Painting do-it-yourself technology and painting tools. Technique and technology of painting works Basic technologies of painting works

In this article we will tell you about what is meant by painting work. What tools and materials should be used for this type of activity. We will tell you about the procedure itself, technology and preparation for them. We will carefully share the tips you need to read.

Preparatory work

First, take out light items such as tables, chairs, audio and video equipment. Move large, bulky items that you cannot bear to the middle of the room and cover them with plastic wrap so that they do not get dirty during painting. Don't forget to remove all objects from the wall, such as paintings, curtains, and get rid of nails in the walls. Cover it with old newspapers to preserve the floor.
Next, you need to clean the ceiling and walls from old paint or wallpaper, and at the same time wash them with water and a brush. Using a putty, cover the flaws on the wall, then cover the wall with a primer and start painting or wallpapering the room.
When painting, paints of different composition 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 accidental, therefore the addition of some substance at random, for example 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 thin it, you only need to add the most necessary amount of solvent, otherwise the paint will drain, especially from vertical surfaces.
If the paint in the can is covered with a film, in no case should you stir it, but you need to carefully cut it with a knife as close to the body of the can as possible and remove it. If it is not possible to completely remove the film, 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 can.
All colors can be divided into four groups. The first group includes paints based on mineral binders, the second includes glue paints, the third group includes enamels based on synthetic binders (alkyd resins, polyvinyl acetate, polyvinyl alcohol, etc.), and the fourth consists of paints based on drying oils.

The choice of paint for painting

When choosing a paint, first of all, you need to proceed from how durable the coating should be during operation, take into account its decorative appearance and do not forget about the cost.

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

Mineral-based paints

Mineral-based paints are intended for simple finishing of stone, concrete and plastered walls, for painting swimming pools, wells and fences. They provide loose, breathable coatings that can withstand water, especially cement based paints, and temperature changes.

Adhesive paints

Plastered, concrete and wooden surfaces are finished with glue paints, and casein paints are suitable for both external and internal work. Only walls and ceilings in closed rooms can be painted with dextrin, starch and bone glue. An important advantage of glue paints is their porosity: their coatings do not interfere with air exchange, moisture easily evaporates through them, which can form on a damp wall or ceiling.

Paints and enamels based on synthetic binders

They can give matte, glossy and semi-glossy finishes. Some of them form continuous coatings (for example, alkyd), others (for example, water-based) - porous. Paints that form continuous coatings are unsuitable for damp or damp walls, and alkyd paints, moreover, are not resistant to alkalis, and therefore they cannot be used to paint freshly plastered or concreted walls.

Oil paints

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.

Tools and fixtures

To perform painting work, you need spatulas, brushes, rollers, rulers, a cord, containers for diluting paints, screwdrivers, a hammer, pliers, fine and coarse sandpaper, a piece of cork or rubber, which is wrapped with sandpaper when working. When painting ceilings, use a stepladder.

Spatulas

Spatulas are needed to join cracks in surfaces prepared for painting, fill cracks and grooves with a putty compound. It is desirable to have several spatulas - with a wide (180-200 mm) and narrow (45-100 mm) blade, made of metal, wood and rubber.

Brushes

Different brushes may be needed depending on the type of surface to be painted. For painting large areas, a swing brush is used; for walls and ceilings, you can use whitewash brushes - maklovitsy, round or rectangular.

Small surfaces are painted with glue or oil paint with a small brush - a handbrake with a short wooden handle.

Freshly applied paint is smoothed out with flat brushes - flat brushes made of high quality bristles or badger hair.

Paneled brushes of different diameters are used to guide straight lines, stretch panels, and paint small surfaces.

Rollers

Rollers are better than brushes and brushes in that they significantly speed up the application and shading of paint. Previously, the rollers were covered with sheep's fur, now artificial fur is more often used for this purpose. The roller can be made of rubber, foam or fur.

Pneumatic sprayers

Large surfaces can be painted even faster with pneumatic spray guns. In this way, it is very convenient to paint ceilings.

The simplest device that is used in everyday life is a hand-held sprayer, suitable for applying lime and glue paints.

Paint sprayers

Recently, paint sprayers have been produced that are suitable for almost all types of paints and varnishes. For household work, a sprayer powered by a vacuum cleaner is most suitable. A special device supplied with the vacuum cleaner is also used. The hose is lengthened from it using vacuum pipes. You can move freely if you fasten the vacuum cleaner on a belt that is worn on your shoulder.

A chamfered ruler of about 1 m is useful for drawing straight lines and stretching panels.

Containers

You will need containers for diluting paint compounds and preparing filler solutions, a knife, a steel brush, a sieve or nylon cloth and a water level.

The quality of the painting also depends on the quality of the tool, therefore it must be kept in good condition. After use, all tools should be thoroughly cleaned of paint residues, rollers and spray guns should be especially thoroughly cleaned. If paint remains in the spray gun and hardens, it will be impossible to remove it and it will become unusable.

Handling instruments

During temporary interruptions in work, brushes and rollers can be immersed in water, thereby preventing the paint from drying out. After removing the brush from the water, it must be thoroughly wrinkled in a dry cloth or wiped on paper and the remaining water removed.
If you have a long break, you need to close the container with the paint, and either wash the brush or immerse it in water.
After finishing work, the brush is thoroughly washed in a solvent corresponding to the paint used so that no traces remain on it. After that, it is washed again in warm soapy water and rinsed.

Painting works

When performing painting work, you need to have on hand various auxiliary materials: gypsum for sealing cracks and correcting surface defects, solution for repairing plaster or fluating stains and deposits on the surface of chimney masonry, degreasing agents, a plaster for covering places that cannot be painted, etc.

