Exams17

2Years Program in
Paint Technology& Allied Science
(PTAS)
4TH SEMESTER

PROJECT REPORT

RAJESH SHARMA
EROLEMENT NO.W18PTAS300901

Rajesh77758@gmail.com

Contact no. +91 8755677094, 9258089330

1
 PROJECT

COMMON PAINT PROBLEMS

&

POSSIBLE SOLUTIONS
AT

RAINBOW PAINTS & CHEMICALS LTD.

Po.Box No 1350, Wellington Industrial Estate, Wellington,

Freetown, Sierra Leone (West Africa)

PROJECT REPORT

BY

RAJESH SHARMA
(EROLEMENT NO.W18PTAS300901)

PARTIAL FULLFILLEMENT OF 4TH SEMESTER EXAM

2 YEAR PROGRAM IN PAINT TECHNOLOGY & ALLIED SCIENCES

AIPS GLOBAL INSTITUTE NOIDA

(INDIA)

2
 INDEX

S.NO PARTICULARS PAGE NO.

1 APPROVAL OF PROJECT FROM AIPS GLOBAL NOIDA 4

INDIA
2 DECLARATION 5

3 CERTIFICATE OF PROJECT 6

4 ACKNOWLEDGEMENT 7

5 PROJECT PURPOSE, OBJECTIVE,SCOPE OF STUDY & 8

LIMITATIONS
6 CHAPTER 1. INTRODUCTION 10

7 CHAPTER 2. HISTORY OF PAINT 17

8 CHAPTER 3. ABOUT RAINBOW PAINT 23

9 CHAPTER 4. TYPES OF PAINT 25

10 CHAPTER 5. PAINT MANUFACTURING PROCESS 29

11 CHAPTER 6. COMMON PROBLEMS IN PAINT & POSSIBLE 45

SOLUTIONS
12 RECOMMENDATIONS & CONCLUSION 69

12 REFERENCES 73

3
 APPROVAL OF PROJECT

The Project title COMMON PROBLEMS IN PAINTS & POSSIBLE SOLUTIONS was send to AIPS
GLOBAL INSTITUTE by email dated 06.12.2018 on info@aipsglobal.com which approved by the
authorized member of examination shell.

4
 DECLARATION

I RAJESH SHARMA EROLEMENT NO.W18PTAS300901 2 YEAR PROGRAM IN PAINT

TECHNOLOGY & ALLIED SCIENCES AIPS GLOBAL INSTITUTE NOIDA (INDIA) declare

that the project report on COMMON PAINT PROBLEM S& POSSIBLE SOLUTIONS at

RAINBOW PAINTS & CHEMICALS LTD. P.O BOX NO 1350, Wellington Industrial estate

Wellington, Freetown, Sierra Leone (West Africa). The work on project was done under

supervision of Mohd. Fakhoury General Manager of the factory.

This project report is not submitted earlier to any university. The purpose of the project

is only for study purpose is a part of 4th semester examination.

(RAJESH SHARMA)

DATE Wellington Freetown, Sierra leone

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6
 ACKNOWLEDGEMENT

This project report dedicated to all paint professional and end user of paint products. I

am thank full to Mohd. Fakhoury General Manager of Rainbow Paints without his

support the completion of the project report was quite impossible. I am also thankful to

the staff and workers of the company for their kind support during the course of project

work.

The objective of the project understands the problem well, which is the key to find out

the suitable solution of the problem.

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ABOUT THE PROJECT

In this project will discuss about the what are the common problem in paint and what is the

possible solution to solve the problem.

PURPOSE

This project report is prepare for partial fulfilment of Two year Program in Paint Technology &

Allied Sciences submitted to Advance Institute for Professional & Technological studies, Noida,

(India) By student Rajesh Sharma EROLEMENT NO.W18PTAS30090.

All study about the paint product is made to study about the common problems in the paint and

what will be the possible solution to solve the problems.

OBJECTIVE

The object of the study is to understanding the paint product well, find out the common problem

faces by the end user in the application of the paint. To reach the goal of entire customer

satisfaction the performance of the paint product is essential to stay in business in present

competitive era.

SCOPE OF THE STUDY & LIMITATIONS

The scope of the study is to produce quality product reach to the customer and end user is to be

trained for a right method of application using of proper tools to get the maximum performance

of the paint product. This activity will create a healthy customer relationship. Customer Relation

Management (CRM) is must in present era to increase the market share for the business growth

of the organization. The study is having the limitation all suggestion and solutions are not

applicable to all places.

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9
CHAPTER 1

INTRODUCTION
Paints and coatings act as shields that safeguard products from wear and tear during their life

span. They also give a new texture and look to the products, and make them more durable,

aesthetically pleasing and safer.

From homes and offices, furniture and corridors to cars and toys, paints and coatings are

virtually everywhere. And even though paints and coatings have been around for literally

thousands of years, manufacturers continue to develop new products and new production

technology.

A Growing Market

The global market for paints and coatings is expected to grow at a considerable rate in coming

years. According to a report issued by BCC Research, the market is forecasted to reach $164.1

billion by 2021. This is largely being fuelled by increasing demand from both developing and

developed countries. Equally, industrial growth in developing economies, and the ever-growing

market for consumer goods and automobiles is also contributing to the overall market

expansion.

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Similar predictions have been made by other market research companies. There is universal

agreement that the market is poised to expand. Despite this, paints and coatings manufacturers

continue to face an array of challenges. These include global economic uncertainty, regulatory

developments and technological advances.

As a result, many paints and coatings manufacturers are responding to these ever-changing.

Components

Vehicle
The vehicle is composed of the binder; or, if it is necessary to thin the binder with a diluent like

solvent or water, it is the combination of binder and diluents In this case, once the paint has

dried or cured very nearly all of the diluents has evaporated and only the binder is left on the

coated surface. Thus, an important quantity in coatings formulation is the "vehicle solids",

sometimes called the "resin solids" of the formula. This is the proportion of the wet coating

weight that is binder, i.e. the polymer backbone of the film that will remain after drying or curing

is complete.

Binder or film former

The binder is the film-forming component of paint. It is the only component that is always present

among all the various types of formulations. Many binders are too thick to be applied and must

be thinned. The type of thinner, if present, varies with the binder.

The binder imparts properties such as gloss, durability, flexibility, and toughness.

Binders include synthetic or natural resins such as alkyds, acrylics, vinyl-acrylics, vinyl

acetate/ethylene (VAE), polyurethanes, polyesters, melamine resins, epoxy, silanes or siloxanes

or oils.

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Binders can be categorized according to the mechanisms for film formation. Thermoplastic

mechanisms include drying and coalescence. Drying refers to simple evaporation of the solvent

or thinner to leave a coherent film behind. Coalescence refers to a mechanism that involves

drying followed by actual interpenetration and fusion of formerly discrete particles.

Thermoplastic film-forming mechanisms are sometimes described as "thermoplastic cure" but

that is a misnomer because no chemical curing reactions are required to knit the film.

Thermosetting mechanisms, on the other hand, are true curing mechanism that involves

chemical reaction(s) among the polymers that make up the binder.

Thermoplastic mechanisms:

Some films are formed by simple cooling of the binder. For example, encaustic or wax paints are

liquid when warm, and harden upon cooling. In many cases, they reoffend or liquefy if reheated.

