organization draws up a NOT plan for the types of painting work.
Labour Organization. When organizing a workplace, they are guided by the project for the production of works, technological maps and maps of labor processes for painting work, developed taking into account the scientific organization of labor.
With the brigade method, a complex-mechanized brigade, consisting of 20 ... 25 people, is divided into several links, and each link is assigned certain operations.
By performing these operations sequentially, that is, moving one after the other, the links form a continuous stream (With such a division of labor, it is possible to entrust the performance of individual simple operations to low-skilled workers who will gradually improve their skills.
In a team consisting of 20 people, work is usually organized as follows: unit No. 1, consisting of 3 painters - cleans surfaces, primes them; link No. 2 consisting of 5 painters - priming surfaces and continuous puttying for 2 times on plaster; link No. 3 consisting of 3 painters - prepares all joinery for the last painting; link No. 4 consisting of 4 painters - prepares the walls for painting and performs the first painting of surfaces with paint; link No. 5 consisting of 2 painters - performs painting with water compositions; link No. 6 consisting of 3 painters - performs the last painting of all surfaces.
According to another method, painting work is carried out by units of 2-3 people, each of which completely finishes the premises assigned to it.
Mechanized processes are carried out by painters who are part of the relevant units.
Painter's hand tools
The multi-operation process of painting works requires a variety of tools and devices.
Spatulas (Fig. 109) wooden, steel, rubber and plastic are designed for applying, leveling the putty layer on surfaces prepared for painting.
To level the putty applied mechanized, special spatulas are needed for walls (Fig. 110, o, c, d) and ceilings (Fig. 110, b).
Paint brushes correspond to the type of work: flywheel (Fig. 111, o) - for priming, whitewashing, as well as painting walls, ceilings, floors, roofs. Work with flywheels with two hands; maklovitsa (Fig. 111, b) - for washing, priming, whitewashing and painting surfaces with two hands; handbrakes are round and flat (Fig. 111, c, d) - for priming and staining with one hand; curly brushes (Fig. 112, a) - for painting heating radiators, as well as the back side of radiators and walls behind them (Fig. 112, b); stencil brushes are round and flat (Fig. 113, a, b) - for working on a stencil, they have short and hard hair; panel brush (Fig. 113, c) - for drawing out thin lines.
Finishing of painted surfaces is carried out: with a trimming brush made of short hard hair (Fig. 114, o).
Roughen the painted surface with a dry brush; flat and round flutes (Fig. 114, b, c) with long soft hair without pressure smooth the freshly painted surface, removing strokes and strokes.
Rice. 109. Spatula a - wooden; b - steel; s - rubber; g - plastic
Rice. 110. Special spatulas a - with a flexible insert for smoothing the layer on the walls; b - with a tray for leveling and collecting excess putty from the ceilings; in - combined for walls; g - with a bath for walls
Rice. 111. Brushes a - flywheel; b - maklovitsa; c - round and flat handbrakes
Rice. 112. Curly brushes in - for painting the back side of radiators; b - walls behind radiators
Rice. 113. Stencil brushes [a, 6] and panel brushes (c)
Rice. 114. Brushes for finishing the paint layer a - trimming brush; b, a - flat and round flutes
Rollers are a tool for painting flat surfaces. For water-adhesive paints, foam-coated rollers are used (Fig. 115, a), for oil and water-adhesive paints - with fur coating (Fig. 115, b, c). The coloring of concave corners (husks) with oil and water-adhesive compositions is performed with a corner roller (Fig. 115, d).
For painting curly surfaces and hard-to-reach places, devices are used for painting pipes, their back side, balcony and lattice railings and the ends of window frames and door panels (Fig. 116).
Rice. 115. Rollers a - foam rubber; b - fur with a short handle; corner with fur coating; c - the same, with a long handle; G
Rice. 116. Devices for painting a - the back side of pipes; b - pipes; in - lattice fences; g - ends of window frames and door panels; 1 - ejector; 2 - fixed clip; 3 - movable clip with a foam plate; 4 - sliding rollers; 5 - earring; 6 - bracket; 7 - compression device; 8 - foam rubber
Heating radiators and window casings, when performing painting work in a mechanized way, are protected with light portable screens (Fig. 117, a, b).
Rice. 117. Protective devices a - a screen for heating radiators; b - the same, window bindings; c - for painting skirting boards
Rice. 118. Containers for paint composition and ruler a - a bucket with a clamping device for brushes; b - bath with a grid; c - wooden ruler for layering panels
Rice. 119. Inventory for painting works a - a three-wheeled cart; b - a manual container for storing putty and tools; c - brush holder
Careful and careful handling of hand tools, fixtures and equipment contributes to improving the quality and productivity of the painter.
Care of brushes and rollers. New, unused brushes are soaked in warm soapy water (Fig. 120) for about an hour so that the hair swells and does not fall out during coloring. Then they are washed and dried.
Rice. 120. Soaking brushes in warm soapy water
Tying begins by placing a loop of short twine on the end of the bundle. The ends of the loop are tied on the handle under the clip (Fig. 121, a-c). A marine knot is tied from the long end of the twine (Fig. 121, d), the loop of which wraps around the bundle (Fig. 121, e). The short end of the knot is raised to the top of the bundle, forming a loop (Fig. 121, e), and the bundle of the brush is tied with the long end of the twine.
Rice. 121. The sequence of tying the brush with twine 1 - short end; 2 - long end; 3 - loop
Coils of twine during knitting are upset down to the clip; completing the knitting, the long end of the twine is inserted into the loop (Fig. 121, g, i) and the short end is pulled by the handle under the clip (Fig. 121, j).
The bundle of the brush, intended for working with non-aqueous paint compositions, is tied tighter than for water, and the working part of the bundle is left shorter. As the beam wears out, the strapping is reduced so that the length of the working part of the beam remains constant.
The cone-shaped beam (saig) of the brush (Fig. 122, a) allows you to get the best quality of coloring. To do this, first work with a new brush on a rough surface (priming), and after that it is used for painting.
Before painting (Fig. 122, b, c, d), the end of the beam is dipped into the paint composition, squeezing the excess against the container wall and turning
Rice. 122. Brush with a cone-shaped beam (a) - general view; brush development (b-r); b - dipping into the paint composition; c - squeezing out excess; d - turn the brush to evenly distribute the paint composition so that its bundle is evenly saturated with the paint composition for half the length.
