Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
net/publication/306354806
CITATION READS
1 17,124
1 author:
SEE PROFILE
Some of the authors of this publication are also working on these related projects:
All content following this page was uploaded by Onyenekenwa Cyprian Eneh on 21 August 2016.
ISBN 978-35223-1-0
Copywright © 2016
Onyenekenwa Cyprian Eneh
i
DEDICATION
To Most Gracious God Almighty, who creates and gives the
increase;
To my beloved wife. Amuche, and children: Chimezie, Chinelo,
Chinemelum and Chinedum.
ii
PREFACE AND ACKNOWLEDGEMENTS
iii
FOREWORD
iv
TABLE OF CONTENTS
CHAPTER ONE
INTRODUCTION
HISTORICAL
Paint is a very ancient industry. Noah was asked to use pitch
within and without the Ark (Genesis 6:14). The prehistoric
inhabitants of the earth recorded their activities in colours on the
walls of their caves. The crude paints were probably clays
suspended in water. The Egyptians developed a variety of colours
by 1500 B.C., and by 1000 B.C., they discovered varnish, using
natural resins and beeswax for the film-forming ingredient (resin).
Scientific and engineering research, however, revolutionized paint
industry in recent years.
1
Onyenekenwa Cyprian Eneh A guide for the paint maker
Paints also increase the attractiveness of manufactured products, as
well as the aesthetic appeal of dwellings. Thus, paints serve utility
and art purpose.
2
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHAPTER TWO
COLOUR
INTRODUCTION
Coloured substances have since ages fascinated man. Even the
earliest peoples had crude means of adding colours to cloth,
ornamental, skin and building.
As long as all these components are present, the light appears in its
usual white colour (also regarded as colourless). If, on the other
hand, any of the components is absent, the mixture of the
remaining components will form another colour, other than white,
and the substance becomes coloured.
white A T
light
R
Key
A Absorbed light components(s)
R reflected light component(s)
T transmitted light component(s)
Fig. 2: Absorption, reflection and transmission of components of
white light by/through an object
COLOUR OF PAINT
Actually, the human eye is capable of distinguishing some ten
million colours. Of this vast number, many are probably not no
reproducible by the commercial building paints, and the noticeable
differences in other individual cases may be so slight as to have
little
ittle practical importance.
6
Onyenekenwa Cyprian Eneh A guide for the paint maker
BIBLIOGRAPHY
Cannell, D. (1967). Paint. In Kirk-Othmer. Encylopedia of
Chemical Technology. Vol. 14. 2nd ed., John Wiley & Sons
Inc., New York.
Cyprian Eneh (1986). Colour and Dye, Sunday Satellite p. 10.
DePUY and Rinehart (1967). Introduction to Organic Chemistry.
John Wiley & Sons Inc., New York.
Estok, D.K. (1959). Organic Chemistry, A Short Text. Saunders
company.
Judd, D.B. and Wyszecki, G. (1963). Colour in Business, Science
and Industry. 2ed., John Wiley & Sons Inc., New York.
7
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHAPTER THREE
OUTLINE OF PAINT TECHNOLOGY
PAINT
Paint is a mixture composed basically of solid colouring matter
(the pigment) and liquid (the vehicle). It is applied as a coating to
various types of surfaces, including dwellings, public buildings,
factories, bridges, ships, and storage tanks. The purpose of coating
may be decorative, as in beautifying of objects and provision of
aesthetics; protective, as in preservation against weather, moisture,
solar radiation, chemicals, and mechanical damage; or functional,
as in communication of an impression. By obliterating the surface
over which it is applied paint serves the purpose of its use. It may
be a water-based paint (emulsion) or an oil-based paint (gloss).
All the pigment is mixed in a tub with the help of rotating blades.
The particles are wetted with vehicle, and the flocculated
aggregates are eliminated. Many dispersers in use today include
steel roller, ball, pebble, sand, high-speed impeller, Moorehouse,
Werner-Pfleiderer, and Cowles dispersers. Actually, there is little
or no breakdown of pigment particles (as the word grinding,
commonly in use in the industry, suggests).
Pigment Volume
PVC =
Pigment Volume + Binder Volume
10
Onyenekenwa Cyprian Eneh A guide for the paint maker
premature erosion, excessive moisture transmission, and rusting (in
the case of metal surface).
PLANTS/MACHINERY
The plants found in an average paint industry may include mixers,
fork-lift, sieving machine and canning machine. A mixer is
principally made up of a blade, a vessel (containing the materials
to be mixed) and the machine which turns the blade. It may make
use of electricity and has a device for regulating the speed. Fork-
lift is a machine for lifting and transferring goods, such as gloss,
finished products, etc. from one position to another. A sieving
machine is made up of wire-mesh for sieving paints. The paint may
flow to the mesh through a tube running from the vessel. The
canning machine comprises of a vessel into which the paint to be
canned flows. The vessel has out-lets from where, when opened
with the fast device, the paint flows into the cans. There is also a
device which compresses the covered cans to ensure that the can is
strongly covered.