Paints that dry by solvent evaporation and contain the solid binder dissolved in a solvent are

known as lacquers. A solid film forms when the solvent evaporates. Because no chemical cross

linking is involved, the film can re-dissolve in solvent; as such, lacquers are unsuitable for

applications where chemical resistance is important. Classic nitrocellulose lacquers fall into this

category, as do non-grain raising stains composed of dyes dissolved in solvent. Performance

varies by formulation, but lacquers generally tend to have better UV resistance and lower

corrosion resistance than comparable systems that cure by polymerization or coalescence.

The paint type known as Emulsion in the UK and Latex in the United States is a water-borne

dispersion of sub-micrometer polymer particles. These terms in their respective countries cover

all paints that use synthetic polymers such as acrylic, vinyl acrylic (PVA), styrene acrylic, etc. as

binders. The term "latex" in the context of paint in the United States simply means an aqueous

dispersion; latex rubber from the rubber tree is not an ingredient. These dispersions are

prepared by emulsion polymerization. Such paints cure by a process called coalescence where

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first the water, and then the trace, or coalescing, solvent, evaporate and draw together and

soften the binder particles and fuse them together into irreversibly bound networked structures,

so that the paint cannot re dissolve in the solvent/water that originally carried it. The

residual surfactants in paint, as well as hydrolytic effects with some polymers cause the paint to

remain susceptible to softening and, over time, degradation by water. The general term of latex

paint is usually used in the United States, while the term emulsion paint is used for the same

products in the UK and the term latex paint is not used at all.

Thermosetting mechanisms:

Paints that cure by polymerization are generally one- or two-package coatings that polymerize

by way of a chemical reaction, and cure into a cross linked film. Depending on composition they

may need to dry first, by evaporation of solvent. Classic two-

package epoxies or polyurethanes would fall into this category.

The "drying oils", counter-intuitively, actually cure by a cross linking reaction even if they are not

put through an oven cycle and seem to simply dry in air. The film formation mechanism of the

simplest examples involve first evaporation of solvents followed by reaction with oxygen from

the environment over a period of days, weeks and even months to create a cross linked network.

Classic alkyd enamels would fall into this category. Oxidative cure coatings are catalyzed by

metal complex driers such as cobalt naphthenate.

Recent environmental requirements restrict the use of volatile organic compounds (VOCs), and

alternative means of curing have been developed, generally for industrial purposes. UV

curing paints, for example, enable formulation with very low amounts of solvent, or even none at

all. This can be achieved because of the monomers and oligomers used in the coating have

relatively very low molecular weight, and are therefore low enough in viscosity to enable good

fluid flow without the need for additional thinner. If solvent is present in significant amounts,

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Generally it is mostly evaporated first and then cross linking is initiated by ultraviolet light.

Similarly, powder coatings contain little or no solvent. Flow and cure are produced by heating of

the substrate after electrostatic application of the dry powder.

Combination mechanisms:

So-called "catalyzed" lacquers" or "cross linking latex" coatings are designed to form films by a

combination of methods: classic drying plus a curing reaction that benefits from the catalyst.

There are paints called plastisols/organosols, which are made by blending PVC granules with a

plasticizer. These are stoved and the mix coalesces.

Diluents or solvent or thinner

The main purposes of the diluents are to dissolve the polymer and adjust the viscosity of the

paint. It is volatile and does not become part of the paint film. It also controls flow and

application properties, and in some cases can affect the stability of the paint while in liquid state.

Its main function is as the carrier for the non volatile components. To spread heavier oils (for

example, linseed) as in oil-based interior house paint, thinner oil is required. These volatile

substances impart their properties temporarily—once the solvent has evaporated, the remaining

paint is fixed to the surface.

This component is optional: some paints have no diluent.

Water is the main diluent for water-borne paints, even the co-solvent types.

Solvent-borne, also called oil-based, paints can have various combinations of organic solvents

as the diluent, including aliphatics, aromatics, alcohols, ketones and white spirit. Specific

examples are organic solvents such as petroleum distillate, esters, glycol ethers, and the like.

Sometimes volatile low-molecular weight synthetic resins also serve as diluents.

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Pigment and filler

Pigments are granular solids incorporated in the paint to contribute color. Fillers are granular

solids incorporated to impart toughness, texture, give the paint special properties, or to reduce

the cost of the paint. Alternatively, some paints contain dyes instead of or in combination with

pigments.

Pigments can be classified as either natural or synthetic. Natural pigments include

various clays, calcium carbonate, mica, silicas, and talcs. Synthetics would include engineered

molecules, calcined clays, blanc fixe, precipitated calcium carbonate, and synthetic pyrogenic

silicas.

Hiding pigments, in making paint opaque, also protect the substrate from the harmful effects

of ultraviolet light. Hiding pigments include titanium dioxide, phthalo blue, red iron oxide, and

many others.

Fillers are a special type of pigment that serve to thicken the film, support its structure and

increase the volume of the paint. Fillers are usually cheap and inert materials, such

as diatomaceous earth, talc, lime, barytes, clay, etc. Floor paints that must resist abrasion may

contain fine quartz sand as a filler. Not all paints include fillers. On the other hand, some paints

contain large proportions of pigment/filler and binder.

Some pigments are toxic, such as the lead pigments that are used in lead paint. Paint

manufacturers began replacing white lead pigments with titanium white (titanium dioxide),

before lead was banned in paint for residential use in 1978 by the US Consumer Product Safety

Commission. The titanium dioxide used in most paints today is often coated with

silica/alumina/zirconium for various reasons, such as better exterior durability, or better hiding

performance (opacity) promoted by more optimal spacing within the paint film.[14]

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Micaceous iron oxide (MIO) is another alternative to lead for protection of steel, giving more

protection against water and light damage than most paints. When MIO pigments are ground into

fine particles, most cleave into shiny layers, which reflect light, thus minimizing UV

degradation and protecting the resin binder. Most pigments used in paint tend to be spherical,

but lamellar pigments, such as glass flake and MIO have overlapping plates, which impede the

path of water molecules. For optimum performance MIO should have a high content of thin flake-

like particles resembling mica. ISO 10601 sets two levels of MIO content. MIO is often derived

from a form of hematite.

Additives

Besides the three main categories of ingredients, paint can have a wide variety of miscellaneous

additives, which are usually added in small amounts, yet provide a significant effect on the

product. Some examples include additives to modify surface tension, improve flow properties,

improve the finished appearance, increase wet edge, improve pigment stability,

impart antifreeze properties, control foaming, control skinning, etc. Other types of additives

include catalysts, thickeners, stabilizers, emulsifiers, texturizers, adhesion promoters, UV

stabilizers, flatteners (de-glossing agents), biocides to fight bacterial growth, and the like.

Additives normally do not significantly alter the percentages of individual components in a

formulation.

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CHAPTER 2

HISTORY OF PAINT

In 2003 and 2004, South African archeologists reported finds in Blombos Cave of a 100,000-

year-old human-made ochre-based mixture that could have been used like paint. Further

excavation in the same cave resulted in the 2011 report of a complete toolkit for grinding

pigments and making a primitive paint-like substance. Cave paintings drawn with red or yellow

ochre, hematite, manganese oxide, and charcoal may have been made by early Homo sapiens as

long as 40,000 years ago.

Ancient colored walls at Dendera, Egypt, which were exposed for years to the elements, still

possess their brilliant color, as vivid as when they were painted about 2,000 years ago. The

Egyptians mixed their colors with a gummy substance, and applied them separately from each

other without any blending or mixture. They appear to have used six colors: white, black, blue,

red, yellow, and green. They first covered the area entirely with white, then traced the design in

black, leaving out the lights of the ground color. They used minium for red, and generally of a

dark tinge.