Rice. 123. Care of brushes after work with water-based paint compositions a - squeezing out excess; b - temporary storage on the grid; a - the same, in limbo; 7 - grid; 2 - water; 3 - pendants
Rice. 124. Care of brushes after work with non-aqueous paint compositions a - squeezing out excess; b - solvent bath
Rice. 125. Tray for storing rollers and brushes
During short breaks in work, excess adhesive and water-dispersion or other paint compositions are squeezed out from the brush (Fig. 123, a). Then the brushes are placed in open vessels filled with water (Fig. 123, b), on a grid or suspended.
During breaks in painting with oil and other non-aqueous compounds, the brushes are squeezed out (Fig. 124, a) and placed in a tray with clamps (Fig. 124, b) filled with a solvent.
During long breaks in work, the rollers and untied brushes are washed with water after aqueous colors, and after non-aqueous colors - with a solvent and hot water and cleaned in a bath (Fig. 125), filled with water or solvent.
During storage, the flywheels, handbrakes and maklovits are dried and hung or placed with a bunch up (Fig. 126, a), and the rollers are installed with handles in the nests of the racks (Fig. 126, b).
Rice. 126. Storage of brushes (a) and rollers (b)
materials
properties of building materials.
Painting or paintwork materials are compositions that are applied to the surface to be trimmed in liquid form, in thin layers, and which form a thin protective film. Strongly adhering to the base. Painting materials have a number of properties characteristic of all building materials in general. But it is they that make it possible to give building materials the protective resistance of the surface being trimmed.
These are physical properties (density. Porosity, water absorption, humidity, moisture loss, frost resistance, thermal conductivity, color, gloss, light resistance, weather resistance).
Mechanical properties (strength, elasticity, plasticity, brittleness, hardness, abrasion, elasticity). Chemical properties (acid resistance, alkali resistance, water resistance, oil resistance, corrosion resistance, toxicity)
Paint formulations include water and non-aqueous pigments and binders. In aqueous paint compositions, lime is used as a binder, cement, liquid glass, various adhesives, in non-aqueous - natural and artificial drying oils, synthetic resins, bitumen, etc. Binders determine the type of painting (adhesive, oil, synthetic) and its scope.
Adhesive compositions usually paint walls and ceilings indoors with normal humidity. More versatile synthetic, silicate, water-based paints. They are used for finishing any kind of surfaces except metal. They reliably protect structures and products in conditions of variable temperature conditions and exposure to aggressive environments.
After drying and hardening, the applied paint compositions form a protective film firmly adhered to the surface to be painted.
Classification of paint compositions
Painting compositions are classified according to the type of film-forming substance and the operating conditions of the coatings.
According to their purpose, the following types of paint compositions are distinguished in the coating: primers that ensure adhesion of the coating to the surface; putties and lubricating pastes that level the surface to be painted; paint compositions that give surfaces decorative, protective and technical properties.
The alphanumeric system for designating the main paint compositions consists of five groups of signs for paints, enamels, primers, fillers and four groups of signs for varnishes.
The first sign - the full word - denotes the composition group (paint, varnish, enamel, primer, putty).
The second character (two capital letters) shows the film-forming substance (kind of resin, copolymer, drying oil, etc.). If the composition includes a mixture of film-forming substances, then the second group of characters is designated by the type of film-forming substance that determines the main properties of this composition. Between the second and third groups, an index is placed that determines the type of paint composition (for water-based, water-borne, powder, organo-silicate, etc.): B - without active solvent, C - water-borne, OD - organodispersed, P - powder, E - emulsion.
The index from the second group of characters is separated by a hyphen.
Composition of paints
Pigments are one of constituent parts paints and enamels. The type of pigment determines the color of the paintwork, its hiding power, as well as resistance to atmospheric factors, chemicals and high temperatures. Pigments have a certain color, as they are able to selectively reflect the rays of daylight. When a light beam falls on a pigment, part of the radiant energy is absorbed, and the rest is reflected, coloring the pigment in the color of the reflected rays.
Characteristics of water-based compositions
Water-based paints of various colors are divided according to their purpose into 2 types: for exterior and internal works.
Water-based paints of different colors for interior work
are a suspension of pigments and fillers in a plasticized polyvinyl acetate dispersion (emulsion) or styrene-butadiene latex. Designed for interior work on wood, plaster, cardboard, polyvinyl acetate dispersion (emulsion) or styrene-butadiene latex.
And also on old coatings with oil paints, enamels, water-based paints.
Before use, the paint is diluted with tap water to a viscosity according to the VZ-4 viscometer: 20 ... 25 s - when applied with a paint sprayer, 30 ... 40 s - when applied with a roller and 40 ... 50 s - when applied with a brush. - when applied with a roller and 40 ... 50 s - when applied with a brush. Paints are resistant - when applied with a roller and 40 ... 50 s - when applied with a brush. to freezing (up to 400C) and thawing. The paints are non-toxic and explosion-proof. Shelf life of paints is 6 months from the date of issue. For household needs, paints are packaged in containers from 0.5 to 3 liters. The main characteristics of these paints are indicated in the labels.
Water-based paints of different colors for outdoor use are a suspension of pigments and fillers in aqueous dispersions (emulsions) of synthetic polymers with the addition of various auxiliary substances on primed surfaces, as well as on old coatings.
Interior primer designed to prepare highly absorbent substrates for subsequent coatings. A primer for interior work is used before applying paint (The presence of small particles in the primer that can penetrate into narrow pores allows you to achieve good adhesion to the surface.
Primer for interior work allows you to achieve high strength and durability of the final coating and reduce the cost of subsequent work by reducing the consumption of materials.
The primer for interior work is used for pre-treatment of concrete, brick, plastered and other types of mineral surfaces;
facilitates the application of paints;
reduces paint consumption;
after drying, it forms a smooth matte translucent surface of a milky color;
subsequent application of paint is carried out only after the primer has completely dried;
Oil-adhesive putty is intended for finishing the interiors of buildings.
Oil-adhesive putty is used in construction and repair for finishing and leveling various concrete, brick, plastered, wooden and other surfaces, sealing joints and cracks, grouting cracks and further painting them with water-based emulsion.
The quality and durability of the final finish is determined not only and not so much by the quality and durability of the actual finishing materials. This is much more influenced by the quality of the base on which the finish coat is laid.
At the same time, it is well known that finishing finishing layers (paint, wallpaper, other decorative materials) are not applied directly to structural materials: concrete, plaster, blocks, gypsum boards (GKL, GVL). The immediate basis for finishing materials is a kind of intermediate layer - putty.
