A pledge qualitative manufactures painting are high qualification and a long-term operational experience in branch of construction and repair. We with pride can ascertain, that some, the most qualified the house painter, more than 9 years, and it not an advertising gimmick work in the company since the birth, it is the truth. The deputy director and the conducting{leading} architect of the company during Soviet times studied on till now being unique, the program « Альфрейно-picturesque works ». With pride and knowledge of an affair, we can declare, that many modern technologies painting which are now imported to us, initially have been invented still in to the first legendary slavic power - the Kiev Russia . Now we admire with excellent Italian paints. But already now in Ukraine the materiology and chemical branch revives. All only begins!

At painting of the master the building company « PROXIMA » are used various paints on structure: glutinous, limy, oil, enamel and others. All paints contain various binding, pigmentary and auxiliary substances. The parity of parts in paints not casually, therefore addition of any substance at random, for example solvent, instead of improvement of quality colouring power to a surface can lead to to its decrease.

Usually the paint is sold in a ready kind. If it is required to dilute, add it is necessary only the most necessary quantity of solvent, differently a paint will flow down, it is especial from vertical surfaces.

If the paint in bank has become covered by a film, in no event it is impossible to stir it, and necessary to cut off cautiously a knife as it is possible closer to the case banks and to take out it. If completely a film to remove it will not be possible, the paint is desirable for filtering. For this purpose usually use a kapron stocking with which cover an aperture empty pure banks.

All paints can be divided into four groups. To the first group concern paints on mineral binding , in the second, enter glutinous paints , in a third - enamels on synthetic binding (alkyd pitches, on polyvinyl acetate, polyvinyl spirit, etc.), the fourth make paints on drying oils

At a choice of a paint first of all it is necessary to start with as far as at operation the covering should be proof, take into account its decorative kind and not overlook about cost.

Paints for external and internal works differ on stability influence of a rain, the sun and fluctuations of temperature. Paints which are intended for external works, in case of need it is possible to use and for internal furnish of a premise. The choice of this or that paint depends on what furnish of a premise needs to be made - simple, improved or high-quality.

Paints on mineral binding are intended for simple furnish of the stone, concrete and plastered walls, for painting pools, draw-wells and fences . They give the friable air-penetrable coverings well maintaining action of water, especially a paint on the basis of cement, and change of temperatures.

Glutinous paints the plastered, concrete and wooden surfaces finish, and casein are suitable both for external, and for internal works. Paints on dextrin, starch and bone glue it is possible to paint only walls and ceilings in the closed premises. The important advantage of glutinous paints is their porosity: coverings from them do not interfere with air exchange, through them the moisture which can be formed on the dampened wall or on a ceiling easily evaporates.

The best are paints and enamels on synthetic binding or drying oils which are used for high-quality furnish. Is among them suitable both for external, and for internal works, and also intended only for internal works.

They can give matte, glossy and semigloss coverings . Some form continuous coverings of them (for example, alkyd), others (for example, water-emulsion) - porous. Paints which form continuous coverings, are unsuitable for the crude or dampened walls, and alkyd besides are unstable to alkalis and consequently them it is impossible to paint fresh plastering or the concreted walls.

Oil paints on properties come nearer to paints on synthetic binding. They form not porous coverings not proof to alkalis and a moisture.

TOOLS AND ADAPTATIONS
To execute painting, brushes, platens, rulers, a cord are necessary palette-knifes, for capacity for cultivation of paints, a screw-driver, a hammer, ticks, a fine and large emery paper, a piece of a fuse or rubber which wrap up an emery paper at work. At painting ceilings use a step-ladder.

palette-knifes fillings of cracks and deepenings palette-knifestructure are necessary for brick jointer cracks in surfaces prepared under painting. It is desirable to have a little palette-knifes - with wide (180-200 mm) and narrow (45-100 mm) a cloth made of metal, a tree and rubber.

Depending on a kind tinted surfaces can be necessary different for a brush . To painting the big areas apply flywheel a brush , for walls and ceilings it is possible to use whitewashing brushes , round or rectangular.

Small surfaces paint a glutinous or oil paint a brush of the small size - bench hammer with the short wooden handle.

Fresh applied a paint smooth flat enamel brush - the flat brushes made of a high-quality bristle or badger of hair.

For prompting direct lines, exhaustion panels, and also painting of small surfaces apply paneled brushes different diameters.

Platens it is better than brushes and brushes that considerably accelerate drawing and shading of a paint. Earlier platens fitted the sheep fur, now for this purpose use artificial fur is more often. the Platen can be made of rubber, foam rubber or fur.

With the help pneumatic sprays the big surfaces can be painted even faster. In such a way it is very convenient to paint ceilings.

The most simple device which apply in a life, is a manual spray , suitable for drawing limy and glutinous paints.

Recently let out paint-pulverizer suitable almost for all kinds of paint and varnish materials. For homeworks most of all approaches a spray working from a vacuum cleaner. Use also the special adaptation delivered in the complete set to a vacuum cleaner. A hose from it extend with the help vacuum cleaner pipes. Freely to move it is possible if to fix a vacuum cleaner on a belt which put on a shoulder.

The ruler about 1 m with the removed facet is useful for carrying out of direct lines and exhaustion panels.

Capacities for cultivation of colourful structures and preparations putty solutions, a knife, a steel brush, a sieve or a kapron fabric and a water level are required.

Quality of painting depends on quality of the tool also, therefore it is necessary for containing in good condition. After use all tools should be carefully cleared of the rests of a paint, especially carefully it is necessary to clear platens and paint-pulverizer. If in paint-pulverizer remain and the paint will harden, to remove it it will be impossible, and it will come in unsuitability.