Pliny mentions some painted ceilings in his day in the town of Ardea, which had been done prior

to the foundation of Rome. He expresses great surprise and admiration at their freshness, after

the lapse of so many centuries.

Paint was made with the yolk of eggs and therefore, the substance would harden and adhere to

the surface it was applied to. Pigment was made from plants, sand, and different soils. Most

paints used either oil or water as a base (the diluent, solvent or vehicle for the pigment).

A still extant example of 17th-century house oil painting is Ham House in Surrey, England, where

a primer was used along with several undercoats and an elaborate decorative overcoat; the

pigment and oil mixture would have been ground into a paste with a mortar and pestle. The

17
process was done by hand by the painters and exposed them to lead poisoning due to the white-

lead powder.

In 1718, Marshall Smith invented a "Machine or Engine for the Grinding of Colours" in England. It

is not known precisely how it operated, but it was a device that increased the efficiency of

pigment grinding dramatically. Soon, a company called Emerton and Manby was advertising

exceptionally low-priced paints that had been ground with labour-saving technology:

One Pound of Colour ground in a Horse-Mill will paint twelve Yards of Work, whereas Colour

ground any other Way, will not do half that Quantity.

By the proper onset of the Industrial Revolution, paint was being ground in steam-powered mills

and an alternative to lead-based pigments was found in a white derivative of zinc oxide. Interior

house painting increasingly became the norm as the 19th century progressed, both for

decorative reasons and because the paint was effective in preventing the walls rotting from

damp. Linseed oil was also increasingly used as an inexpensive binder.

In 1866, Sherwin-Williams in the United States opened as a large paint-maker and invented a

paint that could be used from the tin without preparation.

It was not until the stimulus of World War II created a shortage of linseed oil in the supply market

that artificial resins, or alkyds, were invented. Cheap and easy to make, they also held the color

well and lasted for a long time.

Various technologies exist for making paints that change color. Thermochromic paints and

coatings contain materials that change conformation when heat is applied or removed, and so

they change color. Liquid crystals have been used in such paints, such as in the thermometer

strips and tapes used in aquaria and novelty/promotional thermal cups and straws. These

materials are used to make eyeglasses.

Color-changing paints can also be made by adding halochrome compounds or other organic

pigments. One patent cites use of these indicators for wall coating applications for light

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colored paints. When the paint is wet it is pink in color but upon drying it regains its original

white color. As cited in patent, this property of the paint enabled two or more coats to be applied

on a wall properly and evenly. The previous coats having dried would be white whereas the new

wet coat would be distinctly pink. Ashland Inc. introduced foundry refractory coatings with

similar principle in 2005 for use in foundries.

Electrochromic paints change color in response to an applied electric current. Car

manufacturer Nissan has been reportedly working on an electrochromic paint, based on

particles of paramagnetic iron oxide. When subjected to an electromagnetic field the

paramagnetic particles change spacing, modifying their color and reflective properties. The

electromagnetic field would be formed using the conductive metal of the car

body. Electrochromic paints can be applied to plastic substrates as well, using a different

coating chemistry. The technology involves using special dyes that change conformation when

an electric current is applied across the film itself. This new technology has been used to

achieve glare protection at the touch of a button in passenger airplane windows.

Since the time of the Renaissance, siccative (drying) oil paints, primarily linseed oil, have been

the most commonly used kind of paints in fine art applications; oil paint is still common today.

However, in the 20th century, water-based paints, including watercolors and acrylic paints,

became very popular with the development of acrylic and other latex paints. Milk paints (also

called casein), where the medium is derived from the natural emulsion that is milk, were popular

in the 19th century and are still available today. Egg tempera (where the medium is

an emulsion of raw egg yolk mixed with oil) is still in use as well, as are encaustic wax-based

paints. Gouache is a variety of opaque watercolor that was also used in the Middle Ages and

Renaissance for manuscript illuminations. The pigment was often made from ground

semiprecious stones such as lapis lazuli and the binder made from either gum arabic or egg

white. Gouache, also known as 'designer color' or 'body color' is commercially available today.

Poster paint has been used primarily in the creation of student works, or by children.

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Paint can be applied as a solid, a gaseous suspension (aerosol) or a liquid. Techniques vary

depending on the practical or artistic results desired.

As a solid (usually used in industrial and automotive applications), the paint is applied as a very

fine powder, then baked at high temperature. This melts the powder and causes it to adhere to

the surface. The reasons for doing this involve the chemistries of the paint, the surface itself,

and perhaps even the chemistry of the substrate (the object being painted). This is called

"powder coating" an object.

As a gas or as a gaseous suspension, the paint is suspended in solid or liquid form in a gas that

is sprayed on an object. The paint sticks to the object. This is called "spray painting" an object.

The reasons for doing this include:

 The application mechanism is air and thus no solid object touches the object being painted;

 The distribution of the paint is uniform, so there are no sharp lines;

 It is possible to deliver very small amounts of paint;

 A chemical (typically a solvent) can be sprayed along with the paint to dissolve together both

the delivered paint and the chemicals on the surface of the object being painted;

 Some chemical reactions in paint involve the orientation of the paint molecules.

In the liquid application, paint can be applied by direct application using brushes, paint

rollers, blades, scrapers, other instruments, or body parts such as fingers and thumbs.

Rollers generally have a handle that allows for different lengths of poles to be attached, allowing

painting at different heights. Generally, roller application requires two coats for even color. A

roller with a thicker nap is used to apply paint on uneven surfaces. Edges are often finished with

an angled brush.

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 Using the finish flat one would most likely use a 1/2" nap roller

 Using the finish eggshell one would most likely use a 3/8" nap roller

 Using the finish satin or pearl one would most likely use a 3/8" nap roller

 Using the finish semi-gloss or gloss one would most likely use a 3/16" nap roller

After liquid paint is applied, there is an interval during which it can be blended with additional

painted regions (at the "wet edge") called "open time". The open time of an oil or alkyd-based

emulsion paint can be extended by adding white spirit, similar glycols such as Dowanol

(propylene glycol ether) or open time prolongers. This can also facilitate the mixing of different

wet paint layers for aesthetic effect. Latex and acrylic emulsions require the use of drying

retardants suitable for water-based coatings.

Paint application by spray is the most popular method in industry. In this, paint is aerosolized by

the force of compressed air or by the action of high pressure compression of the paint itself, and

the paint is turned into small droplets that travel to the article to be painted. Alternate methods

are airless spray, hot spray, hot airless spray, and any of these with an electrostatic spray

included. There are numerous electrostatic methods available.

Dipping used to be the norm for objects such as filing cabinets, but this has been replaced by

high speed air turbine driven bells with electrostatic spray. Car bodies are primed using

cathodic elephoretic primer, which is applied by charging the body depositing a layer of primer.

The unchanged residue is rinsed off and the primer stoved.

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Many paints tend to separate when stored, the heavier components settling to the bottom, and

require mixing before use. Some paint outlets have machines for mixing the paint by shaking the

can vigorously for a few minutes.

The opacity and the film thickness of paint may be measured using a drawdown card.

Water-based paints tend to be the easiest to clean up after use; the brushes and rollers can be

cleaned with soap and water.

Proper disposal of left over paint is a challenge. Sometimes it can be recycled: Old paint may be

usable for a primer coat or an intermediate coat, and paints of similar chemistry can be mixed to

make a larger amount of a uniform color.