A single coat does not provide sufficient protection for the substrate, therefore several coats of paint must be applied successively, each of which performs its own function.
The bottom layer serves to adhere the multi-layer coating to the base. A top coat that completes the paint coat protects the undercoats from external influences and serves as a decorative function. If the oil paint is applied in one layer, the surface will be wrinkled, and over time it will crack.
The number of coats depends on the type of paint, the required coating quality and the type of substrate. Glue paint is applied in two layers, water-based paint - in three, and some glossy polishes - in six or more layers.
Each subsequent layer should contain more pigment and less binder. For example, the emulsion from the primer is strongly diluted with water, but for the cover layer it is not diluted at all.

If the wood is dry on the surface, but damp inside, when heated in the sun or under other influences, water vapor will press on the paint from below and tear it apart.

To obtain a high-quality paint coating, you do not need to paint at low or too high temperatures, as well as in the sun, in a draft, in fog and in light rain. During painting, the temperature must be at least 5 ° C.

When painting, the brush is held with a slight inclination to the surface. It is immersed in the paint, dipping it not completely, but only a quarter of the length of the hair, the excess paint from the brush is removed on the edge of the can.
First, the paint is applied to edges, corners and hard-to-reach places, and only then to smooth surfaces. When overhead surfaces are painted, paint often drips onto the brush handle. To prevent this from happening, you can take an old rubber ball, cut it in half and thread a brush handle into one of the halves. To prevent the ball from jumping off the handle, an elastic band is reinforced 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, remove the old paint.
A small nabel can be washed off with hot water using a brush and a rag, and a thick one must be scrubbed dry. You can pre-moisten it with hot water using a brush and remove after 40 minutes with a scraper or spatula.
The scraper or spatula is positioned at an angle to the surface and, slightly pressing the tool, remove the layer of nabel with sliding movements forward. In the same way, spills, paint deposits and other contaminants are removed.
Cracks on the ceiling and walls must first be widened and then greased with the appropriate compound. The grease is made with a spatula, while sealing up not only the embroidered cracks, but also the shells and depressions that are on the surface. After drying, the greased places are sanded and primed.

Brush painting

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

The brush needs to be prepared - rinse it between your fingers and blow it out. For painting, you can use flat and round brushes. The size of the round brushes is chosen depending on the nature of the surface or object to be painted, as well as on the density of paint and varnish materials.
In a new round brush, you need to shorten the length of the hair with a garter, otherwise it will spray paint. Free hair length is about 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 a 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 annual layers of wood.
If the paint is on linseed oil, the last layer is smoothed with light brush movements in a perpendicular direction. For smoothing, it is best to use a hair brush.
Large areas when painting must be divided into several small ones, limited by seams or strips. This takes into account the type of paint and varnish material. The door leaf can be painted all at once with paint on drying oil. If a room is painted with oil enamel, then it is better to apply the paint to smaller surfaces.
When painting vertical surfaces, the paint must be carefully shaded so that it does not drip and form drips. The paint runs off some time after its application, so you do not need to take too thin paint or apply it in a thick layer.
If a complex embossed surface with various grooves is painted, it must be remembered that too much paint cannot be applied to them, because it will drain, wrinkle the surface and dry poorly.
To obtain an even edge of the painted surface, you can use self-adhesive tape glued to a line previously beaten off with a cord or plumb line.

Roller painting

To wet the rollers with paint, you need a flat metal box with trapezoidal longitudinal walls. A sieve with cells of 10-20 mm is installed in the box, along which a roller soaked in paint is carried out in order to eliminate excess and evenly distribute the paint along the entire perimeter of the roller.
The work is done in this way. 3-4 stripes of paint are applied to a surface of about 1 m2, after which these strips are rolled with a wrung out paint roller in the horizontal direction (with a slight inclination of the roller) until the paint is evenly distributed on the surface. If it is necessary to limit the area to be painted, its edges are covered with thick paper or sealed with adhesive tape.

Spraying

This method of paint application has several advantages, especially if large, uniform, non-obstructing surfaces are being painted. All types of paints and varnishes are applied in this way quickly and evenly.
This method is also convenient for painting hard-to-reach surfaces, for example, the interior of central heating radiators. In the process of spraying, the smallest particles of paint fall on the surface to be painted, connect to one another and form an even layer.
When applying paint in this way, you need to close all surrounding surfaces that cannot be painted, so that later you do not waste time and effort on cleaning them. For this purpose, adhesive tapes are suitable, which can be used to secure paper or film.
To obtain an even edge of the painted surface, you can use self-adhesive tape glued to a line previously beaten off with a cord or plumb line. As soon as the liquid level drops, the container must be refilled, otherwise the spray gun will throw out an uncontrolled amount of paint after drawing in the air.

Sponge treatment

This method creates a soft spotty pattern. Moreover, the light tone of the lower layer (background) will look like streaks of indefinite shape. The paint should not be pure white, but slightly tinted for a more subtle effect. If you need a more contrasting solution, you need to apply a dark pattern over matte emulsion paint - you get an original shimmering pattern.

Sponge painting can lighten or, conversely, darken the overall tone. For background and roll-over, you need to choose harmoniously combined shades of the same color range or complementary colors of equal intensity. A densely applied pattern without significant gaps 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 over 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 disguising not very attractive objects, such as, for example, radiators.
Undiluted emulsion paint is used for the walls, both for the base layer and for decorative applied on top of it, and meat paint for wooden parts and metal parts. For such work, they use a natural sea sponge, the structure of which has the largest number of voids. If the drawing obtained on the wall repeats, becomes regular, you need to break the sponge and continue working with its inner, most uneven surface.

Sponge patterning

Pour the darker, sponge-patterned paint into a tray and stir well. You will first 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. Squeeze out, then dip the sponge into the paint and press against the fluted slope of the tray so the paint soaks the entire sponge.
After that, it is necessary to remove excess paint from the sponge using light, abrupt touches of a sheet of paper: with an oversaturated sponge, the drawing may turn out with blots or even blur.
Movements need to start from top to bottom. Use light, jerky touches, do not rotate or press the sponge hard. The position of the hand with the sponge should be changed in such a way as to avoid a regular, repetitive pattern. When the sponge becomes drier, you can work in the corners and along the plinth you involuntarily have to squeeze it, 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, basic tone and left to dry. Rinse off the sponge and then apply a second layer, overlapping the first so that they merge into the overall pattern. When the second layer is dry, you need to touch up individual highlights with a light color scheme. You can apply a color scheme of the background or "ivory", which will soften the overall picture.