The main purpose of putty is to eliminate surface defects, repair and level it, and correct planimetry. With the help of putty, a number of other tasks are also solved - the creation of complex curved surfaces (domes, columns, arches, rounded corners, etc.), as well as various architectural details (rods, cornices, moldings, etc.)
First of all, putties are divided into "dry" and ready-to-use.
A high-quality dry putty mixture is a complex multicomponent composition that contains all the necessary components (binder, filler and various additives), it is the components that determine the properties of the putty.
Immediately before use, the mixture is closed (diluted) with a strictly defined amount of clean cool water.
Ready-made putties are an excellent material for finishing work. The solvents that are in the material initially, after its application to the surface, evaporate, which leads to some shrinkage. This unpleasant property limits the use of ready-made putties in thin finishing layers and practically does not allow them to be used for preliminary leveling and repair of the base in thick (more than 5 mm) layers. In fairness, it should be noted that today there are already ready-to-use putties that can be applied with a layer of up to 15 mm, but, as a rule, these are expensive specialized compounds used only for special cases.
According to the type of the main binding component, putties are divided into gypsum, cement, polymer.
The most important is the classification of putties according to their purpose. How to choose leveling putty (or putty of the first layer), finishing (or putty of the second layer) and universal.
Leveling putties (or first coat putties) are the most common type of putty. They are designed to pre-level the surface of the base. Their choice depends on the type of base, its basic properties and characteristics, operating conditions. The properties (characteristics) of the leveling putty are a determining factor in the strength and durability of the entire system, because it is she who bears all the operational and temperature-humidity loads.
The leveling putty of the first layer must meet the following three basic requirements:
have good adhesion to the existing substrate and be fully compatible with it;
easily and reliably fill all defects in the base, correct the planimetry (geometry) of the surface;
have the necessary strength and durability of the base surface.
Lime compositions are also used for interior decoration premises of residential, public and industrial buildings on fairly smooth plastered surfaces, as well as on prefabricated textured ceiling slabs, while lime painting can be considered quite equivalent to glue painting. This type of painting is carried out using spray guns.
To plastered and concrete surfaces were smooth enough, they are treated with lime or lime-gypsum putties, wetting the surfaces with water using a spray gun immediately before puttying. The technology of applying lime paint is simpler than glue paint, which significantly speeds up the work. Ceilings are painted with brushes twice, applying the paint with transverse movements of the brush towards the light, and shading with longitudinal ones. The walls are also painted twice, carefully blending the paint, first with horizontal brush movements, and then with vertical ones. With mechanized painting, lime compositions are applied using an airbrush, painting twice. When painting panels, before applying color, beat off the border of the panel with a pollinated cord and make a layering with a hand brush. The strength of the lime paint film depends on a number of reasons: the strength of adhesion to the base, the conditions under which the paint film was applied, the formulations of the compositions used.
The strength of adhesion to the base is explained by the deep penetration of the paint composition into the thickness of the base with its jamming in the pores and irregularities. With the drying of the film, the carbonization of calcium oxide hydrate occurs simultaneously, i.e., its transformation into crystalline calcium carbonate:
Ca(OH)2 + CO2 = CaCO3 + H20.
For the strength of the film, it is absolutely necessary that the crystalline calcium carbonate is an intergrowth of crystals, between which particles of pigments have grown. It should be noted that the transformation of calcium oxide into calcium carbonate passes through an intermediate stage - the transformation of amorphous calcium oxide hydrate into crystalline with the formation of crystals of 3-5 microns, which precipitate from a supersaturated solution of lime. Growth
crystals and the formation of new crystals and their intergrowths are possible only in a humid environment. Therefore, surfaces must be well saturated with water before painting. Sometimes it is necessary to saturate the completed lime painting with water, preferably lime. Within a week after application, the lime paint film, absorbing carbon dioxide from the atmosphere, transforms from crystalline calcium oxide hydrate into crystalline calcium carbonate and becomes sufficiently strong.
When painting on a non-moistened surface during the hot part of the day or in a large draft, due to the rapid evaporation of water, partial crystallization of calcium oxide occurs, and not in aggregates, but in separate crystals. Due to this, the paint film does not have the necessary strength and is easily destroyed by friction.
The strength of the paint film also depends on the type of lime used for painting. So, a colorful film on hot freshly slaked lime (calcite) gives almost 100% carbonization after seven days. Lime-dough gives a slightly lower percentage of carbonization in the same period. A lower degree of carbonization, and hence the strength of the film, is shown by lime coloring made on fluffy lime.
An increase in the strength of the lime paint film is facilitated by the introduction of sodium, calcium or ammonium chlorides into the compositions. These additives, capable of accumulating moisture from the air in the paint film, create conditions for more normal crystallization of calcium hydroxide.
The addition of aluminum-potassium alum to lime compositions strengthens the paint film. It turns out more dense, adheres to the base more firmly. The viscosity of these colors is much higher and reaches 40-45 sec according to the VZ-4 viscometer.
Lime compositions with the introduction of 2 to 5% drying oil also have good painting properties, giving a denser non-swelling paint film with a strength that is 10-25% higher than the strength of a film of pure lime compositions.
In cases where there is a whitewash on the surface and there are concerns that the base is not strong enough, the surfaces are primed lime composition prepared according to recipe 28 and stained with the composition prepared according to recipe 26.
Coloring with lime compositions
Lime paint
Lime compositions are mainly used for painting on stone, concrete, brick, facade plaster various buildings. Such painting is used for interior work and usually in places that are damp, and the adhesive paint quickly collapses there.
Lime-based surfaces must be smooth. If this is not the case, then they are corrected with plaster. Plastered surfaces are rubbed with lime mortar prepared on fine sand.
Previously, the surfaces are cleaned of dust, dirt, splashes of the solution, etc. Then they are well moistened with water, additionally washing off the settled dust. Then smooth the end of the board, bar or round chock. During smoothing, which is carried out under strong pressure, all kinds of protruding particles of large grains of sand, mortar splashes, etc. are removed. Only brick surfaces are not smoothed. If splashes of cement on concrete cannot be smoothed out with a wooden chock, then they are cut down.
Grinding is usually done by plasterers, and puttying is done by painters.
After that, the surfaces are inspected, especially plastered ones, and the crack is started to be patched. If the surfaces of plaster or concrete are rough, rough, then they are sometimes putty using putty, which is a lime mortar prepared on fine sand, sifted through a fine sieve (approximately 500 ... 700 holes in 1 cm2). The composition of the putty is one part lime paste and one part sand. Instead of sand, marble dust of the specified fineness can be used. You can prepare lime-gypsum putty - one part gypsum and one part lime paste, passed through a fine sieve. This putty is prepared in small portions. First, a small portion of gypsum is closed, then lime dough is added, everything is thoroughly mixed and immediately quickly used in work.