To dispose of paint it can be dried and disposed of in the domestic waste stream, provided that it

contains no prohibited substances (see container). Disposal of liquid paint usually requires

special handling and should be treated as hazardous waste, and disposed of according to local

regulations.

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CHAPTER 3

ABOUT RAINBOW PAINTS

Rainbow Paints

Halloway Group was founded in 1988 by Aref and Nasri Halloway in Freetown, Sierra Leone. We

are dedicated to being one of the largest contributors to the country’s economy by trading

agricultural commodities and building materials.

Our employees include over 250 Sierra Leoneans, and we hire between 200 and 500 daily

workers. We are strengthening our commitment to national prosperity by establishing a

scholarship program to support employees’ children who plan to continue their education.

We hold a promise to provide the highest quality products with ethical, environment-friendly

practices. We are devoted to ensuring a safe working environment to our employees.

Rainbow paints and Chemicals Ltd. A Quality Paint Manufacturing unit of Halloway Group was

established in the year of 1991 Sierra Leone. It marked the birth of the paint production at high

levels in Freetown and the whole country. Rainbow paints is situated in an industrial area at

Wellington (Freetown) and occupying a surface of 10602 square meter where offices, production

centre, and warehouses are located.

We are proud to say that our product quality and customer service are the prime reasons for the

company's success. All the raw materials and each batch of paint under goes rigorous

laboratory testing to ensure it is of the highest standard. These high-quality decorative paints

are manufactured using lead-free, echo friendly materials. They are highly resistant to harsh

23
weather conditions, preserving original colour and are resistant to fading. These paint solutions

are for both indoor and outdoor use. We also ensure that all orders fulfilled rapidly.

Thereby Rainbow paints has today become the leading paint factory in Sierra Leone, boasting an

annual production capacity of 4.5 million litre.

Rainbow paints produce both water and oil base decorative paint and also deal with a wide

range of protective & industrial coatings, wood finishes, floor coating and other chemicals.

Rainbow paint produces weather shield paint, textured, spectrum emulsion and regency paint.

We are an established and popular company with an excellent track record for the best

customer satisfaction. We believe in keeping the customers happy and providing them various

products at a very competent price. Rainbow paints delivers your orders right up to your shop

with an excellent free delivery service.

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CHAPTER 3

TYPES OF PAINTS

Product variant

 Primer is a preparatory coating put on materials before applying the paint itself. The primed

surface ensures better adhesion of the paint, thereby increasing the durability of the paint and

providing improved protection for the painted surface. Suitable primers also may block and seal

stains, or hide a color that is to be painted over.

 Emulsion paints are water-based paints in which the paint material is dispersed in a liquid that

consists mainly of water. For suitable purposes this has advantages in fast drying, low toxicity,

low cost, easier application, and easier cleaning of equipment, among other factors.

 Flat Finish paint is generally used on ceilings or walls that are in bad shape. This finish is useful

for hiding imperfections in walls and it is economical in effectively covering relatively great areas.

However this finish is not easily washable and is subject to staining.

 Matte Finish is generally similar to flat finish, but such paints commonly offer superior washability

and coverage. (See Gloss and matte paint.)

 Eggshell Finish has some sheen, supposedly like that of the shell on an egg. This finish provides

great washability, but is not very effective at hiding imperfections on walls and similar surfaces.

Eggshell finish is valued for bathrooms because it is washable and water repellent, so that it

tends not to peel in a wet environment.

 Pearl (Satin) Finish is very durable in terms of washability and resistance to moisture, even in

comparison to eggshell finish. It protects walls from dirt, moisture and stains. Accordingly, it is

25
 exceptionally valuable for bathrooms, furniture, and kitchens, but it is shinier than eggshell, so it

is even more prone to show imperfections.

 Semi-Gloss Finish typically is used on trim to emphasise detail and elegance, and to show off

woodwork, such as on doors and furniture. It provides a shiny surface and provides good

protection from moisture and stains on walls. Its gloss does however emphasise imperfections

on the walls and similar surfaces. It is popular in schools and factories where washability and

durability are the main considerations.[25]

 Varnish and shellac are in effect paints without pigment; they provide a protective coating

without substantially changing the color of the surface, though they can emphasise the colour of

the material.

 Wood stain is a type of paint that is formulated to be very "thin", meaning low in viscosity, so that

the pigment soaks into a material such as wood rather than remaining in a film on the surface.

Stain is mainly dissolved pigment or dye plus binder material in solvent. It is designed to add

color without providing a surface coating.

 Lacquer is a solvent-based paint or varnish that produces an especially hard, durable finish.

Usually it is a rapidly drying formulation.

 Enamel paint is formulated to give an especially hard, usually glossy, finish. Some enamel

paints contain fine glass powder or metal flake instead of the color pigments in standard oil-

based paints. Enamel paint sometimes is mixed with varnish or urethane to improve its shine

and hardness.

 A glaze is an additive used with paint to slow drying time and increase translucency, as in faux

painting and for some artistic effects.

 A roof coating is a fluid that sets as an elastic membrane that can stretch without harm. It

provides UV protection to polyurethane foam and is widely used in roof restoration.

26
 Finger paints are formulations suitable for application with the fingers; they are popular for use

by children in primary school activities.

 Inks are similar to paints, except that they are typically made using finely ground pigments or

dyes, and are not designed to leave a thick film of binder. They are used largely for writing

or calligraphy.

 Anti-graffiti coatings are used to defeat the marking of surfaces by graffiti artists or vandals.

There are two categories of anti-graffiti coatings: sacrificial and non-bonding:

 Sacrificial coatings are clear coatings that allow the removal of graffiti, usually by

washing the surface with high-pressure water that removes the graffiti together with the

coating (hence the term "sacrificial"). After removal of the graffiti, the sacrificial coating

must be re-applied for continued protection. Such sacrificial protective coatings are most

commonly used on natural-looking masonry surfaces, such as statuary and marble walls,

and on rougher surfaces that are difficult to clean.

 Non-bonding coatings are clear, high-performance coatings, usually

catalyzed polyurethanes, that do not bond strongly to paints used for graffiti. Graffiti on

such a surface can be removed with a solvent wash, without damaging either the

underlying surface or the protective non-bonding coating. These coatings work best on

smooth surfaces, and are especially useful on decorative surfaces such as mosaics or

painted murals, which might be expected to suffer harm from high pressure sprays.

 Anti-climb paint is a non-drying paint that appears normal but is extremely slippery. It is

useful on drainpipes and ledges to deter burglars and vandals from climbing them, and is

found in many public places. When a person attempts to climb objects coated with the paint,

it rubs off onto the climber, as well as making it hard for them to climb.

27
 Anti-fouling paint, or bottom paint, prevents barnacles and other marine organisms from

adhering to the hulls of ships.

 Insulative paint or insulating paint, reduces the rate of thermal transfer through a surface it's

applied to. One type of formulation is based on the addition of hollow microspheres to any

suitable type of paint.

 Anti-slip paint contains chemicals or grit to increase the friction of a surface so as to

decrease the risk of slipping, particularly in wet conditions.

 Road marking paint is specially used to marking and painting road traffic signs and lines, to

form a durable coating film on the road surface. It must be fast drying, provide a thick

coating, and resist wear and slipping, especially in wet conditions.

 Luminous paint or luminescent paint is paint that exhibits luminescence. In other words, it

gives off visible light through fluorescence, phosphorescence, or radioluminescence.