Dash method

For this method, you need to prepare the glaze by mixing 70% varnish, 20% oil paint and 10% white spirit, and then apply the composition along the basic tone with a strip 500 mm wide from top to bottom. While the glaze has not dried, you need to apply a dotted line 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 streaked. To hide the joints, an overlap of the adjacent strip is required.

If the surface treated in this way will require rinsing in the future, a layer of matt polyurethane varnish should be applied over it.
Dotted Line Art A color stroke produces a finer drawing than a sponge. Usually it is performed 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 art is chosen according to the same principle as for sponge processing.
Let the background have a lighter shade, so that a kind of color haze is formed, and a darker tone for the stroke: it will better reveal the pattern. The reverse combination is also possible.
Line art can be applied to any surface, but it looks especially impressive on the walls of small rooms, on doors and furniture.
For line finishing it is better to use undiluted emulsion or oil paint (according to the surface material). Only oil paint can be used to finish the non-dried glaze. The special brushes designed for this job are made from badger hair, but almost any flat brush (even a new shoe) can be used, provided the bristles are the same length.

Line art drawing

Pour a small amount of the lightest color paint into a tray or flat dish (with a layer of at least 3 mm), dip a dry brush into the paint, only lightly touching the surface with it so that the bristles do not absorb too much of it.
Start processing from top to bottom, making abrupt movements with the brush and changing the angle of its position on the plane of the wall.
To enhance the pattern, apply another layer (pressing lightly on the brush) for 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 platbands and near the skirting board with an almost dry brush, applying the color of the first reel.

Processing with fabric

This method creates a more distinct pattern than sponge or brush. There are several ways you can do it. Application of paint with a crumpled piece of cloth (similar to sponge treatment) produces a definite clear pattern.

Removing paint or rolling with a tourniquet produces 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 rope (into a roller). Then lightly dip the fabric in the frosting.
To apply a pattern with a roller, you must 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 undefined, confusing pattern. The flap should be shaken off more often and crumpled again in the hand or changed (flap) as soon as it becomes oversaturated with paint. You need to be especially careful to mask the joints between individual stripes.
To paint with a crumpled piece of cloth, use emulsion or oil paint (according to the surface material). For roller rolling or paint stripping, only oil paint should be used, both for the bottom, main layer and for rolling.
The color for the roll will be the main tone, so you need to choose it darker than the background.
The fabric method, in addition to decorating walls or individual pieces of furniture, is good in cases where you want to match the color of the built-in equipment to the color of the walls. Any fabric, from muslin or gauze to suede, can be used as long as it is lint-free and will take dye well.

We apply a pattern using fabric

Start by pouring some paint into a flat-bottomed tray. When dipped in an emulsion, a dry cloth gives a clear, hard pattern. Moistening it slightly will produce softer prints. In the case of using oil paint, you need to wet the rag in white spirit, and then wring it out properly. Wrinkle the fabric in your hand before use.
Dip a rag in the paint and squeeze it lightly on a piece of paper to remove any excess. Apply strokes from top to bottom or along the eaves in a loose motion, similar to working with a sponge. The rag should be shaken off frequently and squeezed again in the hand to avoid a repetitive 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 correct the 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.

7th grade

Technology Basics

painting works

Materials for painting works

When painting, paints of various composition are used, which contain:

Color pigment (dry building paints)
Binder (glue, drying oil, resin with solvents)
Filler (ground chalk, sand, talc)

Oil paints

Used for painting wood, metal, plaster indoors and outdoors

Lead paints

Poisonous, intended for outdoor use, subject to respiratory protection

Water based paints

Used for painting porous surfaces

These are solutions of resins in various solvents - drying oils or alcohols. Used to coat wood and metal surfaces.

Solvents

Solvents are used to dissolve and dilute various thickened paint compositions to the working density, to wash tools, etc.

These are coloring compositions based on varnishes with the addition of coloring pigments.

Gloss degree

Matt materials and semi-matt

Gloss degree

glossy

materials

and semi-gloss

Painting tools

Paint rollers

Spray guns

Paint brushes

a - flywheel; b - maklovitsa; c - handbrake round and flat

Stencil brushes [a, b]

and paneled (in)

Finishing brushes

paint layer

a - trimming brush;

b, c - flat and round flutes

Rollers

Rollers are a tool for painting flat surfaces. For water-glue paints, rollers with a foam rubber coating are used (Fig. A), for oil and water-glue paints - with a fur coating (Fig. B, c).

Painting attachments

a - the back of the pipes; b - pipes; in - lattice fences; d - ends of window sashes and door panels; 1 - ejector; 2 - fixed holder; 3 - a movable clip with a foam rubber plate; 4 - sliding rollers; 5 - earring; 6-brace; 7 - clamping device; 8 - foam rubber

Spray guns

1. Paints and enamels should be stored in a special room away from heating appliances.
2. When painting surfaces, ventilate the room.
3. Do not touch the face and clothing items with contaminated hands.
4. Do not throw rags soaked in paint in the room.
5. Do not tilt your face close to the paint container.
6. At the end of work, wash your hands thoroughly with soap and water.

Practical work

What is painting work?

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 priming the surface before painting?
What tools are used for painting?
What is flutz?
How are stencils for drawing a surface made?

Painting works - application of paint compositions on the surface of buildings and structures in order to increase their service life, improve sanitary and hygienic conditions in rooms 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 finishing are increasing. These requirements are met by new efficient, 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 particularly careful preparation of the wall for repair work: the paint will not hide any cracks, or irregularities, or any other defects in the wall. 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. The smallest grains in the paint are not allowed in high quality paint. For painting work, you need various brushes, rollers, spatulas, rulers.