After puttying or repairing, the surfaces are primed, the detected defects are smeared with the indicated putties and cleaned - polished.
On facades, it is recommended to use primers made of lime paste and boiled lime with the addition of table salt.
Indoors for lime painting, it is best to use a primer-soap maker. Priming is recommended with brushes or rollers.
Painting with lime compositions is best done with brushes, since the paint is rubbed well into the pores of the surface, but you can also work with rollers or spray guns, which is more productive.
Colors, or paint compositions, are poorer in variety than glue ones, since paints are subject to more stringent requirements for alkali resistance.
To increase the durability of lime stains, table salt, alum or drying oil in a small amount are added to the compositions. All of these compounds have been discussed previously. It must be remembered that the addition of salt, alum or drying oil is useful to a certain extent. An excess of salts leads to a deterioration in the quality of the composition. A sign of the normal amount of additive of one kind or another is the formation, after applying the color on the primed surface, of a completely uniform, slightly glossy coating. Such a surface resembles an oil. For painting compositions, the highest quality white lime should be used, correctly slaked 2-3 weeks before the start of work. Instead of water for diluting lime dough, it is better to use fresh sludge from slaked lime.
Lime-milk coloring practically gives the same coverage as casein paints. Milk is used skimmed (skimmed). The lime dough should be white and clean. To do this, it is filtered through a frequent sieve, so much milk is added to obtain the composition of the desired working density.
Milk should be fresh, and the prepared composition should be used in one day. In the process of work, it is necessary to take measures to slightly stain the wooden parts of the house (doors, bindings, etc.), which will subsequently be painted with oil paints. If they still got lime coloring, then it should be immediately wiped off with a damp cloth.
If the plaster was previously painted and there was a lot of whitewash on it, then it must be cleaned off, the surfaces washed with water, the necessary repairs made, and if they do not require additional preparation, then primed once or twice and painted. When it is a little white and it holds firmly enough, then it is not removed.
Practice has shown that facades are recommended to be painted in cloudy weather so that the paint composition dries slowly. In hot sunny weather, it is necessary to paint the facades so that the painted side is not immediately illuminated by the sun. It is recommended to paint the western and northern parts of the facade of the house in the morning, and the eastern and southern parts in the evening.
We remind you that two thin layers of paint applied one on top of the other are stronger than one thick one. Lime paint does not stick to surfaces previously painted with oil and emulsion compounds, so they must be removed.
Properly executed painting should evenly cover the surface with a thin continuous layer, not have streaks, stripes, missing spots, spots, individual grains of unshaded pigment. The paint must not peel off. At a distance of 3 m from the facade, no defects should be visible on it.
Painting with adhesives
Adhesive compositions are very rarely used for painting facades. They are mainly used for interior work on plastered and covered dry plaster sheets or wooden surfaces. For painting walls, the paint composition is sealed normally, for ceilings - more weakly. If metal parts are found in the surfaces painted with adhesives, they rust heavily, since a vitriol primer is used for priming, from which the metal quickly becomes unusable. Therefore, all metal parts should be pre-painted once or twice with oil paints and dried well. In damp places, adhesive coloring is not used, there can only be lime.
As mentioned earlier, glue colors according to the purity of the finish are simple, improved and high quality. The number of operations taken as a unit for simple coloring increases two times for improved coloring, and three times for high-quality coloring.
It must be remembered that when painting fresh plaster, the compositions must be prepared on alkali-resistant paints, since fresh plaster gradually releases alkalis. Under adhesive coloring, vitriol or alum are considered the best primers, but vitriol and alum still have a negative effect on some types of pigments.
When painting with adhesives, there can be all kinds of defects, especially on surfaces painted on wet plasters. These defects are clearly visible by the uneven drying of the surface, resulting in damp places (spots or separate areas). In this case, they say that "the color has stopped."
It is necessary to add glue to the color scheme (glue) carefully, often checking the gluing. When the color is not glued, grinding occurs, and such work is corrected by re-painting with a more strongly glued color, which will be shaded during painting - mixed with the previously applied one. When the color is re-glued, it may lose color, and marble-like spots and stripes may form on the surface. Excess glue in the color scheme is highly undesirable. It lags behind the surface along with the fills. Casein coloring is durable and holds well only on solid substrates. It flakes off weak surfaces. Before working with casein paints, the surfaces must be carefully inspected, especially the plaster and the previous painting. If it turns out that such plaster cannot be repaired or thoroughly cleaned of old nabel, then it is better to abandon casein coloring. When the surfaces are strong, all the old nabel is well cleaned from them, it is possible to carry out painting with a guarantee, the service life of which is at least five years. If the walls of the facade are not wetted by atmospheric precipitation, then the service life of the painting can last for 7-8 years, but it may fade, which gives the facade an unpleasant look.
When repairing plaster, you should use the solutions with which it was made earlier. The corrected places should be thoroughly dried, primed with casein paint, but diluted with water, then putty with casein putty and, after it dries, painted.
If there is no casein paint on sale desired color, then it can be prepared by mixing 2 ... 3 paints. You can also add about 5% dry building paints to it, but always alkali-resistant.
How to prepare casein paint Take 1 kg of dry casein paint and about 1 liter of cold water. Approximately 0.7 liters are taken from this water, poured into the paint and mixed thoroughly to eliminate lumps, and then it is filtered through a sieve with at least 100 holes per 1 cm2. The paint prepared in this way must be stirred all the time and, if necessary, little by little add the remaining water. If this is not done, the paint thickens and the casein does not dissolve well. After about an hour, the casein will dissolve, but a thick paint is obtained, into which from 20 to 40 g of drying oil are added with thorough stirring. The resulting homogeneous mass is diluted with water and filtered through a sieve with 1200 holes in 1 cm2.
Some painters, in order to improve the painting properties of casein paint prepared in this way, add 25 g of 40% soap and about 50 g of turpentine and drying oil to it. Soap is dissolved in 100 cm3 of hot water, then turpentine is poured into it with thorough mixing, followed by drying oil.
Before considering in detail the issue of painting walls with various compositions, let us briefly dwell on the features of working with spray guns, brushes and rollers.
Work with spray guns, brushes, rollers
To paint wall surfaces with water or lime compositions, you can use the spray gun available in the set of interchangeable devices for household vacuum cleaners, which allows you to quickly and evenly treat the surface.