11
Onyenekenwa Cyprian Eneh A guide for the paint maker
PACKAGES
Paints are packaged in metallic or plastic containers of different
sizes: l00mI, 250m1, 500ml, I litre, 4 litres, 20 litres, etc. A
number of the containers are, in turn, packed in a carton, for ease
of displacement and handling.
SAFETY MEASURES
The safety requirement in paint industries recognizes that paint
sticks to wears and skin and that some of the raw materials for
paint making are not good to inhale. Workers, therefore, often
wear mask to cover their body including the nostrils. They also
wear boots. And, here in Nigeria, the industry needs fire-
extinguisher system as well as a stand-by generator.
BIBLIOGRAPHY
Cannell, D. (1967). Paint. In Kirk-Othmer. Enclyclopedia of
Chemical Technology, Vol. 14. 2ed. John Wiley & Sons inc.,
New York.
Eneh, O.C. (1981). SIWES Report for B.Sc. lndustrial Chemistry,
submitted to the Department of Pure & Industrial Chemistry,
University of Nigeria, Nsukka.
12
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHAPTER FOUR
TERMS IN PAINT TECHNOLOGY
COLOUR
Paints are colouring substances. Colour charts are often available
in the industry.
DENSITY
This a measure of bubbles contained in a given volume of paint.
VISCOSITY
This is a measure of flow of the paint.
SEALER
This is a coating used when the surface to be painted is highly
porous or can exude a material which will damage subsequent
coats of paint. Examples of porous surfaces are asbestos and other
building boards. The sealers are chosen to satisfy the suction of the
surface and seal off any alkali, such as lime. For the surfaces
mentioned, sealers based on vinyl emulsion are frequently used.
13
Onyenekenwa Cyprian Eneh A guide for the paint maker
Timber often contains knots which can exude a resinous substance
that will soften and often discolour paint films. To avoid this, the
knots are treated with a sealer called knotting which is a solution of
shellac in methylated spirit.
PRIMER
This is the paint intended as the first coat on a substrate. It is often
designed to perform as both primer and sealer. It functions to (i)
give adequate protection to the substrate and will adhere to
substrate or sealer, (ii) provide a surface to which the undercoat
will adhere well.
14
Onyenekenwa Cyprian Eneh A guide for the paint maker
FINISH
This is the paint that serves as the final coating on the surface,
giving it the colour it bears. It is, however, different from wood-
finish, the application of which is rather preceded by sanding,
sealer and filler which seal the pore on the wood.
VARNISH
This is resin either (a) dissolved in or reacted with, drying oil and
usually further diluted with volatile solvent, or (b) dissolved in
solvent. It is specifically no paint, but serves a protective purpose
of paints. It is applied to the underneath of boats.
INTERGARD
This is a quick-drying catalyzed oil paint widely used in marine
works.
LATEX PAINT
The term latex denotes a suspension of polymer particles in water.
Emulsion paints consist basically of a combination of pigment and
latex, hence it is called latex paint. Water paints other than latex
include whitewash, casein paint, paint and linseed emulsion paint.
WHITEWASH
This may be made by mixing unslaked lime with water and
allowing it to stand for a few days before use, or starting with
calcium hydroxide in the first place. The applied coating converts
to calcium carbonate. Certain additives, like glue, have been used
for their cheapness.
CASEIN PAINT
This is usually supplied as a powder to be mixed by the user.
Casein is about 10-12% of the composition, together with some
lime to convert it to insoluble calcium caseinate after application.
The balance is pigments plus preservatives.
CEMENT PAINT
This is used to a limited extent on masonry. It is supplied as a
powder containing Portland cement and white or alkali-resistant
coloured pigments. It is mixed with water for application.
ENAMEL
The word enamel strictly means a glass-like substance fused on to
metal surfaces. By enamel in the paint industry, however, is
generally understood a high gloss.
Besides the glossy wall paints which may be called enamels (there
is no sharp division), practically all trade sales lines include a large
selection of bright strong colours and black for use on
comparatively small areas such as lawn furniture, cabinet doors,
and similar surfaces. These have a low pigment volume, and are
pigmented with such colourant as toluidene red, phthalocyanine
blue, hansa yellow, and gas black, titanium dioxide and lampblack
for grays. The nonvolatile vehicle is usually alkyd resin, but there
are many other varieties that may be, and are, used. Specifications
on these products call for a high pigment dispersion to produce the
maximum in smoothness and leveling out.
FINENESS
This is a measure of the presence of the unwanted particles or
flocculated aggregates of particles in the paint.
CHECKING
This refers to the slight fine breaks in the surface of a film visible
to the eye or a 10-power microscope.
FLOODING OR FLOATING
This is a defect involving the separation of individual pigment
particles, thus giving a non-uniform colour.
18
Onyenekenwa Cyprian Eneh A guide for the paint maker
THIXOTROPY
This is the property of a liquid or gel to lose viscosity under stress
and regain the gel state when the stress is removed.
FLOW
This is the ability of an applied film to level out evenly and
produce a smooth coat.
LEVELING
Brush marks are left behind immediately after the brushing of
paint. These furrows or striations soon disappear due to the
leveling of the wet film prior to drying. Acceptable leveling
becomes important, since brush marks are considered as signs of
weakness (incipient corrosion or cracking).