When painting, paints of different composition 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 accidental, therefore the addition of some substance at random, for example 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 thin it, you only need to add the most necessary amount of solvent, otherwise the paint will drain, especially from vertical surfaces. If the paint in the can is covered with a film, in no case should you stir it, but you need to carefully cut it with a knife as close to the body of the can as possible and remove it. If it is not possible to completely remove the film, 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 can. There is a generally accepted system of designations for paints and varnishes, which reflects their properties, purpose, operating conditions - a kind of compass in the endless sea of \u200b\u200bvarnishes and paints.

Types of paints

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

Weatherproof, limited weatherproof, protective, conservation, waterproof, special, oil and petrol resistant, chemically resistant, heat resistant, electrical insulating. The classification also takes into account the type of film former, which for brevity is designated by two letters.

Varnishes, enamels, primers and putties 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 (carbamide) - (MCh), pentaphthalic - (PF), polyurethane - (UR).

Polyester: unsaturated - (PE), saturated - (III), phenolic - (PL), phenolic - (FA), cyclohexane - (CH), epoxy - (EP), epoxy - (EF), etriftal - (ET).

Paints and varnishes based on polymerization resins: rubber - (CN), oil and alkyd styrene - (MS), petroleum - (NP), perchlorovinyl - (CV), polyacrylate - (AK), polyvinyl acetal - (VL), polyvinyl acetate - (VA ). Based on copolymers: vinyl acetate - (BC), vinyl chloride - (CS), 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 butyrate - (AB), cellulose acetate - (AC), cellulose nitrate - (NC), ethyl cellulose - (EC).

Marking of paints and varnishes

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

The first group means the type of paint and varnish material and is written with the word - varnish, paint, paint, primer, putty.

The second group indicates the type of film-forming substance, indicated by the two letters indicated above - MA, PF, ML, etc. (enamel ML ...; varnish PF ...).

The third group indicates the preferential operating conditions for the paint and varnish material, denoted by one number from 1 to 9. A hyphen is placed between the second and third groups of characters (enamel ML-1 .., varnish PF-2…).

The fourth group is a serial number assigned to the paint and varnish material during its development, denoted by one, two or three numbers (ML-1110 enamel, PF-283 varnish). The fifth group (for pigmented materials) indicates the color of the paint and varnish material - enamel, paint, primer, putty - in full (ML-P 1.0 enamel gray-white). When designating the first group of signs for oil paints containing only one pigment in their composition, instead of the word "paint" indicate the name of the pigment, for example, "red lead", "mummy", "ocher", etc. (red lead MA-15).

For a number of materials, indices are placed between the first and second group of signs:

B - without volatile solvent

B - for water-borne

VD - for water dispersion

OD - for organodispersive

P - for powder

The third group of signs for primers and semi-finished varnishes is designated with one zero (primer GF-021), and for putties - two zeros (PF-002 putty). After the hyphen in front of the third group of characters for thick-grated oil paints, one zero is put (red lead MA-Q15).

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

In the fourth group of signs for oil paints, instead of a serial number, they put a number indicating which drying oil the paint is made on: natural drying oil, Oksol drying oil, glyphthalic 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 information necessary for the consumer of paint and varnish material is given on the label, where the full name of the material is given, 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 packaging of paints and varnishes. It is not always true that the jar must be made of lithographed metal. A colorful label made on good paper is artistically and aesthetically inferior to lithography.

When choosing a paint, first of all, you need to proceed from how durable the coating should be during operation, take into account its decorative appearance and do not forget about the cost.

Types of wall paints

The best are paints and enamels based on synthetic binders or varnishes, which are used for high quality finishes. Among them there are those suitable for both outdoor and indoor work, as well as intended only for indoor work. They can give matte, glossy and semi-glossy finishes. Some of them form continuous coatings (for example, alkyd), others (for example, water-based) - porous. Paints that form continuous coatings are unsuitable for damp or damp walls, and alkyd paints, moreover, are not resistant to alkalis, and therefore they cannot be used to paint freshly plastered or concrete walls.

Oil paints are similar in properties to paints based on synthetic binders. They form non-porous coatings that are not resistant to alkalis and moisture.

Painter tools

Fly brushes. They are mainly produced 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 bend - when bending the hair, it should immediately straighten, leaving no visible curvature.

Bunch-shaped brushes requiring special knitting are called weight brushes, brushes in a cartridge with a handle - piece. After being tied with a strong twine, weight brushes are placed on a long handle-pin. Any brush is tied up, because long hair does not blend 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.

Whitewashing brushes are 200 mm wide, 45-60 mm thick, and hair length 100 mm. Such brushes are 2.5 times more productive than flywheels and allow you to get a cleaner color. Sometimes they are used instead of a whitewash brush - bristles, which are made from semi-spinal bristles with 50% horsehair. They are round in shape (120 and 170 mm in diameter, with a bristle length of 94-100 mm) or rectangular. The handle of the bakeware is attached in the middle of the shoe or is removable with screws. The work is done from a ladder or from the floor. Maclovits and whitewash brushes are recommended for glue and casein colors. Coloring made with whitewash brushes or velvet brushes does not require fluting.

Handbrake. They are small and fit on a short wooden handle. They are made from pure bristle, as well as with the addition of horsehair. Handbrakes d - 26, 30, 35, 40, 45, 50, 54 mm are produced. The handbrake is tied up with twine, which, as the hand wears out, is moved, increasing the length of the hair. The length of the remaining hair should be no more than 30-40 mm. Handbrakes are used for painting small surfaces with glue and oil paints. Handbrakes 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 paint compounds.

Flats are flat brushes with a width of 25, 60, 62, 76 and 100 mm, made of high quality bristles or badger hair, fixed in a metal frame, which is put on a short wooden handle. Flays are used mainly for smoothing freshly applied paint, that is, for destroying traces from a handwheel or handbrake. The flutes can also be used for coloring.