28
CHAPTER 4

PAINT MANUFACTURING PROCESS

Products of the surface-coating (paints) are essential for the preservation of all types of

architectural structures, including factories, from ordinary attacks of weather. Uncoated wood

and metal are particularly susceptible to deterioration, especially in cities where sootand sulfur

dioxide accelerate such action. Aside from their purely protective action, paints, varnishes, and

lacquers increase the attractiveness of manufactured goods, as well as the aesthetic appeal of a

community of homes and their interiors. Coatings that are used to cover building, furniture, and

the like are referred to as trade sales or architecture coatings in contrast to industrial coatings

which are used on materials being manufactured. Industrial finishes are applied to a wide variety

of materials, such as metal, textiles, rubber, paper, and plastics, as well as wood. Architectural

coatings are usually applied to wood, gypsum wall-board, or plaster surfaces. The paints

industry is a branch of the chemical industries sector. Surface coating (paints) have been

divided into:

• Solvent-based paints

• Water-based paints

• Varnishes; clear coatings.

• Cement base paint

• Aluminium Paint

• Metallic paint

• Wood finish

• Texture paint

• Roofing paint

29
MANUFACTURING PROCESS:

OIL BASED PAINT

Large plants use huge number of raw materials and chemicals, and produce a multitude

products for different applications. Paints industry is characterized by batch processing, which

helps adjust the color and properties of paints.

The unit operations used for paints manufacture are shown in Figure(a) . These unit operations

are mainly physical (mixing, grinding, filtration and packaging).

The manufacture procedures illustrated in Fig. are for a mass-production of paints. The

weighing, assembling, and mixing of the pigments and vehicles take place on the top floor. The

mixer may be similar to a large dough kneader with sigma blades.

The batch masses are conveyed to the next operation, where grinding and further mixing take

place. A variety of grinding mills may be used. Sand mills, high-speed agitators, and high-speed

stone mills are being used increasingly to grind paints and enamels.

The types of pigments and vehicles are dominant factors in the choice of the equipment used.

The mixing and grinding of pigments in oil require skill and experience to secure a smooth

product.

After mixing, the paint is transferred to the next operation, where it is thinned and tinted in

agitated tanks, which may hold batches of several thousand liters.

30
The liquid paint is strained into a transfer tank or directly into the hopper of the filling machine.

Centrifuges, screens, or pressure filters are used to remove non dispersed pigments. The paint

is poured into cans or drums, labeled, packed, and moved to storage, each step being

completely automatic

PROCESS FLOW CHART OIL BASED PAINT

FIG.(A)

WATER BASED PAINT

Figure below presents the main operations in the water-based production line, the input to the

units and the pollution sources. The water-based paints manufacturing steps are similar to those

of the solvent-based paints production, except that the raw materials are added to the mixture in

different order, and water is used instead of solvent as thinner.

* Work place pollution parameters are ammonia, particulates, and noise.

** Spills or leaks could occur through the whole process, and may contaminate the water if

discharged to the sewer.

*** Chemicals empty containers are generated, and considered hazardous. Those hazardous

31
solid waste should be safely disposed into a landfill.

PROCESS FLOW CHART WATER BASED PAINT

FIG.(B)

32
CALCULATION ON PAINT FORMULA

1. Density

Density paint is:

Total sum by weight of each ingredient in paint

Total sum by volume of each ingredient in paint

2. Solid content

Solid content by weight of paint is:

Total sum by weight of each solid ingredient in paint x 100%

Total sum by weight of each ingredient in paint

Solid content by volume of paint is:

Total sum by volume of each solid ingredient in paint x 100%

Total sum by volume of each ingredient in paint

33
3. Pigment Volume Concentration

Total sum by volume of all pigments + extenders in paint x 100%

Total sum by volume of each ingredient in paint

4. Critical Pigment Volume Concentration

The best way to determine the critical PVC of a paint is to measure the volume of the dry

pigment/extender mix of a paint in a centrifuge and to calculate the CPVC as follows:

CPVC = (calculated volume pigment/extender mix / volume after centrifuge) x 100

or

CPVC = ( f x G x 100) / (dPi x Va)

f = ratio weight pigments and total weight solid content paint

G = weight of dry film

dPi = density of pigment/extender mix

Va = geometric volume of paintfilm (e.g. 250 micron wet filmthicknes x length x width)

A theoretical calculation which estimates the approximate CPVC is:

CPVC = (volume pigment+extender x 100) / (volume pigment+extender) + ((average o.a.

pigment+extender) / 0,93)

34
5. Extender replacement

To calculate an extender replacement by weight by another extender and maintaining PVC:

E = A1 x D2

A2 x D1

E = factor to multiply with original extender weight to calculate weight substituting extender

A1 = OA of original extender

A2 = OA of substituting extender

D1 = density of original extender

D2 = density of substituting extender

MACHINES & EQUIPMENTS IN PAINT PRODUCTION

1.HIGH SPEED DISPERSER (HYDROLIC LIFFTING)

High speed disperser has dispersing and mixing function, which used in mass production the

speed of the machine having dispersing disc which can easily replace according to

recommended different type of disc to disperse and mix the paint according to production

technology. Lifting structure adopts hydraulic cylinders for stable lifting to replace the paint

mixing tank after dispersing and mixing of paint.

35
2.SLOW SPEED DISPERSER (HYDROLIC LIFFTING)

Slow speed disperser has dispersing and mixing function, which used in for tinting purpose to

produce desired colour paint this machine also adopts hydraulic base lifting system.

3.BEAD MILL

Bead mill is used for micro grinding nano grinding of pigments to give a desire finish to product.

36
4.TWIN SHAFT DISPERSER

This machine is a combination of High speed and low speed disperser has dispersing and mixing

function, which used in mass production.

5 DISPERSING AND MIXING TANK (PORTABLE)

Mixing pot is used to prepare the base of various paint under high speed disperser than after

thinning transferred to low speed disperse for tinting to produce required colour.

37
6.RIBBEN MIXER

This machine used for blending of the powder for dry paint product. And also produce Acryl;ic

washable distemper.

7.PAINT FILLING MACHINE

After tinting the material goes for

quality test and approval from

Quality assurance it proceed fpr

filling in required pack size

38
8.SHRINK RAPING MACHINE

The small pack size like 3.8 ltr gal

and 1 ltr or ½ ltr gal packed keep

together and send for rapping big

container 4 in each pack, 1ltr is 12

in each pack

9.FORCK LIFT

Fork lift use for the movement of

raw materials from raw material

storage location to production

floor. Finish product move from

production floor to Finish good

store. Which is ready to deliver to

the market as per requirement of

the customer.

39
LAB EQUIPMENTS FOR QUALITY ANALYSIS OF PAINTS

1. Analytical Balance
Analytical balance is used for
weighing of the sample for quality
test of paint. Least count is
decimal fourth place

2. Specific gravity cup

To measure the specific gravity of

the paint this equipment is use.

3. Ford cup

This instrument is use to measure

the Viscosity of the paint.

40
4. Haguemen gauze

This instrument is use to check the

degree of grinding of the pigment.
Grinding and dispersion of the
material play major role in quality
of paint. There is different
requirement of finish in product
specification e,g for high gloss
paint minimum required finish
should be 7.0 plus micron

5. Paint applicator & Bar coater

Bar coater and bar applicator use

for draw down to get erquired
thickness of the test sample to find
out the opacity and matching of
colour in comparision of master
sample or shade card, or standard
colour chart.