SAGGING
If the paint is applied to a vertical surface a downward flow (due to
influence of gravitation) takes place. This is variously referred to
as running, curtaining, or sagging. A certain tolerable degree of
this flow is necessary for satisfactory leveling, but excessive
sagging is inexcusable.
BLISTERING
This is usually the effect of the sun which heats and softens the
paint coating and develops vapour pressure under the dried top
layer from the volatile matter trapped by too rapid drying and
skinning over the top surface of the film. The heat-expanded
vapour causes the soft film to blister. The volatile matter in the
film may arise from the resinous constituents of the wood carrying
the coating, from solvent residues or from moisture.
19
Onyenekenwa Cyprian Eneh A guide for the paint maker
LIVERING
This is the appearance in a paint of semi-solid, jelly-like masses
resembling raw liver. It is caused by chemical reactions, which
may occur between certain pigments and vehicles.
DRYING
We can look at the drying of paints in a number of ways. The first
is illustrated by the use of a pigment dissolved in a volatile liquid
(e.g. Alcohol). When applied to a surface, the liquid soon
evaporates and leaves the pigment matter spread over the surface
in a thin, even, hard layer, which serves the desired purpose.
SKINNING
Paints, after sometime, develop some thickening. This is known as
skinning.
20
Onyenekenwa Cyprian Eneh A guide for the paint maker
FREEZING
This is the tendency to solidify or lose fluidity by stored paint.
GLOSS
This refers to the specular reflectance or the light reflected at the
same angle as the angle of incidence.
BIBLIOGRAPHY
Cannell, D. (1967). Paint. In Kirk-Othmer. Enclyclopedia of
Chemical Technology, Vol. 14. 2 ed. John Wiley of Sons Inc.
New York.
Martens, C.R. (1964). Emulsion and Water-Soluble Paints and
Coatings. Reinhold Pu Corp.
Patten, C.T. (1964). Paint Flow and Pigment Dispersion. John
Wiley & Sons Inc. New York.
21
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHAPTER FIVE
PAINT TYPES, COMPOSITION AND FORMULATION
22
Onyenekenwa Cyprian Eneh A guide for the paint maker
Solvents
Ketones, aromatics, aliphatics, alcohols, glycol ethers, glycol ether
esters, glvcols. glycol esters, chlorinated products, terpenes, etc.
Driers
Cobalt, manganese, lead and zinc, naphthanates, resinates,
linoleates, 2-ethyihexoates, tallates.
Plasticizers
Octyl, decyl, 2-ethyihexyl and similar esters of phthalic, sebacic,
adipic. azel aic, and similar acids.
23
Onyenekenwa Cyprian Eneh A guide for the paint maker
The Pigments and Extenders are further outlined as:
Box1: Pigments and extenders and their functions
Ingredients Function
24
Onyenekenwa Cyprian Eneh A guide for the paint maker
25
Onyenekenwa Cyprian Eneh A guide for the paint maker
number of days had to be allowed between coats. Added to this
was the uncertainty of the pigment-binder relationship in the actual
film applied, as many painting contractors varied the amount of
added oil at will. Little wonder straight white lead is virtually
obsolete. Mixed pigment, ready-to use house paints have been in
use for a good many years.
Although formally the same paint was used for both first and
succeeding coats, modem practice is to supply a specially
formulated primer as the first coat. The priming formulation
generally has a higher pigment-volume concentration, a higher
content of lead pigment and extender, and in some products, zinc
in any form is omitted. The effect of the higher pigment volume in
the priming coat is to produce a lower gloss, which helps to
provide better mechanical adhesion of the succeeding coat, and it
also promotes faster drying. It is contended by some authorities
that zinc in a coating, which is in immediate contact with bare
wood, increases the tendency to blister where moisture-
transmission conditions prevail. A pigment-volume concentration
for an exterior house paint primer is usually in the range of 35%,
and for a finish coat, 30%. Typical formulations are:
28
Onyenekenwa Cyprian Eneh A guide for the paint maker
Exterior wood paints designed for fume resistance are formulated
with no lead compounds, the prime pigments being zinc oxide,
titanium dioxide, and extenders. These are slightly less durable, but
have the advantage of good colour retention in atmosphere
polluted with hydrogen sulphide, since zinc oxide and zinc
sulphide are both white, and the other pigments present are
unaffected. A test method is to expose a painted panel to a
saturated atmosphere of hydrogen sulphide for a specified number
of hours.
29
Onyenekenwa Cyprian Eneh A guide for the paint maker
Table 3: A typical formulation of exterior latex paint
Formulation lb gal Formulation B Ib gal
Dispersing agent 15 2.0 Acrylic latex
(40% nonvolatile) 605 68.9
Defoamer 2 0.2 Preservative 9 1.0
Water 50 6.0 Defoamer 2 0.2
Titanium dioxide 250 7.2 Water 8 1.0
Extender pigments 117 5.0
Hydroxyethlcellulose,
2% aq. Solution 50 6.0
Ethylene glycol 25 2.6
Any good quality exterior paint including oil and latex paint, may
be used for masonry, except that the original surface, if not
previously painted, generally requires special treatment, Masonry
surfaces are likely to contain alkaline compounds. The first coat
used on such surfaces is therefore usually an alkaline- resistant
resinous type, pigmented or unpigmented, to act as a sealer.