The trims are rectangular and made of hard bristle. Their main purpose is the processing of freshly painted surfaces. By facing, uniform blows are applied, smoothing out irregularities in the paint. As a rule, glue and oil paints are faced. Panel brushes are available d from 6 to 18 mm and are made of white stiff bristles, fixed in a metal frame-cartridge. The cartridges are mounted on wooden handles of various lengths. These brushes are designed to draw out narrow stripes called panels, or to paint hard-to-reach places that the handbrake cannot reach. For painting radiators, special radiator brushes with a handle curved at the base are produced.

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. Most often, fur, foam and velor rollers are used. When preparing for work, the fur roller needs to be immersed in water for a while - this will reduce the stiffness of the hair covering. However, it should be remembered that a fur roller is not recommended when working with lime paints - lime very quickly destroys fur. At the end of the work, the rollers must be washed in warm water and soap, completely removing the paint.

Painting technology

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

The number of coats depends on the type of paint, the required coating quality and the type of substrate. Glue paint is applied in two layers, water-based paint - in three, and some glossy polishes - in six or more layers. Each subsequent layer should contain more pigment and less binder. For example, the emulsion from the primer is strongly diluted with water, but for the cover 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 stains and, in addition, 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 remain on the surface and then fall off. If the wood is dry on the surface, but damp inside, when heated in the sun or under other influences, water vapor will press on the paint from below and tear it apart. To obtain a high-quality paint coating, you do not need to paint at low or too high temperatures, as well as in the sun, in a draft, in fog and in light rain. During painting work, the temperature should be at least 5 C.

When painting, the brush is held with a slight inclination to the surface. It is immersed in the paint, dipping it not completely, but only a quarter of the length of the hair, the excess paint from the brush is removed on the edge of the can. First, the paint is applied to edges, corners and hard-to-reach places, and only then to smooth surfaces. When overhead surfaces are painted, paint often drips onto the brush handle. To prevent this from happening, you can take an old rubber ball, cut it in half and thread a brush handle into one of the halves. To prevent the ball from jumping off the handle, an elastic band is reinforced 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, remove the old paint. A small nabel can be washed off with hot water using a brush and a rag, and a thick one must be scrubbed dry. You can pre-moisten it with hot water using a brush and remove after 40 minutes with a scraper or spatula.

The scraper or spatula is placed at an angle to the surface and, by slightly pressing the tool, remove the layer of nabel with sliding movements forward. In the same way, spills, paint deposits and other contaminants are removed. Cracks on the ceiling and walls must first be widened and then greased with the appropriate compound. The grease is made with a spatula, while sealing up not only the embroidered cracks, but also the shells and depressions that are on the surface. After drying, the greased places are sanded and primed.

Methods for applying paint

Although in recent years it has become more common to apply paint with a roller or with the help of paint sprayers, at home they still use a brush. The brush needs to be prepared - rinse it between your fingers and blow it out. For painting, you can use flat and round brushes. The size of the round brushes is chosen depending on the nature of the surface or object to be painted, as well as on the density of paint and varnish materials. In a new round brush, you need to shorten the length of the hair with a garter, otherwise it will spray paint.

The length of free hair is about 30-40 cm. The paint is applied evenly, first with movements in one direction, and then perpendicular to it, blending well until the entire surface is evenly colored. The last movements with a 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 annual layers of wood. If the paint is on linseed oil, the last layer is smoothed with light brush movements in a perpendicular direction. For smoothing, it is best to use a hair brush.

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

When painting vertical surfaces, the paint must be carefully shaded so that it does not drip and form drips. The paint runs off some time after its application, so you do not need to take too thin paint or apply it in a thick layer. If a complex embossed surface with various grooves is painted, it must be remembered that too much paint cannot be applied to them, because it will drain, wrinkle the surface and dry poorly.

To obtain an even edge of the painted surface, you can use self-adhesive tape glued to a line previously beaten off with a cord or plumb line. To wet the rollers with paint, you need a flat metal box with trapezoidal longitudinal walls. A sieve with cells of 10-20 mm is installed in the box, along which a roller soaked in paint is carried out in order to eliminate excess and evenly distribute the paint along the entire perimeter of the roller.

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

The spray paint method has several advantages, especially when painting large, uniform, non-blocking surfaces. All types of paints and varnishes are applied in this way quickly and evenly.

This method is also convenient for painting hard-to-reach surfaces, for example, the interior of central heating radiators. In the process of spraying, the smallest particles of paint fall on the surface to be painted, connect to one another and form an even layer. When applying paint in this way, you need to close all surrounding surfaces that cannot be painted, so that later you do not waste time and effort on cleaning them. For this purpose, adhesive tapes are suitable, which can be used to secure paper or film. To obtain an even edge of the painted surface, you can use self-adhesive tape glued to a line previously beaten off with a cord or plumb line. As soon as the liquid level drops, the container must be filled, otherwise the spray gun will eject an uncontrolled amount of paint after sucking in air.

The sponge treatment creates a soft spotted pattern. Moreover, the light tone of the lower layer (background) will look like streaks of indefinite shape. The paint should not be pure white, but slightly tinted for a more subtle effect. If you need to get a more contrasting solution, you need to apply a dark pattern over matte emulsion paint - you get an original shimmering pattern. Sponge painting can lighten or, conversely, darken the overall tone. For background and roll-over, you need to choose harmoniously combined shades of the same color range or complementary colors of equal intensity.

A densely applied pattern without significant gaps 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 over 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 disguising not very attractive objects, such as, for example, radiators.

Undiluted emulsion paint is used for the walls, both for the base layer and for decorative applied on top of it, and meat paint for wooden parts and metal parts. For such work, they use a natural sea sponge, the structure of which has the largest number of voids. If the drawing obtained on the wall repeats, becomes regular, you need to break the sponge and continue working with its inner, most uneven surface.

To apply a pattern with a sponge, paint in a darker tone, intended for applying a pattern with a sponge, must be in the tray and stir well. You will first 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. Squeeze the sponge, and then dip it into the paint and press it against the grooved inclined compartment of the tray so that the paint soaks the entire sponge.