Pre-filtered through gauze or a clean sieve, the paint composition is poured into a half-liter jar. When using one- or two-liter jars, it is necessary to lengthen the spray tube so that it reaches to the bottom of the vessel. The jar is filled to 2/3 of its volume. Before starting work, set the optimal distance from the surface to be painted, at which the paint falls in tiny splashes, without creating a continuous glossy layer. At a large distance, the spray may not reach the surface and fall to the floor. The spray gun is directed to the ceiling at an angle to the surface to be painted and, after turning on the vacuum cleaner, is moved along the surface, in smooth circular motions. It is necessary to ensure that the paint saturation of the surface is uniform: the main sign of oversaturation is the appearance of gloss on the painted surface. It is better to apply the paint with thin firs for two or three times.
Proper movement and position of the spray gun when
staining:
a - correct movements (top) and incorrect (bottom);
1 - movement with the atomizer on; 2 - movement
with the sprayer off; b - correct position
paint sprayer; c - wrong position
Brushes for painting are most often used for small areas of the room. The first layer is applied with a hand brush starting from the top. First, a strip of color is drawn along the border of the color, indicated during the primer with a stretched cord dyed with ultramarine. If the walls are painted twice, first strokes are applied horizontally, and then shaded with vertical strokes. In order for the primer to show through the paint layer, it has to be applied three times: the first time with vertical strokes, the second with horizontal strokes and the last one with vertical strokes again!
In order for the color to be uniform, each time the tip of the brush is dipped into the container, the paint must be shaken, and the brush must be pressed against the edge of the container. When working, the cysts should be kept perpendicular or at a slight angle to the surface to be painted. ness, apply color with light strokes, without pressing hard on the brush.
When painting walls with rollers (rubber, foam and fur), you achieve greater productivity. Before starting work, the walls are painted with a brush in the corner * at the platbands, skirting boards, etc. In this case, the paint layer is carefully shaded so that there are no drips or splashes. After that, they roll it with a roller several times over the same place along the wall with a little pressure. I usually roll along the wall from top to bottom, and then from bottom to top. In this case, the strips of paint should overlap one another by 30-40 mm. For the purpose of better shading, the roller can be rolled both in the vertical direction and in the horizontal direction, achieving a thin paint layer without sagging and gaps. For economical use of the ink composition, the roller, after dipping into the paint, is rolled over the grid over the container.
Painting wall surfaces with adhesive
Such compositions are a mixture of sifted chalk and dye pigment. They are prepared as follows: sifted chalk and pigments are soaked in a separate bowl for 2-3 hours. Pour enough water to make a creamy masa. In the third vessel, dry glue is diluted at the rate of 60 g per bucket of water. Then dye is added to the soaked chalk, mixing it. After each addition of the kolerg, a test is made: the solution is applied to a piece of plywood and allowed to dry. If the color of the color scheme needs to be strengthened, then another pigment paste is added, if weakened, a chalk mass is added. You also need to check the density of the color scheme, for which they take a cleanly planed rail and lower it into it. If the color scheme paints the rail without gaps and flows off it in an even stream, then the density is considered sufficient. If he poorly covered the rail and there are gaps on it, then you need to add chalk and dye, and if the color is thick, water.
The selected shade of color is fixed with glue, it will give the paint strength and the ability to lie more evenly on the surface. Glue is added to the color scheme little by little. After its first portion, the solution thickens greatly, but you can’t add water, you need to wait a bit. After mixing, the paint liquefies.
Lack of glue leads to staining of the paint, excess - to cracking and peeling of the paint film.
The amount of glue is checked by test coloring: a solution is smeared on a piece of glass and dried over a fire. If the color is slightly dirty, then there is enough glue, if shiny stripes appear, then there is a lot of glue and you need to add water. Kohler should have sufficient density and flow from a stick or brush in a continuous stream. In most cases, this is a sign of his readiness. And you can check it in another way: put a drop of color on a clean glass, and put it vertically. Kohler has sufficient density if the drop flows down by 20-30 mm.
It is recommended to add ultramarine or linen blue diluted in water to a white color scheme to give it a slightly bluish tint. The composition of the white color scheme: chalk - 6 kg, ultramarine - 50 g, dry animal glue - 60-80 g, water - 7-8 l.
Before applying adhesive paint to plastered surfaces, they must be primed. Primers are soap-making (soap-boiler), vitriol and alum. When choosing a primer, it must be taken into account that some pigments change color under the influence of vitriol (copper sulfate), therefore, if such pigments are present in the paint, it is better to choose soap or alum.
Soap primer recipes:
a) lime - 2 kg, laundry soap - 200 g, water - 10 l;
b) fatty lime dough - 3 kg, laundry soap - 300 g, drying oil - 100 g,
water - 10 l.
First, dissolve the soap in 2 liters of boiling water. Drying oil is poured into this solution. Then lime is diluted in 8 liters of water and the prepared soap-oil solution is poured.
To obtain alum soil, take 200 g of aluminum alum, 200 g of laundry soap, 200 g of dry wood glue, 30 g of drying oil and 2 kg of sifted chalk. In one dish, alum is dissolved in 3 liters of boiling water, in another - also in 3 liters of boiling water - glue, soap and drying oil are added. Then alum solution is poured in, chalk is added and everything is mixed.
Priming compositions are applied with fly brushes, while it is necessary to drive the brush not in one direction, but along and across. If, after drying the soil, dark stripes or spots remain, they are primed again no later than 24 hours later so that the composition does not over-saturate.
After the primer dries, in order to eliminate minor defects, a grease is produced.
Lubrication formula: drying oil - 20-25%, chalk - 50-60%, wood glue (10% solution) - 20-25%.
To eliminate cracks or shells, one or more layers of putty are applied to the surface with intermediate drying and grinding of each layer.
If you were unable to purchase ready-made putty, prepare it yourself. To obtain 1 kg, they take (in grams): water - 300, drying oil - 5, animal glue - 25, desiccant - 10, laundry soap - 3, chalk - to the desired consistency. The surface for whitewashing is puttied with a special solution (mix gypsum with chalk in equal parts and close the mixture with a 5% aqueous solution of bone or skin glue).
It is necessary to cover the primed surface with a paint composition no later than in a day so that the primer does not dry out. Glue coders must be used within 1-2 days. If stored longer, they deteriorate.
Glue painting requires fast drying: the faster it dries, the cleaner its tone will be. However, it is impossible to dry the surfaces in a draft.
If several pigments are used to prepare the color scheme, then the main one is poured in first, then others, until the desired color is obtained.