30
Onyenekenwa Cyprian Eneh A guide for the paint maker
Most exterior paints are white. The principles for the formulation
of white exterior paint apply to house paints in light colours. The
tinting pigment, which is generally a very small proportion, must
be carefully made. The preferred colouring materials are those
which have good chemical stability, such as iron oxide reds,
browns and yellows, phthalocyanine blue and green, and
lampblack. Many precipitated pigments, such as organic reds and
ferrocyanide blues, have the drawback of rather rapid fading when
diluted with a large proportion of white and exposed to sunlight.
Some of these have excellent permanence when used in
concentrated form in deep colours, and are used for this purpose in
trim paints. The white pigment must be as chalk-resistant as
possible, hence the rutile titanium dioxide is used.
31
Onyenekenwa Cyprian Eneh A guide for the paint maker
One effect of the resin content is to increase hardness and reduce
drying time. A high pigment content acts in the same way, hence
heavily pigmented flat finishes, as a rule, contain less resin and
more oil than glossy ones, in order to maintain toughness and
flexibility.
32
Onyenekenwa Cyprian Eneh A guide for the paint maker
and strain resistance, and the subdued sheen is considered more
pleasing to the eye than a high gloss.
Wail primer and sealer is used on new masonry and plaster walls,
or old ones in porous condition, before the application of a finish
coat. It is formulated to have a pigment volume and gloss in the
medium range, in order to give a nonporous surface for uniformity
of the finish to be applied over them, but still low enough in sheen
to give good mechanical adhesion of the top coat.
To achieve other colours for the paints than white, hansa yellows,
chromium oxide, phthalocyanine greens and blues, and various
iron oxide and hydroxide pigments may be used. Most extender
pigments are suitable except those that have an appreciable degree
of water solubility, such as calcium sulphate. Clays are used in
water paints because of their thixotropic properties and dry hiding
power.
The popular interior latex paints on the market have a low to flat
sheen. It is possible to formulate semigloss and gloss materials, but
there are several difficulties that have not been fully overcome.
One is that it is difficult to incorporate sufficient pigment to give
opacity and still have some gloss. Another is that the resins used in
the flat varieties do not develop much hardness, and the relatively
high pigment content is relied on for this property.
36
Onyenekenwa Cyprian Eneh A guide for the paint maker
Table 4: Formuls for primer
Ingredient lb/100gal
Red lead 380
Zinc yellow 70
Mica 65
Iron oxide red 10
Magnesium silicate 160
Aluminium stearate 6
Nonvolatile vehicle 292
Volatile 348
STRUCTURAL-STEEL PREPARATION
There are many types of primer vehicle formulations, ranging from
those containing more or less drying oil to oil-free synthetics. The
further the vehicle departs from a type containing polar groups
(e.g. drying oils), the more stringent is the need for removal of
oxide corrosion products which interfere with adhesion. In using
some of the advanced type of synthetic formulations, sandblasting
is mandatory Specifications for several degrees of blasting are
available.
Finishing coats over the primers so far discussed are usually of the
long- oil alkyd-type, and are supplied in a variety of colours
including white. White is a preferred colour for storage tanks
subject to evaporation losses, because of its high reflectance of
solar radiation.
37
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHEMICAL RESISTANT COATINGS
Epoxy resins may be converted to coatings with good resistance to
m acid and alkaline environments, by esterification of the epoxide
and hydroxyl groups with dehydrated castor-oil fatty acids.
Linseed or soyabean-oil acids may also be used There ate no
particular complications in using them; when used on exterior
surfaces they chalk more rapidly than alkyd paints.
39
Onyenekenwa Cyprian Eneh A guide for the paint maker
Zinc-rich maintenance coatings consist of a high concentration of
metallic zinc dust dispersed in a binder. The formulation principle
is that the dried film, in order to give cathodic protection to steel,
should contain zinc in such volume that the particles are in
electrical contact. This means that 90-95% by weight of the
nonvolatile portion is zinc. The binder may be organic-resin types
such as are used in conventionally pigmented paints, including, for
example, chlorinated rubber, polystyrene, epoxy amide and others,
or it may consist of aqueous silicate solution. In the latter case
some zinc silicate is formed. Also at the interface there is probably
some iron silicate. These paints are extremely durable under
conditions of exposure to moisture and brine, and cases of no
failure after more than 20 years of such service have been cited. To
achieve the conditions of electrochemical contact required, steel
surfaces should be blasted before application of these coatings,
especially the aqueous silicate type.
GALVANIZED STEEL
To avoid failure by peeling of zinc-coated steel, an oleoresinous
paint containing portland cement as part of the pigment is
commonly used for relatively small areas on houses. For large
areas in industry zinc dust paint is preferred, which calls for 80%
pigment containing 80% zinc dust and 20% zinc oxide, and 20%
vehicles containing 90% linseed oil and 10% drier and thinner, by
weight. Here the dried film contains about 65% zinc dust as against
more than 90% in the inc rich types which are intended for plain
steel. A variation of this formula using a phenolic or oil vehicle has
been used for coating the interior of potable- water tanks.