After that, it is necessary to remove excess paint from the sponge using light, abrupt touches of a sheet of paper: with an oversaturated sponge, the drawing may turn out with blots or even blur.

Movements need to start from top to bottom. Work with light, abrupt touches, do not rotate or press the sponge hard. The position of the hand with the sponge should be changed in such a way as to avoid a regular, repetitive pattern. When the sponge becomes drier, you can work in the corners and along the plinth you involuntarily have to squeeze it, 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, basic tone and left to dry. Rinse with a sponge and then apply a second coat, overlapping the first so that they merge into an overall pattern. When the second layer is dry, you need to touch up individual highlights with a light color scheme. You can apply a color scheme of the background or "ivory", which will soften the overall picture.

For shading the walls, you need to prepare the glaze by mixing 70% varnish, 20% oil paint and 10% white spirit, and then apply the composition along the basic tone with a strip 500 mm wide from top to bottom. While the glaze has not dried, you need to apply a dotted line with a brush over it 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 required. If the surface treated in this way will require rinsing in the future, a layer of matt polyurethane varnish should be applied over it.

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

Line art can be applied to any surface, but it looks especially impressive on the walls of small rooms, on doors and furniture. For line finishing it is better to use undiluted emulsion or oil paint (according to the surface material). Only oil paint can be used to finish the non-dried glaze. The special brushes designed for this job are made from badger hair, but almost any flat brush (even a new shoe) can be used, provided the bristles are the same length.

Line art application technology: pour a small amount of the lightest color paint into a tray or flat dish (with a layer of at least 3 mm), dip a dry brush into the paint, only lightly touching the surface with it so that the bristles do not absorb too much of it. Processing should start from top to bottom, making abrupt movements with the brush and changing the angle of its position on the plane of the wall. To enhance the pattern, apply another layer (by pressing lightly on the brush) to achieve greater contrast. When blots appear, cover them 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, using the color of the first reel layer.

Processing with fabric

Removing paint or rolling with a tourniquet produces 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. 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 bundle (into a roller). Then lightly dip the fabric in the glaze.

To apply a pattern with a roller, you must 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 undefined, confusing pattern. The flap should be shaken off more often and crumpled again in the hand or changed (flap) as soon as it becomes oversaturated with paint. You need to be especially careful to mask the joints between individual stripes.

To paint with a crumpled piece of cloth, use emulsion or oil paint (according to the surface material). For roller rolling or paint stripping, only oil paint should be used, both for the bottom, main layer and for rolling. The color for the roll will be the main tone, so you need to choose it darker than the background. The fabric method, in addition to decorating walls or individual pieces of furniture, is good in cases where you want to match the color of the built-in equipment to the color of the walls. Any fabric, from muslin or gauze to suede, can be used as long as it is lint-free and will take dye well.

The technology of applying a pattern using fabric.

Pour some paint into a flat-bottomed tray. When dipped in an emulsion, a dry cloth gives a clear, hard pattern. Moistening it slightly will produce softer prints. In the case of using oil paint, you need to wet the rag in white spirit, and then wring it out properly. Before use, wrinkle the cloth in your hand, then dip the cloth in the paint and squeeze it lightly on a piece of paper to remove the excess. Apply strokes from top to bottom or along the cornice in free movements, similar to working with a sponge. The rag should be shaken off frequently and squeezed again in the hand to avoid a repetitive pattern. As soon as the drawing becomes less clear, the rag should be changed to a fresh one.

At the end of the work, it is imperative to correct the 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 the paint composition, keep it inside so that the paint does not drain. Cheap, but less practical and durable brushes made from bristle with the addition of about 50% of coarse horsehair.

The largest in size (a bun of hair reaches a length of 180 mm, a diameter of 60-65 mm) fly brushes with a round cross-section and a long handle (1.8-2 m). They are sold ready-made (the bundle of hair is reinforced in a metal ring) or in the form of a bundle of hair requiring 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 hand, the hairs should immediately straighten, taking their previous shape. It is convenient to paint large surfaces with flying brushes, such as ceilings, walls.

Vitaly Lvova

A single coat does not provide sufficient protection for the substrate, therefore several coats of paint must be applied successively, each of which performs its own function.

The bottom layer serves to adhere the multi-layer coating to the base. A top coat that completes the paint coat protects the undercoats from external influences and serves as a decorative function. If the oil paint is applied in one layer, the surface will be wrinkled, and over time it will crack.

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

If the wood is dry on the surface, but damp inside, when heated in the sun or under other influences, water vapor will press on the paint from below and tear it apart.

First, the paint is applied to edges, corners and hard-to-reach places, and only then to smooth surfaces. When overhead surfaces are painted, paint often drips onto the brush handle. To prevent this from happening, you can take an old rubber ball, cut it in half and thread a brush handle into one of the halves. To prevent the ball from jumping off the handle, an elastic band is reinforced 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 positioned at an angle to the surface and, slightly pressing the tool, remove the layer of nabel with sliding movements forward. In the same way, spills, paint deposits and other contaminants are removed.

Cracks on the ceiling and walls must first be widened and then greased with the appropriate compound. The grease is made with a spatula, while sealing up not only the embroidered cracks, but also the shells and depressions that are on the surface. After drying, the greased places are sanded and primed.

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

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

In a new round brush, you need to shorten the length of the hair with a garter, otherwise it will spray paint. Free hair length is about 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 a 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 annual layers of wood.

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

If a complex embossed surface with various grooves is painted, it must be remembered that too much paint cannot be applied to them, because it will drain, wrinkle the surface and dry poorly.

To obtain an even edge of the painted surface, you can use self-adhesive tape glued to a line previously beaten off with a cord or plumb line.

PAINTING WITH ROLLER
To wet the rollers with paint, you need a flat metal box with trapezoidal longitudinal walls. A sieve with cells of 10-20 mm is installed in the box, along which a roller soaked in paint is carried out in order to eliminate excess and evenly distribute the paint along the entire perimeter of the roller.