It is best to paint with a spray gun, garden sprayer, or the spray gun included with the vacuum cleaner, but if you use a brush, remember:
the last layer of paint or whitewash should be applied towards the light (towards the window), and the previous one - across, then brush marks will not be noticeable;
a short brush can be lengthened by planting it on a long stick; to do this, the end of the stick must be cut at an angle of 30 e, put on it a piece of rubber hose, in which two holes are made, and insert the brush handle into them; work better in oversleeves made of plastic bags;
so that when whitewashing the paint does not drip onto your hand, put a half of a rubber or plastic ball or a funnel made of tin, cardboard or other waterproof material on the handle of the brush. At the same time, the hand is not only protected from contamination, but paint is also saved - the drained one can also be used.
The upper part of the wall - a frieze (a strip 5-15 cm wide) - is whitewashed. How to make sure that the solution does not drain when whitewashing? Stick a strip of paper 30-50 mm wide on the lower border of the frieze and proceed to whitewash the ceiling and frieze. As soon as they dry, remove the paper tape - the border will be even, and the walls without whitewash. You can do it differently.
Cut out a strip of cardboard 50-80 mm wide and about half a meter long. Nail a wooden block or stick to it - this will be the handle. When whitewashing, moving the cardboard along the ceiling following the brush, you will achieve a completely even border. In this case, paint only at the very end of the brush. With its excess, smudges are possible, and with a deficiency, the paint composition must be strongly rubbed into the surface, as a result of which stripes appear on it.
Glue paint is applied to the surface warm - this way it comes off the brush better, but its composition for the second layer should be slightly colder than for the first.
Wall painting should begin after the ceiling has completely dried. Walls are painted from top to bottom, small surfaces are painted with fly brushes, large surfaces are painted with paint sprayers or rollers. Rollers are usually taken foam rubber or fur (zigeykovye).
The prepared paint is kept in a tray with a mesh, but you can also use a bucket or other container in which the mesh is set in an inclined position. One third of the grid should be above the level of the mixture. To collect paint, the roller is lowered into a container, and to squeeze out its excess, it is rolled two or three times over the grid. Then the roller is easily pressed against the wall surface and rolled with vertical movements so that each stripe of paint overlaps the previous one by 20-30 mm. After applying to the area with a width of 0.8-1 m, the paint mixture is shaded with vertical movements of the same roller. Thus, a relief texture with interesting decorative qualities is obtained, which hides minor surface defects.
To paint the surface, you can use a pneumatic paint sprayer in combination with a household vacuum cleaner. The paint mixture is filtered through a nylon stocking before pouring into the tank of the spray gun.
The paint sprayer covers the surface only with horizontal or vertical stripes. To apply each next strip, the hand with the sprayer is moved somewhat to the right (when staining with vertical stripes) or down (when staining horizontal stripes), cutting off the ink and air supply. The paint sprayer cannot make loop-like, wavy and oscillatory movements. It should be kept at a distance of 250-300 mm from the surface and strictly perpendicular to it.
Places where surfaces of different colors are joined (near the eaves, in the piers, on the border between the upper part of the wall and the panel) are painted with a tap-off ruler, which is applied edge-to-edge against the surface with a slight inclination towards itself. At the same time, the body of the paint sprayer is kept parallel to the ruler, which is rearranged, covering the painted strip with it by 100-150 mm. The layering under the ruler is painted with horizontal stripes. The ruler is periodically cleaned with a spatula of paint and wiped with a rag.
The plane below the layering is painted with vertical stripes, and near the baseboards with horizontal stripes.
When working with a brush, the paint is applied first with separate dots, and then it is rubbed, without lifting the brush from the surface, with parallel movements in the vertical direction, then in the horizontal direction, after which it is leveled with parallel movements in the vertical direction, tearing the brush away from the surface.
When painting walls in two colors, it is difficult to achieve a smooth edge of the bottom panel. Glue electrical tape to the wall along the edge of the bottom color. After painting, remove the tape (until the paint on it has dried) - the border will be even.
At the junction of two paints, for example, separating the panel from the top of the wall, you can draw a narrow strip 5-30 mm wide - a panel. It should be in harmony with the main background, emphasize it and not stand out sharply. At the same time, the panel not only covers the unevenness of the two joined paints, but also gives the room a finished look. It is withdrawn or drawn along a straight line with a cord, which is rubbed with chalk or some kind of dry paint, most often ultramarine or ocher.
For work, a panel brush of the desired diameter is suitable. Layering is performed along a ruler, in which chamfers are removed from both sides. The ruler is applied exactly along the broken line with a chamfer to the wall to prevent possible leakage of paint, and firmly pressed against the wall so that it does not move during operation.
The panel should have the same width and color throughout, so the brush should be systematically moistened in paint, squeezing out its excess, put it against the ruler by pressing unevenly, and carefully draw a straight line. In small areas, the panel can be drawn along a slightly inclined ruler or along a stencil, but in this case, in order to avoid smearing, it is necessary to take breaks for the paint to dry: first make a broken line and fill in the gaps after a break.
Even an inexperienced craftsman can easily stretch an even panel along the wall if he uses a brush with a transverse metal rod and a ruler with a beveled edge for this. Two pieces of duct tape will also help here. By sticking them in parallel at the right distance from each other, you will get an excellent stencil.
Layering of panels:
a - along the line; b - along a beveled ruler with a brush with a transverse rod; c - by stencil
Do if desired decorative trim. In particular, to get a rough< ватую поверхность, щеткой или кистью ударяют по свеженанесенному покрытию. Пр этом волос щетки или кисти должен быть перпендикулярен к поверхности.
Many people like spray finishing, when a composition of a different color or the same color is sprayed on a painted surface (background), but it is important to combine the color of the background and spray with a more saturated one. To perform a spray on the brush, they pick up the prepared paint composition and, bringing it to the wall, hit it against the stick. held in the other hand, or you can use a brush with stiff bristles.
Sometimes a sponge is used. To do this, it is glued onto a board with a handle, a wetting agent in the paint composition so that it drains from it, and lightly pressed against the painted surface. When working, it is necessary to follow the resulting pattern and avoid the formation of * uneven in color areas that stand out in the form of dark or light spots!
Spray finishing: a - receiving a blow with a brush on a stick; b - rolling pin pass over the brush
To apply borders and patterns on the walls, you can also use special rubber rollers or stencils. It is not difficult to make the latter yourself from thick drawing paper, cutting out certain patterns on it. For strength, stencils are painted with drying oil on both sides.