41
6. Lab mixer

Lab mixure is used prepare the lab

sample for product development

7. Spectrophotometer

Spectrophotometer is used to
compare the product color with
master sample to avoid the colour
variance in the product.

8. Sand Paper & Paint application tools

For application of paint surface

preparation is essential for better
performance of the product.
Recommended no of sand paper is
required to make the surface
smooth and desirable painting tool
to be use for painting.

42
9 Opacity Chart & Application card

Black and white chart paper is used to draw down of the paint as per

specified paint film thickness required for test of opacity and color matching

by spectrophotometer or visual matching with colour. Approprite bar coater

or bar applicator is to be used to get desired thickness of the paint film.

10 Paint roller and spray machine

The paint product can be apply by

brush, roller and by spray machine
The finished product should be
tested by using all equipment
customer not get any problem
during the application of the paint.

43
 11. Scratch hardness testing machine

This instrument is use to measure

the hardness of dry paint film to
find the durability of the paint.

12. Wall putty applicator

The dry wall putty and acrylic wall

putty and automotive putty are to
be tested by application on the
desired surface by putty blade.

After making the all quality and performance of test the product is ready to deliver the customer

as per their requirement.

44
CHAPTER 5

COMMON PAINT PROBLEM &

SOLUTIONS
Common problem in exterior painting

1. Alligatoring & Checking

Symptoms:

“Alligatoring” is a failure in the paint film where it takes on cracking pattern of deep relief as a

reptile’s skin, such as that on alligator. “Checking” is similar failure but is less severe and is

characterized by long, fairly evenly spaced cracks in the paint film having shallow relief or

depth. Checking some times become severe in some areas and a deeper crack or split in the

paint will occur.

Potential Causes(Alligatoring):

 A second coat of paint was applied over a first coat of primer or paint base coat before it

dried.

 A second coat of paint was applied over an incompatible paint such as a glossy paint or a

hard oil enamel over a latex base paint.

 Oil based paints naturally aging and losing the little elasticity the paint film originaly had,

therefore it cracks due to fluctuations in temperature.

Potential Causes(Checking):

 Natural aging of several layeres of older oil based paint. As the material having been

painted shrinks and expends over time (Usually Wood), the paint has to move and looses

its elasticity, I t checks.

45
 Possible solution:

 Same solution for the borth

problem

 Remove the old paint, sand,

prime and repaint with flexible

exterior paint.

 Use high quality exterior paint.

ppaint.
2. Blistering:

Symptoms:

Blistering is identified by small to medium sized bubbles or blisters under the paint film and is

most common on wood siding and trim.

Potential Causes :

 Painting in direct sunlight on a

hot substrate which traps

solvent vapour as the paint

dries very fast

46
  Painting when the wood is damp causing trapped moisture to expand the paint film

 Dew, rain or very high humidity after latex paint has dried if the latex paint is of lower

quality or the substrate surface preparation was inadequate.

 House moisture escaping through the walls of due to improper house ventelation.

Possible solution:

 Scrap away the blistered paint and sand to bare wood.

 Let wood completely dry.

 Use high quality exterior paint.

 If due to lack of home ventilation, corrective repairs must be made to properly ventilate

the home’s wall, roof and eves, bathrooms, etc.

 Check the repair any loose or missing caulking around windows and doors,

 Consider providing siding ventilation.

3. Efflorescence:

Symptoms:

A problem of painted masonry construction, efflorescence is identifiable by crusty white salt

deposits that bubble through the paint film from a masonry structure. Salts in the brick or

47
concrete become dissolved with water and then leach to the surface as the water evaporates.

Potential causes:

 Poor paint surface preparation where prior efflorescence was not entirely removed and

washed before the surface was repainted.

 Heavy moisture migrating through exterior masonry walls from inside the home.

 Inadequate water proofed basement walls allowing ground water penetration.

 Painting masonry construction wall or poor tuckpointing is allowing water to get behind

masonry wall.

Possible solution:

 If moisture is getting into the masonry wall eliminate source of moisture by properly

tuckpointing any cracks or missing mortar in the wall or patching concrete with a latex

concrete patch, clean out gutters and downspouts, caulk joints around windows and

doors with the butyl rubber caulk.

 Remove all efflorescence and loose flacking, chalking paint with wire brush scrapping or

power washing before repainting.

 If moisture is migrating through the wall from the outside apply water proffing to out side

of wall.

 Clean area with trysodium phosphate cleaning solution and rinse with clean water.

 Let completely dry and paint with high quality exterior paint.

48
 4. Chalking:

Symptoms:

Chalking is identifiable as affine chalky powder that forms on the surface of a paint film.

Although some chalking is normal way paints self clean when exposed to the sun and rain,

excessive chalking can be a paint failure. In dry arid climates where there is little rain,

chalking can become excessive, In reality the paint pigment released by the paint binders

which have been broken down by exposure of to the weather. Chalking especially typical of

very light coloured flat paints, especially lesser quality oil based paints containing of high

level of pigment extenders. When chalking gets severe it may run off onto and stain

surrounding construction as in the picture below.

Potential causes:

 Use of cheaper quality exterior paint containing high levels of pigment extenders.

 Interior paint was used for exterior application .

 Over thinning of the paint.

 No proper sealing of porous surfaces before painting.

49
Possible Solution:

 Chalking is considered dirt and must be removed before repainting.

 Remove chalking by power washing or scrubbing with trisodium phosphate cleaning

solution and rinse with clean water.

 Let dry and paint with high quality exterior paint.

5. Sagging:

Symptoms:

This paint failure is easily identified as a dripping or dropping look to areas of the paint film.

Potential Causes:

 Application of a coat of paint that was too heavy or overloaded.

 Heavy handed paint application.

 Paint thin too much at the time of application.

 Paint was applied in poor environment conditions such as too cool or when humidity was

too high.

 Paint was applied without primer coat to a high gloss vertical surface preventing the

paint substrate from having the “tooth” necessary for the finish coat to adhere.

 Painted surface was not clean or properly prepared at the time of application.

50
Possible Solution:

 If you catch the paint while still wet, use a brush or roller to redistribute the excessive paint

evenly.

 If the paint is dried, sand the uneven area and lightly reapply paint.

 If the paint was applied to a glossy surface, sand the glossy surface to dull it and create a

“tooth” for the paint to adhere or apply a primer and repaint.

 Paint using two light coats instead of one very heavycoat.

 Do not overload the paint brush.

6.Fading/ Poor Colour Retention :

Symptoms:

Premature and or excessive lightning of the paint colour, which often occurs on surfaces

with a sunny exposure. Fading or poor colour retention can also a result of chalking of

coating.

Potential Causes:

 Use of an interior grade of paint for an outdoor application.

 Use of lower quality paint, leads to rapid degradation (chalking) of the paint film.

 Using the paint colour that is particularly vulnerable to UV radiation like bright reds,

Blues and Yellows.

 Tinting of white paint no intended for tinting, or over tinting a light or medium paint base.

51
Possible Solution:

 When Fading/ poor colour retention is a result of chalking.

 Before repainting removed all chalking clean with tri sodium phosphate solution ten

wash with pressure of fresh water.

 After completely dry and dust free surface a good quality of exterior paint recommended

colour for exteriors use.

7.Lapping :

 Symptoms:

Appearance of denser colour or higher gloss where wet and dry layers overlap during

paint application.

Possible Causes:

Failure to maintain a ‘wet edge’ when applying paint.

Possible Solution:

 Maintain a wet edge when applying paint toward the unpainted area and then back in to

the just painted surface.