Spraying
This method of paint application has several advantages, especially if large, uniform, non-obstructing surfaces are being painted. All types of paints and varnishes are applied in this way quickly and evenly.

When applying paint in this way, you need to close all surrounding surfaces that cannot be painted, so that later you do not waste time and effort on cleaning them. For this purpose, adhesive tapes are suitable, which can be used to secure paper or film.

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

SPONGE PROCESSING
This method creates a soft spotty pattern. Moreover, the light tone of the lower layer (background) will look like streaks of indefinite shape. The paint should not be pure white, but slightly tinted for a more subtle effect. If you need a more contrasting solution, you need to apply a dark pattern over matte emulsion paint - you get an original shimmering pattern.

Sponge painting can lighten or, conversely, darken the overall tone. For background and roll-over, you need to choose harmoniously combined shades of the same color range or complementary colors of equal intensity. A densely applied pattern without significant gaps 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 over 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 disguising not very attractive objects, such as, for example, radiators.

SPONGE APPLICATION TECHNOLOGY
Pour the darker, sponge-patterned paint into a tray and stir well. You will first 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. Squeeze out, then dip the sponge into the paint and press against the fluted slope of the tray so the paint soaks the entire sponge.

After that, it is necessary to remove excess paint from the sponge using light, abrupt touches of a sheet of paper: with an oversaturated sponge, the drawing may turn out with blots or even blur.

Movements need to start from top to bottom. Use light, jerky touches, do not rotate or press the sponge hard. The position of the hand with the sponge should be changed in such a way as to avoid a regular, repetitive pattern. When the sponge becomes drier, you can work in the corners and along the plinth you involuntarily have to squeeze it, 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, basic tone and left to dry. Rinse off the sponge and then apply a second layer, overlapping the first so that they merge into the overall pattern. When the second layer is dry, you need to touch up individual highlights with a light color scheme. You can apply a color scheme of the background or "ivory", which will soften the overall picture.

TRADITIONAL HATCH PROCESSING
For this method, you need to prepare the glaze by mixing 70% varnish, 20% oil paint and 10% white spirit, and then apply the composition along the basic tone with a strip 500 mm wide from top to bottom. While the glaze has not dried, you need to apply a dotted line 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 streaked. To hide the joints, an overlap of the adjacent strip is required.

If the surface treated in this way will require rinsing in the future, a layer of matt polyurethane varnish should be applied over it.

Dotted Line Art A color stroke produces a finer drawing than a sponge. Usually it is performed 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 art is chosen according to the same principle as for sponge processing.

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

Line art can be applied to any surface, but it looks especially impressive on the walls of small rooms, on doors and furniture.

For line finishing it is better to use undiluted emulsion or oil paint (according to the surface material). Only oil paint can be used to finish the non-dried glaze. The special brushes designed for this job are made from badger hair, but almost any flat brush (even a new shoe) can be used, provided the bristles are the same length.

HATCH TECHNOLOGY
Pour a small amount of the lightest color paint into a tray or flat dish (with a layer of at least 3 mm), dip a dry brush into the paint, only lightly touching the surface with it so that the bristles do not absorb too much of it.

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

To enhance the pattern, apply another layer (pressing lightly on the brush) for 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 platbands and near the skirting board with an almost dry brush, applying the color of the first reel.

FABRIC PROCESSING
This method creates a more distinct pattern than sponge or brush. There are several ways you can do it. Application of paint with a crumpled piece of cloth (similar to sponge treatment) produces a definite clear pattern.

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 rope (into a roller). Then lightly dip the fabric in the frosting.

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 pieces of furniture, is good in cases where you want to match the color of the built-in equipment to the color of the walls. Any fabric, from muslin or gauze to suede, can be used as long as it is lint-free and will take dye well.

PATTERNING TECHNOLOGY WITH FABRIC
Start by pouring some paint into a flat-bottomed tray. When dipped in an emulsion, a dry cloth gives a clear, hard pattern. Moistening it slightly will produce softer prints. In the case of using oil paint, you need to wet the rag in white spirit, and then wring it out properly. Wrinkle the fabric in your hand before use.

Dip a rag in the paint and squeeze it lightly on a piece of paper to remove any excess. Apply strokes from top to bottom or along the eaves in a loose motion, similar to working with a sponge. The rag should be shaken off frequently and squeezed again in the hand to avoid a repetitive 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 correct the 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.

Before painting any surface, it must be properly prepared.

New plastered, concrete or gypsum surfaces must first be dust-free. After that, using pumice stone or sandpaper, remove irregularities, roughness and other defects. The existing cracks are cut to a depth of a couple of mm. After deepening, the cracks are moistened with water and treated with gypsum solution, grease or putty. The surface treated in this way is leveled with a grater.

New wooden surfaces must be cleaned from dirt and dust. After that, they are freed from knots, corks and tar. Corks are also removed by cutting 3-5 mm. Cracks and crevices are also cut. If you do not follow this procedure, then the knots will appear in the form of tubercles when the wood dries. The same will happen with tar. In addition, the paint will be destroyed by these defects from the inside.

Everybody needs e preparatory operations for those surfaces that have previously been painted with oil paints depend on howsurvived old paint and what kind of surface it is. If the old coating and plaster hold well, then it is enough to rinse the surface with 2% soda solution. If there are places where the oil paint has weakened, then it must be partially or completely scraped off. Then when the old paint was covered with mbumps and cracks, but it cannot be cleaned off, you need to apply a remover to the surface to remove old paint. After some time deysafter removing the paint (0.5-2 hours), the paint softens and can be easily removed with a spatula. Old paint can also be removed with a blowtorch, a special hair dryer (the air flow temperature of such hair dryers reaches 280-300 degrees), or even with an iron, the hot surface of which (to preserve the appearance of the iron) is covered with aluminum foil.