The most durable of all casein dyes. They are bred cold water at the rate of 1 liter of water per 1 kg of dry paint. First, the paint is soaked in 1.6 liters of water, then 20-40 g of drying oil is added to the solution, then the rest of the water is added, mixed and everything is filtered through a sieve. The prepared solution is stored no more than 24 hours.
After finishing painting, thoroughly rinse and dry the brushes. This is especially important if you have worked with casein or silicate formulations. Once strong, they no longer dissolve in water.
Even with the most careful painting work, you are not immune from defects that must be eliminated in a timely manner. Consider some typical defects, their causes and ways to eliminate them.
Peeling of the paint layer is observed when the adhesive content in the composition is insufficient. In this case, the surface should be sprayed with a weak adhesive solution from the spray gun.
Peeling of the paint film is possible when painting on old uncleaned whites, and also due to an excessive amount of glue in the color or thick color. Minor flaking can be eliminated by feathering the surface with a brush and clean water. If it does not help, remove the nabel, grind the surface, prime and paint.
Resin seepage. To remove the defect, it is necessary to remove the old nabel, wash the surface with a warm 3% hydrochloric acid solution and cover with nitro-lacquer, and then repaint. In exceptional cases, the surface must be re-plastered or rubbed.
Fat spots. The reason for the appearance of stains is the incomplete drying of mineral and animal oils. To eliminate such a defect, it is necessary to cut down the plaster, apply lime mortar to this place, prime and paint the entire surface.
Stains may appear when using 60% fat soap in the preparation of the surface. You should wash the stains with alkaline water and repaint, but remember for the future: soap with a fat content of more than 40% is not suitable for such work.
Efflorescence (white crystalline coating) appears when soluble salts or alkali are deposited from plaster, masonry mortar or concrete due to increased surface moisture. These places are cleaned with steel brushes, covered with butadiene-styrene compounds, white nitro enamel or oil paint, primed and repainted the entire surface. If even after this the defect cannot be completely eliminated, it is necessary to re-plaster the surface.
Nataski - an uneven surface with tubercles. Such a defect can occur when the grinding was carried out without removing the old nabel. To correct the defect, shade the painted surface with water, scrape off the old nabel, grind, prime and repaint.
Veins appear when cracks and cracks are filled with gypsum or lime mortar without thorough grouting, or when priming and whitewashing are carried out in the presence of small cracks that are not embroidered and not filled. In this case, the old nabel should be scraped off the surface, rubbed, primed and repainted.
A rough texture is formed due to the presence of coarse sand in the plaster during its application or grinding of the surface, or if the paint or primer compositions are poorly filtered. The surface should be washed, smoothed with a bream, puttied, primed and painted with pre-filtered compositions.
Spatter and streaks occur when the rod moves slowly when coating or when the nozzle opening is large. The coating should be scraped off and the surface repainted.
Brush marks remain with excessive density of the paint composition. In this case, rinse the surface with water using a brush and blend thoroughly.
Leggings - stripes with different sheen. The surface must be washed with water and repainted.
Omissions are possible due to negligence in work. The surface should be tinted and shaded.
Stripes and joints occur when the pigments in the paint composition are poorly mixed. The surface should be washed with water and repainted with a liquid composition.
Water-dispersion paints
Water-based paints have a number of advantages over oil-based ones. First, they are cheaper; secondly, unlike oil ones, they dry out at room temperature in just 1-2 hours; thirdly, the remnants of not yet dried paint are much easier to remove from a working tool than oil paint (they are removed not with an organic solvent, but with plain water).
It is also important that when such paints dry, only water vapor is released. No, therefore, specific odors, toxicity. These paints have high adhesion to various surfaces, which makes it possible to easily repaint structures without special preparation. There is one more advantage: you can work on wet surfaces, while oil paints are applied only on dry walls.
In addition, water-dispersion paints do not burn, and coatings made of them let water vapor through and “breathe”.
Polyvinyl acetate water-dispersion paints are most widely used.
The range of water-dispersion paints for internal slavery is currently limited to two brands: VD-VA-27A and VD-VA-224.
Only VD-VA-27A white paint is mainly on sale. Its consumption with a two-layer coating is 15-200 g/m2. The paint is not recommended for rooms with high humidity (bathrooms, toilets), although it can be made waterproof by adding 20-30 g of ethyl silicate-32 or ethyl silicate-40 per kilogram.
To reduce the consumption per 1 m2 of VD-VA-27A water-dispersion paint, add a little (no more than 5 g per 1 kg of paint) 60% aqueous sodium silicate or liquid glass (stationery silicate glue) to it. This will significantly improve the hiding power of the paint, will save it by 1.5 times and will not affect the quality of the work.
When painting with polyvinyl acetate compositions, they should not be applied to substrates previously covered with chalk whitewash, as well as treated with vitriol, alum and alumina primers.
In the first case, the film of polyvinyl acetate paint lags behind the base along with white, and in the second case it lies unevenly. Therefore, before working, chalk is removed from these surfaces in a dry way - with a scraper or spatula, and the primer films are cleaned with sandpaper, then the surface is treated with oil paint or drying oil with the addition of pigments.
Old coatings (oil, water-dispersion paints, enamels) should be washed with a 3% ammonia or soda solution, and then with clean water. After thorough mixing of the paint, it is applied to the surface with a brush, roller or spray gun. With the correct use of water-dispersion paints, durable and durable coatings can be obtained. They are recommended to be applied to the surface in two layers. You can mix different colors. If necessary, an organic pigment is used for tinting, which is pre-soaked in water, and then added to white paint, mixing it thoroughly. And you can give white paint different shades with the help of aniline dyes for fabrics.
For walls and ceilings, you can also use water-dispersion paint VD-VA-129 for outdoor use. Its consumption with a single-layer coating is 140-150 g/m2.
Surfaces are painted with polyvinyl acetate compositions at a temperature not lower than +8 CC. At a lower positive temperature, the compositions thicken, spread over the surface in an uneven layer, and their drying time increases. During operation, the windows in the room must be closed before the paint hardens: it is afraid of drafts and frost. Frozen and thawed paint is no longer usable.
After working with paints, brushes and utensils should be washed immediately in water, as hardened paints are not washed off.
The use of oil paints
In an apartment, parts or entire rooms with high humidity (kitchens, bathrooms, bathrooms, etc.), as well as joinery, are covered with oil compounds. It is believed that such a coating is more durable and practical than adhesive. One cannot but agree with this. However, it does not fully meet the hygienic requirements. If the walls are covered with oil, then the ceilings must be painted with adhesive so that they pass steam and air. It is better to make oil panels in kitchens, bathrooms and bathrooms, not bringing them to the ceiling by 0.5-0.7 m, and in corridors - 50 mm above the level of the shoulders of a person of average height so that clothes do not get dirty.