 The technique of brushing from ‘wet to dry’ rather than vice versa will help to produce a

smooth, uniform appearance

 It is also wise to minimize the area being painted and plan for interruptions at a natural

break such as a window or door corner especially important when applying stain to bare

wood.

 Solvent base paints generally have superior wet edge properties.

52
8.Mildew:

Symptoms:

Mildew is the fungus feeding and growing on the paint film or caulk and is identified by its

gray, brown, green or dark black “splotchy” spots.

Potential Causes:

 Combination of moisture, poor ventelation and lack of direct sunlight. Underside of soffits

and leaves at especially prone to mildew.

 Painting over surface or prior paint film that still had mildew.

 Use lower quality paint having inadequate mildewcide.

 Not priming bare wood before painting.

Possible Solution:

 Wearing eye protection and rubber gloves, scrub vigriously with a trisodium phosphate

cleaning solution or a household bleach solution of 1 part bleach to 3 parts water.

 Let the solution set on the cleaned are for 10-15 minutes.

Fig: Mildew

 Rinse with clean water.

53
  Wash the area with a detergent solution and rinse again.

 Let completely dry and paint with high quality exterior paint.

9.Rust Discoloration:

Symptoms:

This problem is characterized by rust colored reddish-brown to black stains on the paint

surface.

Potential Causes:

 Non-corrosion resistant nails were used instead of galvanized zinc plated or stainless

steel nails,

 Stainless steel nails became in contact with the air.

 Steel nails popping from surface.

 Excessive weathering or standing has worn away galvanized coating on nail heads.

 Tannic acid form moist wood e.g.oak) has reacted with steel nails creating a black stain.

Fig. Rust Discoloration

54
Possible Solution:

 Impossible, replace steel nails with galvanized or stainless steel nails.

 If rusted steel nails can’t be removed then remove rust by sending nail head to bare

metal and counter sink.

 Prime with a stain blocking rust inhibiting primer.

 Caulk, fill or patch depressed nail heads and sand smooth.

 Paint with a high quality paint.

10.Peeling paint Due to Poor Adhession:

Symptoms:

 Peeling paint is a very common paint problem but can be caused either by moisture or

poor adhesion. Peeling due to poor adhesion is characterized by the paint peeling and

separating from an earlier paint layer (intercoat peeling) or from the substrate leaving

some paint behind. Sometimes portions of paint earlier paint layers are visible under the

curling, peeling paint layer.

Fig : Peeling Paint Due to Poor Adhesion

55
Potential Causes:

 Seepage of moisture through uncaulked joints worn caulk or leaks roof or walls.

 Excess moisture escaping through the exterior walls more likely if paint is solvent based.

 Inadequate Surface preparation.

 Use of lower quality paint.

 Applying a solvent based paint over a wet paint surface.

Possible Solution:

 Identify the causes of moisture.

 Prepare surface smooth by removing the old paint use scarper or wire brush.

 Sand the surfaces by using recommended sand paper,

 Repaint of good quality exterior or water resistant paint.

11.Peeling due to Exterior Moisture :

Symptoms:

Peeling paint is very common paint problem that can be caused either by moisture or

poor adhesion. Peeling due to moisture is recognizable by large peeling sections of

paints exposing hare bare wood underneath. Peeling due to poor adhesion problems

where peeling may be spotty, with moisture related peeling may be larger areas peel

away often around windows, doors and gutters.

Potential Causes:

 Moisture getting behind paint film from failing or missing caulk, leaks in roof or

wall system or being too close to the ground.

 Faulty guttering or missing ventilation causing ice dams or water back up.

56
  Painting when the surface being painted is wet from condensation or rain.

Fig : Peeling due to exterior moisture

Possible Solution :

 Ensure proper drainage of gutters and downspouts flowing away from home

 Eliminate cause and source of moisture by installing exhaust fans, soffit vents,

siding vents, lovers, fans, and dehumidifiers.

 Repair and replace missing or damaged caulk.

 Scrape away old peeling paint and feather sand affected areas.

 Spot prime bare area.

 Caulk required with appropriate caulking product.

 Repaint with high quality acrylic paint.

57
12.Peeling due to Inerior Moisture :

Symptoms:

Peeling of paint due to interior moisture is characterized by cracking and gentle peeling

away of the paint from the substrate as it loses adhesion due to the moisture. Moisture

originating from behind the paint film or in front and forcing its way through the paint film can

create this type of paint failure.

Fig : Peeling due to interior moisture

Potential Causes:

 High humidity areas such as bathrooms, kitchens, hot tubs, wet basement areas

can create humidity that penetrates the paint film from the front.

 Leaking flushing around a chimney or other exterior wall/ roof intersection can

allow water to seep into the house and wet the plaster from behind the paint film

causing the paint separate from the substrate.

58
Possible Solution:

 Ventilate high moisture areas such as bathrooms by providing an exhaust vent

fan that removes all humidity and discharges to the outside.

 Ensure proper ventilation of the roof and walls and soffits.

 Repair missing or damaged flashing at chimney or other walls . roof connections.

 Scrape away old peeling paint and feather sand affected areas,

 Spot prime bare area.

 Paint with high quality acrylic paint.

Common problem in exterior painting

1.Burnishing

Symptoms:

An area that shows an wanted increase In sheen or gloss in the paint film.

Fig : Burnishing

59
Potential Causes:

 Frequent washing and spot cleaning

 Use of flat paint in an area where a higher sheen level would be better.

 Use of low quality paint with poor stain and scrub resistance.

 Objects rubbing against the walls.

Possible Solution:

 Choose a semi-gloss or gloss finish in place of a flat sheen in high traffic areas.

 Wait at least two week before washing dry paint film to assure maximum wash

ability and and durability.

 Clean surfaces with a soft cloth or sponge and non- abrasive cleaners.

2.Cracking or Flaking :

Symptoms:

The splitting of dry paint film through at least one coat. In early stages it appears as

hairline cracks, in later stages flaking occurs.

Potential Causes:

 Use of low quality paint.

 Spreading paint is too thin.

 Poor surface preparation.

 Painting under cool conditions which causes the paint to dry fast.

60
Possible Solution:

 If cracking does not go down to the substrate remove the loose paint, sand to

feather the edges, prime bare spots and repaint.

 For cracking that goes down to th substrate, remove all paint. Prime the wood or

plaster before repainting. Apply high-quality exterior paint at the recommended

spreading rate and recommended thinning rate;

Fig : Cracking and Flaking

3.Foaming or Cratering :

Symptoms:

Formation of bubbles and resulting in small, round concave depression is termed as

foaming and crateting.

61
Potential Causes:

 Excessive brushing or rollering.

 Applying a gloss or semi gloss over a porous or unsealed Surface.

 Shaking a partially filled can of paint.

 Use of roller with the wrong nap length.

Fig. : Foaming and Cratering

Possible Solution:

 All paints foam to some degree during application. Higher quality paints are

formulated so that the bubbles break while the paint is still wet.

 Sand problem areas before repainting.

 Gloss paints should be applied with a short-nap roller.

 Apply a sealer or primer over pours or unsealed surfaces before the top coat.

62
4.Surface or Caulk and Picture Framing :

Symptoms:

Non- uniform colour when a wall is painted with a roller but is painted with a roller but is

brushed at the corners.

Potential Causes:

 Improper ventilation and sun light.

 Painting over a substrate containing mildew.

 Applying paint at different film builds,

 Not keeping a wet edge while painting.

 Improper mixing of the paint also a reason.