If a thick layer of the old coating remains on the wooden surface, then before the new painting, the surface must be washed with a 2% layer of soda and warm water. After rinsing, it does not hurt to clean the surface with a pumice stone mixed with water. If the old paint layer has cracks, lags, peeling, and other damage to the surface, then the old paint in the damaged areas must certainly be removed up to a solid wooden base. These areas, cleared of paint, then need to be treated with clean linseed oil, as well as greased with putty and treated with a primer.

Facade trim elements and metal surfaces must be cleaned from rust, as well as from paint that has become unusable. To perform such work, you need to use a spatula, scraper, emery paper or a metal brush. In addition, all surfaces to be painted must be thoroughly cleaned of dust, dirt, splashes of plaster and other traces of building materials.

Surfaces for painting with water-based and enamel paints should be prepared in the same way as before painting with oil paints. Water-based paints can be used to paint surfaces that have traces of oil paint and other paints. However, as mentioned before, it is allowed to leave only that layer of paint that adheres firmly to the carrier material.

Before painting with Finnish or Swedish emulsion paints, wood that has just been planed must be cleaned of resin. In order to remove the resin from the wood, you need to wipe its surface a couple of times with an 8-10% solution of soda ash. The solution temperature should reach 50-60 degrees. After wiping with soda ash, the surface is cleaned (wiped) with warm water.

Those surfaces that were previously painted with lime compounds should be carefully examined. If there are traces of nabel, then they need to be cleaned. A layer of thick old nabel should be moistened abundantly with water (water temperature - 50-70 degrees). After the layer gets wet, clean the paint with a spatula and rinse the surface with water.

If the surface was previously painted with chalk (glue) paint, then it is prohibited to re-paint this surface with glue. After all, a new layer of paint will pull back the old one. Consequently, the new layer will flake off along with the old one. Old adhesive paint can be dry cleaned. But you can, again, use hot water (to treat the surface with hot water, use a brush that is well moistened with large portions of water). After cleaning, remove the old adhesive paint with a scraper or spatula. In order to completely eliminate surface discoloration, they are also washed out with hot water.

If the surfaces were painted with silicate or casein paints, then they should be cleaned with 2-3% hydrochloric acid. Under its influence, the chalk reacts. In this state, the old paint can be easily removed with a spatula or scraper.

SURFACE PRIMER

An important operation in painting work. It is carried out so that the pores that are present on almost any surface (especially for wooden surfaces) are closed. In addition, the primer creates a more reliable adhesion of the main paint layer to the surface of the material.

The primer is applied in one go. Or make several layers of primer. Apply a primer only to a prepared and dry surface. Apply the primer with a brush and blend very carefully. The previous layer of primer, when re-primed, putty or greased, should dry well.

For enamel or oil paint, the surface should be primed with clean drying oil. However, for convenience, you can add a little paint to the drying oil of the color in which the surface will be painted in the future. Thanks to this, the surface on which the unprimed spots remained will become visible. Under lime paints, the primer is applied over a damp surface. This improves the adhesion of the paint and also increases its durability. Such surfaces should be treated with a primer suitable for such paints. Under silicate or casein paints, the surface is primed with the same primer, but with a more liquid consistency. Under water-based compositions, the primer is performed with a composition that is suitable for water-based paints. However, the surface must be pre-treated with putty and drying oil. If the painting will be carried out with Finnish or Swedish paints, then a primer is not needed.

In painting work, the next operation (after priming) is grease. By means of appropriate lubricants, defects on the surface of the painted material can be eliminated. The lubricant must strictly correspond to the type of paint that will be used.

Apply the grease with a spatula. The dried grease is ground (cleaned). After that, they are primed. After greasing and priming, the surface should be leveled. For this, putty is used. The filler must also be selected in accordance with the paint used. The putty is applied in an even thin layer with a spatula to the entire painted surface. Like the grease, the putty is cleaned (after it has completely dried). And again they are priming.

The paint should be applied to a clean and dry surface. To apply paint, you need to use a roller, spray or brush. Each next layer can be applied only after the previous layer has dried.

When working with a brush, hold it almost perpendicular to the surface to be painted. The brush should slide easily only with its tip on the surface to be painted. It should move with light pressure. The layer should be thin. Vertical surfaces should be painted from top to bottom (especially the last time). The wooden surface is shaded only along the grain. The surface can be painted in 1-2 layers. If necessary, the number of paint coats is increased to three.

In order to varnish painted surfaces, you need to use oil paints. In addition, such surfaces can be coated with an oil varnish. This results in an increased surface gloss. In addition, the varnish prolongs the life of the paint coat. Before use, the oil varnish is heated. Then they are mixed and applied warmly with a brush on a well-dried and already painted with oil paint surface. The varnish coat should be thin. After the initial coat of varnish has dried, another coat can be applied if necessary.

Glass near the frames, before painting the windows, must be pasted over with adhesive tape or strips of paper. If strips of paper are used, then they must first be moistened with water and rubbed with soap. Such measures will protect the window panes from paint contamination. In addition, shields made of plywood, cardboard or tin can be used for these purposes. The paint should be shaded along the sash beams. In places of the vestibule, until the paint has completely dried, the windows should be left open.

The paint, when painting doors, must first be applied horizontally. And then - vertically. For leveling the facade (the final stage of surface painting), special trimming and flange brushes are used.

Without pressure, the tip of the flute should be drawn over the painted surface. Omissions should be neatly shaded. As soon as the flute is saturated with paint, it is thoroughly squeezed out, wiped with a rag, and only then the work is continued. The flats can be washed. But before use, the flutes must dry well. After all, when wet, the flutes will not level the paint. The surface after fluting will be smooth and even. There will be no paint clots on it and, importantly, no brush marks.

When working with a trimmer brush, light blows should be applied to the newly painted surface. Thus, a rough texture is obtained. Tortsovkat in the process, wipe with a dry cloth. Like the flutz, the trim must be washed and dried thoroughly. A wet brush is practically unsuitable for trimming.