40
Onyenekenwa Cyprian Eneh A guide for the paint maker
The vinyl butyral-phosphoric acid metal conditioned as discussed
above is also satisfactory for zinc-coated steel. This may be
followed by either oil, oil-resin vehicle, or synthetic finishes. Latex
emulsion, including the vinyl, acrylic, and styrene varieties, has
given promising results on zinc.
TRAFFIC PAINTS
High pigment volume, the use of fast-drying vehicles such as low-
oil-content resin combinations or oil-free synthetic resins, and low-
boiling solvents such as petroleum Tractions with distillation
ranges from 100 to 150°C are the three factors responsible for the
fast-drying characteristics of the road-stripping paints. Resin
solutions like platicized chlorinated rubber or styrene-butadiene
may be used. Some aromatic hydrocarbon solvent has to be
included in these vehicles to maintain solubility.
MARINE PAINTS
There are two areas of the ship that need special formulations: the
bottom and the boot-topping area. The bottom is subject to fouling
by the accumulation of the hull which is intermittently immersed
and exposed to air, known as the “wind and water line,” and
represents an extreme degree of exposure to the elements.
Antifouling paints for ship bottoms are formulated with copper and
mercury compounds as poisons for marine growth, using binders
41
Onyenekenwa Cyprian Eneh A guide for the paint maker
which are not too permanent so that gradual breakdown of the film
and release of poison can take place. Tributyltin compounds are
used as the toxic material. A typical formulation calls for zinc
oxide, ferric oxide, magnesium silicate, cuprous oxide, mercuric
oxide, rosin, pine oil, coal tar, and solvent. Because of self-erosion,
it is desirable to repaint steel bottoms once a year, or oftener if the
operation is in tropical water.
SPECIALTIES
The measured amount of paint is filled into the cans, which is then
sealed, and the propellant is forced in through the valve under
pressure at a low temperature. The fluorinated hydrocarbons have a
very low solvent power, so that in order to prevent precipitation of
the paint ingredients, strong solvents are used.
BIBLIOGRAPHY
Bigos, J. (1955). Good Painting Practice, Vol. 1, and Systems
Specifications, Vol. 2, of Steel Structures Painting Manual,
Steel Structures Paint Council, Pittsburgh, Pa., 1.
Cannel, D. (1965). Titanium, Zinc, and Oil Exterior Paint Fume
Resistant, Ready Mixed, White.
Cannel, D. (1967). Paint. In Kirk-Othmer. Encyclopedia of
Chemical Technology, Vol.14, 2ed, John Wiley & Sons Inc.,
New York.
Heaton, N. (1956). Outlines of Paint Technológy. Charles Griffin
& Co. Ltd., London.
Mattiello, J. (1941). Protective and Decorative Coatings. John
Wiley & Sons Inc. U.S.A.
43
Onyenekenwa Cyprian Eneh A guide for the paint maker
Martens, C.R. (1964). Emulsion and Water-soluble Paints and
Coatings. Reinhold Pub. Corp., New York
Munger, C.G. (1963). Zinc Dust Coatings in the Process Industries,
Mater Protect, 2 (3).
Singer, E. (1966). Fundamentals of Paint, Varnish and Lacquer
Technology. The American Paint Journal Company, U.S.A.
44
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHAPTER SIX
PAINT OPERATIONS AND WORKSHOP PRACTICE
PAINT MANUFACTURE
MILLS
Function of Paint Mills
The basic operation in paint manufacture is the breakdown of
pigment aggregates followed by wetting and dispersion of the
individual particles. This is accomplished by applying a rubbing
force or shear sometimes accompanied by pressure to the mixture
of pigment and paint medium. Shearing forces are exerted between
the aggregates and the paint mill surfaces and are predominant in
the milling of high consistency pastes.
Types of Mill
Pre-mixers: Mixers for pastes - these are often called pug mixers
and can be horizontal or vertical. A modern form of the latter is the
high torque disperser.
High Speed Millers: They are of several designs but the common
ones are the Silverson and Greaves types which consist of high
speed propeller rotating with a fixed circular cage. The wall of the
cage can be a wire-mesh screen or a ring pierced with holes
through which the pigment/medium mixtures are expelled at high
velocity. l shear is produced and with some pigments these
machines can give a high degree of dispersion.
46
Onyenekenwa Cyprian Eneh
Ene A guide for thee paint maker
The sequence could be illustrated as follows:
The Ball Mill (For Oil Paint): This is the most favoured paint
production unit for many years, mainly because they can produce a
wide range of paints containing very volatile solvents, such as
cellulose lacquers and quick drying synthetic enamels.
STRAINING
Most paints after processing contain small amounts of foreign
matter and, in air- drying types, small quantities of skin. They are,
therefore strained or filtered immediately before filling. A number
48
Onyenekenwa Cyprian Eneh A guide for the paint maker
of straining materials are used, such as muslin, nylon gauge of fine
wire sieves of 80-120-mesh.
FILLING
Paints are sold by volume or weight utilizing the specific gravity of
the paint. Filling by weight is the normal practice.