Possible Solution:

 Allow surface to dry thoroughly repainting may not be necessary. If you do need

to repaint.

 Use top- quality acrylic paint as it resisits milder better than oil-based or alkyd

paints.

 Make sure spread rates of rollers and brushes are similar and apply the coating

as uniformaly as possible.

 Don’t cut in whole room before rollerimg.

 Work in small sections to mention a wet edge.

 All colours should be thoroughly mixed well before application.

63
5.Poor Hidding:

Failure of Paint to fully conceal the underlying color or surface is not hiding termed as

lower or poor hiding.

Potential Causes:

 Applying to thin layer of paint.

 Use of wrong type of brush or roller.

 Painting over a porous surface.

 Use of a paint that is much lighter or darker than the previous coat.

Possible Solution:

 Prime the surface with an appropriate primer before top coating, especially if the

substrate is new., darker or is patterned wallpaper.

 Allow proper drying time before recoating.

 Follow the manufacturer directions for spread rate.

FIG. Hiding Property of a paint

64
6.Poor Stain and rub resistance :

Symptoms:

Showing stains and not clean and show less scrub resistance.

Potential Causes:

 Applying paint to an un primed substrate.

 Use a low quality paints.

 Choosing wrong sheen or gloss.

 Inadequate drying time.

Possible Solution:

 Prime new surfaces for maximum film thickness.

 Choose high-gloss or semi-gloss paints for high traffic areas.

 Wash with least abrasive material.

 Allow adequate drying time. Scrub and stain resistance does not fully develop

until the paint is thoroughly cured.

FIG. Poor stain scrub resistance

65
7.Roller marks or stippling:

Symptoms:

Textured pattern left in the paint by roller

Potential Causes:

 Use of incorrect roller.

 Use of incorrect rolling technique.

Possible Solution:

 Do not let the paint build up at a roller ends.

 Sand problem areas before repainting or applying additional coats.

 Follow the recommended roller cover and nap size.

 Only use high quality rollers as these will ensure adequate thickness and

uniformity.

8.Wrinkling:

Symptoms:

Crinkled paint surface forming a skin.

Potential Causes:

 Paint applied too heavily.

 Exposure of uncured paint to rain, dew, fog or high humidity.

 Applying topcoat to un dried first coat.

 Painting over an unclean Surface.

66
Possible Solution:

 Remove wrinkled coating by scraping and sanding.

 Make sure first coat is dry before applying the top coat. Allow extra time if you are

painting in hot, cool or damp weather.

 Follow manufacturer’s recommendations for spreading rate and environmental

conditions.

FIG. Wrinkling

67
CHAPTER 6

CONCLUSION AND RECOMENDATIONS

Conclusion:

The study about common paint discuss about the types of paint and paint and paint

manufacturing process. Various things about raw material used in paint production. Discuss

about using of various plant and machinery and quality testing instrument to ensure the paint

produced as per quality standard set by the research and development of organization.

During the manufacturing of the paint tight quality assurance is controlled the process and finish

goods goes to specific quality test then send for packing and park in finished goods ware house

for sales and distribution of product as per sales order.

Before sales and distribution of any product is check properly for quality point of view to provide

entire customer satisfaction with the performance of the product. Organization of paint

manufacturing companies main aim is to provide the entire satisfaction with their product.

When we are on study of the common problem in paint we concluded that mostly the problem

come in paint the we concluded following points.

1. Surface preparation :

When make a plan for painting on any surface is to be prepared in right way. If it is a new

masonry work it need proper cure is required. The masonry work should be mature other wise

peeling due to moisture will appear. Any type of substrate u need to paint that should be clean

dry dirt free and pricing as per recommendation and proper sealer and water proofing treatment

to be apply to remove cracking, peeling, and chalking like problems.

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Surface preparation is play a prime roll in getting the desired performance of the paint product.

2. Resistance for water seepage :

When planning for painting make sure the all possibility of seepage of water to be blocked and

proper repairing and water proofing treatment proceed specified area like bathrooms, kitchens

and water tanks and basements area. All cracks and opening of the surface to be filled by using

recommended filler. Proper sealer primer is to be used and top coat make sure is to be done

after complete dry clean surface and sand properly before painting.

3. Using of proper painting tools:

To get complete satisfaction to paint your dream house you required recommended painting

tools like roller, paint brush, spray machine, scraper, putty blade, sand paper and sanding

machine, high pressure water machine to clean the surface with pressure of clean water.

4. Selection of correct Paint product:

When going to paint your dream home u need to select appropriate product as per application

for bathroom and kitchen area paint should be high quality stain free and paint should have good

scrub resistance and good water retention properties. And for leaving room and bed room area

painted with high quality interior paint.

For the application for exterior surface of the house should be high quality exterior paint.

Selection of the paint is most critical activity the product is available economic and premium

range product,

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That can be selected according to the budget of painting. Recommended putty, primer, or

surface treatment solution, old paint remover wiper, sand paper for sanding purpose.

Recommendation:

Our study on Common Paint problem at Rainbow Paints & Chemicals Ltd., Wellington industrial

estate, Wellington, Freetown, Sierra Leone (West Africa). We find the following recommendation

to help the end user of Rainbow Products highly recommended for giving real value of their

investment on Rainbow products.

Customer Relation Management (CRM) policy is deployed in Rainbow Paints to give entire

customer satisfaction with the performance of Rainbow product to stay in current competitive

business era. Main prospective is maintain the presence in competitive market to retain the

customers and to stop the migration of existing customer and inspire to introduce new customer

to use Rainbow Paints product to achieving the desire growth of the business,

1. Training and Education:

It is highly recommended that and Rainbow Paint make it possible to trained the painters with

modern technique and proper steps to painting in right manner. A trained and educated Painter

can is apply the paint product because paint performance is depends upon proper application,

proper use of paint tools, surface preparation, and must know about the product knowledge

about which product is used for desired results.

2. Using of Social media Internet:

In today business environment is very competitive due to usage of growing of Information

technology Rainbow Paints recommended to share the product knowledge and product

promotion on social media and company web site. Rainbow Paints team is launch time to time

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education and training video TIPS FOR PAINTING YOUR DREAM HOUSE and engaging to trained

and educate their customer to get better performance of the product.

3. Customers Views:

Rainbow Paints conducted time to time survey by internal and outsource agency to regular

monitoring on the customers view on Rainbow Paints product performance expectation from

Rainbow which help full to improve Rainbow Product and research and development for

future product.

In last but not least the Rainbow Paints product is sharing Sierra Leone paint market with

supporting efforts of the Rainbow Management is growing well moving towards bright future

under all management staff and workers dedication is highly appreciated.

The guidance and administration of Mohd. Fakhoury General Manager is stepping towards

remarkable growth of Rainbow Paints is improving.

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REFERENCES

1. Basic of paint technology Color Publication Mumbai India

2. Process flow charts archipaint.com
3. Wickypedia
4. Paint technology hand book by Rodger Telbert
5. www.hallowygroup.com
6. The painters handbook by Mark Davi Gotsegen
7. Paint And Coatings by Philip A Schwitzer P.E
8. Paints & Coating Manufacturing process AIPS Global
9. Paint formulation and Raw Materals from Aips global study material
10. Quality Control in Paint industry By Mrs. Adetoun Tijani

11. Paint and Coating Testing Manual, (Gradner‐Sward Handbook, 14th Edition) edited by Dr. Joseph V.
Koleske,
12. Product manual of Rainbow Paints

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