The oil paint film is durable, water and weather resistant. It well protects wood from decay, metal from corrosion, and plaster from mechanical (minor) and atmospheric influences.
Before painting, the surface must be well dried, cracks should be expanded, lubricated and puttyed, and then primed, sanded and pro-oiled. Unlike primers designed for adhesive paints, oil primers are prepared at the rate of 50 g of thick paint per 1 kg of drying oil. For putties, a composition is prepared that includes drying oil (500 g), a desiccant (25 g), a solvent (turpentine or varnish kerosene - 125 g), a 10% solution of animal glue (100 g), laundry soap (10 g) and chalk (2.5-3 kg).
The simplest putty can be prepared from 1 liter of drying oil and 1 liter of 10% adhesive solution, on a mixture of which chalk is closed. It dries up in a day.
Proofing is recommended to be done before puttying (for a day or two) with a continuous layer without gaps.
Large surfaces are oiled with fly brushes, and small surfaces with handbrake brushes. Drying oil is typed on a brush, which is slightly squeezed. It is applied to the surface with a thin layer with wave-like movements of the brush and shaded in the transverse direction.
Oiling the surface for oil paints:
1 - wall; 2 - wave-like movements of applying drying oil; 3 - shading;
4 - finished surface
It is better not to oil the putty surfaces before painting, but to prime them with liquid paint.
Painting the surface of the wall with lime
Surfaces painted with lime compounds have small pores that absorb water vapor. The latter then evaporate freely and exit through the same pores. In addition, such a coating disinfects surfaces, which is very important, in particular, for pantries.
Lime paints are usually pale tones. After drying, a strong film is formed on the surface, which is resistant to abrasion, adheres well to plaster, brick and stone.
Surfaces are cleaned, as well as for glue painting, moistened with water and primed.
There are several primer recipes. When preparing a lime primer with table salt, the lime dough is diluted in 5 liters of water and table salt dissolved in boiling water is introduced into this solution. With constant stirring, pour in water up to 10 liters. Consumption of lime dough - 2.5 kg, salt - 0.1 kg. When preparing a lime mortar with aluminum-potassium alum, 200 g of alum is dissolved in 1 liter of boiling water and diluted with 4 liters of water. The resulting solution is poured with constant stirring into a lime dough diluted in 5 liters of water. Consumption of lime dough - 2.5 kg.
The primer of the first composition is used for lime stain color with table salt, and the second - with alum. The primed surface is sanded with sandpaper and moistened with water before painting.
Can be used for coloring different kinds colors: with table salt (lime dough - 2.5-3.5 kg, salt - 0.1 kg, pigment - up to a given tone, but not more than 0.3 kg), with alum (lime dough - 2.5- 3.5 kg, aluminum-potassium alum - 0.2 kg, pigment - up to a given tone, but not more than 0.3 kg), on boiled lime (boiled lime - 1.2-1.5 kg, table salt - 0.1 kg, pigment - up to a given tone, but not more than 0.3 kg). It should be borne in mind that when preparing colors with table salt and with alum, the lime dough is diluted in 5 liters of water and table salt or alum, previously dissolved in hot water, is added. Pigments soaked in water are added until the desired tone is obtained, but since the binding power of lime is low, the amount of pigments (by weight) should not exceed 10% of the amount of lime. The total water consumption for the considered recipes will be 10 liters.
The preparation of color on boiled lime has its own characteristics. To the lime slaked before preparing the composition, first add a solution of salt and pigment to a given tone, and then the rest of the water.
For lime paint, only alkali-resistant pigments are suitable (ocher, red iron, chromium oxide, manganese peroxide, graphite, soot, ultramarine, umber, sienna, mummy, burnt bone).
Apply the composition with a brush or spray gun. When painting with a brush, two or three thin layers are placed on the still wet previous layer.
It must be remembered that lime paint is usually applied with horizontal movements, and shading is done vertically.
In the process of repairing building facades and fences, most homeowners want to save as much money as possible without sacrificing quality. An excellent solution is DIY lime paint, which has gained popularity due to its low cost. However, not only small capital investments speak in favor of own natural product.
Lime-based paints are considered more durable and practical than chalk-based glue paints.
We must not forget that lime paint is resistant to temperature changes, that is, it is not afraid of frost and heat, it is waterproof, and most importantly, that it allows air to pass through, as they say, “breathes”.
Making lime paint with your own hands is not such a difficult task. For example, consider how to prepare 10 kg of paint and what is needed for this. First of all, you need the ingredients:
Next, the paint is being prepared: 8.5 liters of water are poured into a bucket of measured lime and all this is thoroughly mixed, and then drying oil and salt are added. Moreover, salt is not added in its pure form, but in a saline solution. Before use, the do-it-yourself composition of lime paint is filtered through a fine sieve or gauze.
Lime paint is used for exterior and interior painting of concrete, stone, plaster and brick. You cannot paint metal with these paints.
We must not forget that before preparing the paint, lime must be quenched, that is, poured with water, let it stand for an hour, and then strain through a sieve. If boiled lime (lump) is used, water is poured at the rate of 3-4 liters per 1 kg of lime, and in the case when you have fluffy lime (powder) - 2 liters of water per 1 kg of lime. However, for complete slaking, lime is kept for a month so that all the water evaporates and lime paste is obtained.
To obtain a color other than white, color pigments are added to the paint and then everything is thoroughly mixed again. It must be remembered that dry pigments should be dissolved separately before mixing with lime paint, otherwise, the remaining small grains will leave streaks during the painting process. Pigments are diluted to the consistency of sour cream, kept for a day, filtered, and only after that the pigment paste is introduced into the paint.
For reference: crushed minerals are used as a pigment.
To determine the readiness of hand-made lime paint, they dip a clean wooden stick into it and look: if the paint does not completely cover the surface of the object, chalk flows from it, and if it is too thick, water is added.
Pigments for the preparation of traditional lime paints
Lime paint is used for exterior works for painting facades and other restoration work. The surface to be painted is primed with Kreidezeit casein primer in two layers: the first layer dries for three to four hours, and the second for six to eight hours. Before applying the paint, it is necessary to moisten the surface, therefore it is desirable that two people do the painting: one wets the surface, the other immediately paints. Lime paint is applied in two to three thin layers, moving the brush crosswise.
Metal surfaces must not be painted with lime paint!