PAINT APPLICATIONS
Paints can be applied to a surface by a variety of methods and
devices, such as:
BIBLIOGRAPHY
Eneh, O.C. (1981). SIWES Report for B.Sc. lndustrial Chemistry,
submitted to the Department of Pure & Industrial Chemistry,
University of Nigeria, Nsukka.
50
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHAPTER SEVEN
PAINT QUALITIES AND QUALITY CONTROL
COLOUR
A good paint has colour. The colour is brought about during
production by (a) using the pigment of the same or similar colour
to that of the paint which is intended for production (b) addition of
colourants with the same or similar colour to that of the required
paint in order to supplement the efforts of the pigment in
producing the wanted colour. Colourants are not always necessary,
especially for white paints.
In evaluating the colour, the paint may be run down the brush-
down sheet and the colour compared with the universal colour in
the colour chart (for initial production) or the old product (for a
repeat production). Spectrophotometers and colorimeters are now
used and this eliminates the human error in visual comparison with
a standard or control.
51
Onyenekenwa Cyprian Eneh A guide for the paint maker
HIDING POWER OR OPACITY
Paints should be able to give a new look to the substrate by way of
a good degree of obliteration. This is a function of the pigment
used as part of the base materials.
Titanium dioxide has a high refractive index and accounts for the
greater part of the hiding property of the paints. To reduce cost, yet
extend and supplement the hiding action of the dioxide, calcium
carbonate may be added together with Atagel 50, etc. These, in
addition to acting as extenders or extender- pigments, help to
improve the thickness of the paint.
DENSITY
This is an indication of the bubble-content of a certain volume of
the paint. No buyer would like to pay for bubbles in the name of
paint.
52
Onyenekenwa Cyprian Eneh A guide for the paint maker
mass
density =
volume
VISCOSITY
Paints are viscous substances. The viscosity is built up by the
addition of tylose or methyl celulose (for emulsion) and alkyd (for
alkyd paints). This does not affect the colour of the paint. On the
other hand, viscosity can be thinned down by the addition of such
solvents as mineral spirit (for alkyd paints) and water (for
emulsion). Other solvents include ethyl benzene, etc. Viscosity
control is by alkyd solvent-ratio. A viscometer is used for
measuring viscosity of the paint at 25°C.
53
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHECKING
This denotes a very fine type of surface cracking.
FINENESS
A good paint contains only well ground materials. The agitators or
palers or mixers do the “grinding” work. The grinding work here is
just the dispersion of already ground/milled materials. Dispersing
agents for pigments may be added. These are tetrasodium
pyrophosphate, soya lecithin, and others. Also, during canning, the
palm is also sieved to improve the fineness quality.
Fineness can be simply assessed by spreading the paint on a
smooth background. For oil Paint the precision guage is used,
while brush-down sheet is used for emulsion. Grind guage is used
for both oil and emulsion paints. Appropriate measures are then
taken to arrest a deviation from good quality.
FLOODING OF FLOATING
A good paint should not exhibit flooding (floating or flotation),
which results in the separation of individual pigment particles into
streaks or layers of the liquid paint and non-uniform colour of
dried film. This is due to unbalanced wetting and is common in
green, grey and brown shades. It is aggravated by over thinning,
and the remedy is change of pigment or introduction of more
effective wetting agents.
54
Onyenekenwa Cyprian Eneh A guide for the paint maker
This defect can also be combated by the addition of anti-floading
agents or of coalescing agents which coalesce the discrete particles
of resin during evaporation of water in emulsion paint. Such
materials as hexylene glycol and ethylene glycol monobutyl ether
acetate are used. Most coalescing agents in use volatilize quite
slowly, but ultimately evaporate from the film.
LEVELING
A good paint should flow in a way as to cover the marks of the
painting brush. This is leveling. Wetting agents improve this
quality.
UNIFORMITY
Although many materials of different nature are used for making
paints, the paint should possess uniform quality. This is achieved
by the addition of binders, such as the PVAC (for emulsion) and
alkyd resins (for gloss paint). The binders articulate these materials
as an aid to the mixing. The binders also bind the paint to the
substrate.
55
Onyenekenwa Cyprian Eneh A guide for the paint maker
BLISTERING
Coats should not blister. Insufficient attention to the cleanliness of
the surface on to which the paint is applied is often a cause of
blistering. Blistering can also be caused by the reaction products,
such as carbon dioxide evolved during the curing of a polyurethane
paint, which is occasionally due to the use of resin with a high acid
value. Blistering can also be due to entrapped solvent being
released from within a paint film after the surface has set at the
initial stages of curing in a storing oven. The last cause is also
called solvent propping. The blisters that sometimes appear on
exterior painted work, on wood in particular, are usually the effect
of the sun which heats and softens the paint coating and develops
vapour pressure under the dried top layer from the volatile matter
trapped by too rapid drying and skinning over of the top surface of
the film. The heat-expanded vapour causes the soft film to blister.
The volatile matter in the film may arise from the resinous
constituent of the wood carrying the coating, from solvent
residues, or from moisture. The sealing of resinous knots in wood
by coatings of shellac or manila resin is helpful towards
eliminating one cause of blistering. Paints on a metal substrate are
not so liable to blister, particularly if the metal surface is properly
cleaned and primed.
CORROSION
On ferrous metals and light alloys not perfectly protected by
primers of the appropriate type corrosion is likely to occur. The
corrosion products such as the white rust of light alloys distend the
film above them and can eventually lead to the cracking of the
film. Through the cracks, water and any dissolved salts can- reach
the bare metal, allowing corrosion to colour.
DRYING
Paints should not take too long a period to dry. To ensure this,
metallic driers may be added to the paint.
57
Onyenekenwa Cyprian Eneh A guide for the paint maker
The drying of paint is a chemical change of oxidation and
polymerization hastened by pretreatment of the oil and by adding
diers, or catalysts, predominantly heavy-metalic soaps, which are
oxygen earners, usually soluble in oil. These driers need be used
only in small amounts (1 to 2% by weight).
SKINNING
A good paint should not skin. To ensure this, anti-skin agents
(ASA) are added to the paint. They include oxime and ketoxime,
eg. methyl ethyl ketoxime, phenolic ketoxime, etc.
FREEZING
Good paints should not freeze. The anti-freezing agents added to
the emulsion paint include high-boiling solids, such as ethylene
glycol and benzyl alcohol.
RUSTING
Paints should neither rust nor induce rusting on their containers or
substrate.
58
Onyenekenwa Cyprian Eneh A guide for the paint maker
GLOSS
The gloss paints are shinny or glassy and not dull. The alkyd resins
added to the paint are responsible for this quality, as well as acting
as a binder.
The paint is run down the brush-down sheet and the gloss
compared as in colour. To eliminate visual errors, gloss is now
measured with photometers, the reference being a theoretically
perfect minor, to which is assigned an arbitraiy value of 1000 so
that gloss figures are parts per thousand. The practical standard is a
polished black glass plate having a value of 95.
LIVERING
The appearance in paint of semi-solid, jelly-like masses resembling
raw liver is called livering. It is caused by chemical reactions
which may occur between certain pigments and vehicles e.g. zinc
59
Onyenekenwa Cyprian Eneh A guide for the paint maker
oxide and acidic vehicle or between atmospheric oxygen and
oxidizable and polymerizable oils in the vehicles. A paint that has
set to a livery mass that will not disperse on stirring even with
added solvent is entirely useless.
pH CONTROL
Latex compositions are aqueous and the pH must be carefully
controlled, to prevent de-emulsification. Generally, ammonium
hydroxide is used for adjustment, but the exact pH specification
varies according to the nature of the resin and other ingredients in
the formula.
ODOUR
Paints must not have objectionable odours. Deodorants may,
therefore, be necessarily added to the paint.
Other tests may be required depending on the end use of the paint
and the material involved. The actual tests undertaken depend on
the formulation.
BIBLIOGRAPHY
Cyprian O. Eneh (1986). Introduction to Paint Technology. Sunday
Satellite, 20 October, p. 10.
Taylor, C.J.A. and Marks, S. (1965). The Testing of Paints. Paint
Technology Manuals, Part Five. Chapman & Hall, London.
60
Onyenekenwa Cyprian Eneh A guide for the paint maker
CHAPTER EIGHT
ORGANIZATION OF A PAINT FACTORY
62
Onyenekenwa Cyprian Eneh
Ene A guide for thee paint maker
63
Onyenekenwa Cyprian Eneh A guide for the paint maker
SAMPLE QUESTIONS
1. While paint makers decry the proliferation of paint
industries in the eastent Nigeria, a university professor of
development economics says we need more. Rationalize.
(Chapter 1).
2. Distinguish between Surface Coating and Paint industries.
(Chapter 1)
3. What do you know about Colour, and how does Colour
apply to Paint. What is metamerism? (Chapter 2)
4. Outline the basic (i) functions and composition of paint
(ii) Paint formulation
(iii) Paint factory equipment (Chapter 3)
5. What do you understand by opacity, thixotropism, sagging,
drying and livering? (Chapter 4).
6. Distinguish between (i) density and viscosity
(ii) finish and primer
(iii) latex and intergard
(iv) enamel and emulsion (v) exterior and interior
(vi) chalking and leveling (Chapter 4).
7.(a) State the functions of pigments
64
Onyenekenwa Cyprian Eneh A guide for the paint maker
(b) Name any 30 pigments and their colours (Chapter 5)
8. Outline any three specialty paints (Chapter 5)
9. Write on operations and practice of paint production and
application (Chapter 6).
10. How do you control the qualities of a paint product?
(Chapter 7)
11. Suggest a workplan or profile and an organizational layout
for N5m paint factory. (Chapter 8)
12(a) What are the components of the white light that are visible
to human eye?
(b) What s the colour of a “light-repelling object that reflects
all light components that fail on it?
(c) A “light-greedy” object absorbs all light components
incident on it, what is its colour?
(d) What is the colour of a “light-stable” object which neither
reflects nor absorbs but permits the passage of all light
components through it? (Chapter 2)
13. Okenwa, a paint-dealer, has five colours: white, blue,
yellow, red and black in his stock. But his customer wants
brown paint. How could he attempt to meet his customer’s
demand? What are his constraints? (Chapter 2)
4. What is pigment-volume concentration and its significance
in paint formulation? (Chapter 3)
65
Onyenekenwa Cyprian Eneh A guide for the paint maker
15. What do you understand by the term paint Outline its
composition. (Chapter 3)
16. What technology would you apply in painting a house of
timber and asbestos materials? (Chapter 4)
17. Considering solvent only, why can’t a painter interchange
an exterior paint with an interior? (Chapter 4).
18. Explain the drying mechanism(s) of a paint coating.
(Chapter 4)
19. Compare and contrast titanium dioxide, white lead and zinc
oxide as pigments for exterior white paints (Chapter 5).
20 What do you understand by rutile and anatase (Chapter 5)?
21 (a) What is an extender?
(b) Name four extenders known to you (Chapter 5).
22. What is a primer? Why would you advocate its adoption in
paint technology? Contrast its formulation with that of an
exterior finish coat (Chapter 5).
23. What is the significance of resin in interior paint? (Chapter
4).
24. Discuss briefly how you can obtain other colours than
white for paints (Chapter 5).
25(a) Name any 24 qualities to watch out for in paints.
66
Onyenekenwa Cyprian Eneh A guide for the paint maker
(b) Concisely state how you can control any 20 of them
(Chapter 7).
67
Onyenekenwa Cyprian Eneh
Ene A guide for thee paint maker
68
Onyenekenwa Cyprian Eneh
Ene A guide for thee paint maker
69
Onyenekenwa Cyprian Eneh A guide for the paint maker
INDEX
Colour - charts ... ... ... ... 13
- complementary ... ... ... 5
- harmonious ... ... ... 6
- of paint ... ... ... ... 5
- wheel ... ... ... ... 5
Light - absorption, reflection, transmission 4
- dispersion ... ... ... ... 3
- seven components of ... ... 3
Metamerism ... ... ... ... ... 6
Paint - abrasion ... ... ... ... 18
- additive ... ... ... ... 22
- adherence ... ... ... ... 18
- adhesion ... ... ... ... 18
- ancient industry ... ... ... 1
- anatase ... ... ... ... 26
- application ... ... ... ... 49
- as part of surface coating industry 2
- blistering ... ... ... ... 19
- casein ... ... ... ... 16
- cement ... ... ... ... 16
- chalking ... ... ... ... 18
- checking ... ... ... ... 18
- chemical resistant ... ... ... 38
- colour ... ... ... ... 8, 13
- critical pigment-volume concentration (CPVC) 10
- cracking ... ... ... ... 18
- defoamer ... ... ... ... 30
- drier ... ... ... ... 23
- drying ... ... ... ... 20
70
Onyenekenwa Cyprian Eneh A guide for the paint maker
- drying oil ... ... ... ... 23
- economic importance ... ... 1-2
- emulsion ... ... ... ... 8, 15, 17
- enamel ... ... ... ... 17
- extender ... ... ... ... 8, 23
- exterior ... ... ... ... 17, 25
- fatty acid ... ... ... ... 23
- filler ... ... ... ... 14
- fineness ... ... ... ... 18
- finish ... ... ... ... 15
- floading ... ... ... ... 18
- flooding ... ... ... ... 18
- flow ... ... ... ... 19
- freezing ... ... ... ... 21
- function ... ... ... ... 1-2, 8
- galvanized ... ... ... ... 40
- gloss ... ... ... ... 8, 15, 17,
21,58
- glossmeter ... ... ... ... 33
- hardness ... ... ... ... 18
- hiding power ... ... ... 49
- intergard ... ... ... ... 15
- interior ... ... ... ... 17
- latex ... ... ... ... 16, 29
- leveling ... ... ... ... 19
- linseed ... ... ... ... 16
- livering ... ... ... ... 20, 54
- manufactruring equipment ... 9
- machinery ... ... ... ... 11
- marine ... ... ... ... 41
71
Onyenekenwa Cyprian Eneh A guide for the paint maker
- mildewcide ... ... ... 26
- opacity ... ... ... ... 8, 13
- pigment ... ... ... ... 8, 23
- pighment volume concentration, pvc 10
- plasticizer ... ... ... ... 23
- polyvinylacetate, pva ... ... 34
- preservative ... ... ... 30
- primer ... ... ... ... 14
- resin ... ... ... ... 22
- rusting ... ... ... ... 58
- rutile ... ... ... ... 26
- sagging ... ... ... ... 19
- sealer ... ... ... ... 13
- skinning ... ... ... ... 20
- solvent ... ... ... ... 23
- specialties ... ... ... ... 42
- splash zone compound ... ... 15
- stopper ... ... ... ... 14
- structural-steel ... ... ... 37
- thinner ... ... ... ... 28
- thixothropy ... ... ... 19
- traffic ... ... ... ... 41
- undercoat ... ... ... ... 14, 28
- varnish ... ... ... ... 15
- vehicle ... ... ... ... 8
- viscosity ... ... ... ... 13
- washability ... ... ... 35
- wetting agent, surfactant ... ... 13
- whitewash ... ... ... ... 16
72
View publication stats