At time breaks in work of a brush and platens it is possible to immerse in water, preventing thus drying up of a paint. Having taken out a brush from water, it it is necessary carefully soften in dry rags or to wipe about a paper and to remove the rests of water.

If it is necessary the big break, the capacity with a paint needs to be closed, and a brush either to wash up, or to ship in water.

After the termination of work a brush carefully wash away in the solvent corresponding to the used paint that on it did not remain any traces. After that it once again wash in warm soap water and rinse.

TECHNOLOGY OF WORK
At performance painting it is necessary to have near at hand various auxiliary materials: plaster for closing up of cracks and corrections of defects of a surface, a solution for repair of plaster degreasing means, a plaster for closing the places which are not subject to painting, etc.

Single-layered painting does not provide sufficient protection of the basis, therefore it is necessary to render consistently some layers of a paint, each of which carries out the functions.

The bottom layer forms for coupling a multilayered covering with the basis. finishing the layer finishing a colourful covering, protects the bottom layers from external influences and carries out decorative functions. If an oil paint to render in one layer, the surface will be wrinkled, and in due course on it cracks will appear.

The number of layers depends on the kind of a paint required quality of a covering and a kind of the basis . A glutinous paint render in two layers, aqueous dispersion - in three, and some glossy polishes - in six and more layers.

Each subsequent layer should contain more pigment and less binding. For example, emulsion from a first coat strongly plant water, and for finishing a layer at all do not dilute.

Before to start painting, it is necessary to prepare for the basis. colouring power the surface should be cleared of a dirty, a rust, fatty spots and besides it is dried up (it especially concerns wooden surfaces). If in interstice wood there will be a water, the paint there will not penetrate. it it is necessary to lay on a surface, and then will fall off.

If wood on a surface dry, and inside damp, at heating under solar beams and at other influences water pairs will press from below on a colourful covering and will break off it.

For reception of a qualitative colourful covering it is not necessary to paint at low or too high temperatures, and also on the sun, on a draft, in a fog and at a weak rain. During time painting the temperature should be not lower than 5 °G.

A brush at painting hold with a small inclination to a surface. In a paint of it immerse, dipping not completely, and only on a quarter of length of hair, surplus of a paint from a brush delete about territory banks.

In the beginning a paint render on a side, in corners and remote places and only then on smooth surfaces. When paint surfaces above a head, the paint frequently flows down on the handle of a brush. That it did not occur, it is possible to take an old rubber ball, to cut it half-and-half and in one of half to pass the handle of a brush. That the ball has not come off the handle, under it strengthen an elastic band. If there is no ball, the handle put on a circle glassine in diameter 5-7 see

At clearing a ceiling if it has not been painted earlier, first of all delete old emb. Small albication it is possible to wash away hot water by means of a brush and a cloth, and thick it is necessary to clean off a scraper in a dry kind. It is possible to moisten preliminary with its hot water by means of a brush and in 40 minutes to remove a scraper or palette-knife.

Scraper or palette-knife have under a corner to a surface and, slightly pressing on the tool, sliding advances remove a layer albication. In the same way delete sparks of a solution, stratification of a paint and other pollution.

On a ceiling and on walls it is necessary to expand cracks all over again, and then to grease corresponding structure. beddingmake palette-knife, closing up thus not only embroidered cracks, but also bowls and hollows which are on a surface. After drying bedding places grind and priming colour.

PAINTING BY THE BRUSH
Though recently the increasing distribution receives drawing a paint by the platen or with the help paint-pulverizeres, in domestic conditions nevertheless use a brush.

Brush it is necessary to prepare - press for it between fingers and to blow. For painting it is possible to use flat and round brushes. The size of round brushes choose depending on character coloured surfaces or a subject, and also from density of paint and varnish materials.

In a new round brush it is necessary to truncate length of hair by a garter, differently it will spray a paint. Length of free hair - approximately 30-40 see

Paint render in regular intervals, all over again one-way traffics, and then it is perpendicular to it, well shading until all surface last movements by a brush on horizontal surfaces carry out lengthways their long parties, on vertical from top to down, and if are painted wooden surfaces, in a direction of year layers of wood will not be exactly painted.

If a paint on drying oil, last layer smooth easy movements of a brush in a perpendicular direction. For smoothing it is the best way to take a hair brush.

The big areas at painting need to be divided on a little bit fine, limited to seams or rods. Thus the type of a paint and varnish material is taken into account. The door cloth on drying oil is possible to paint with a paint all at once. If oil enamel distemper a premise it is better to render a paint on smaller surfaces.

At painting vertical surfaces the paint needs to be shaded carefully that it did not flow down and did not form runs. The paint flows down after a while after its drawing, therefore it is not necessary to take too liquid paint or to render its thick layer.

If the complex relief surface with various deepenings is painted, it is necessary to remember, that in them it is impossible to render too much paint because it will flow down, wrinkle a surface and it is bad to dry.

For reception of equal edge coloured the surface can use self-adhesive a tape pasted on beforehand beaten off with help of cord or a plumb a line.

PAINTING BY THE PLATEN
For wetting platens by a paint the flat metal box with longitudinal walls in the form of a trapeze is required. In a box the sieve with cells in the sizes of 10-20 mm is established, on which carry out the platen moistened in a paint to remove surpluses and in regular intervals to distribute a paint on all perimeter of the platen.

Work carry out thus. On a surface the area about 1 m2 renders 3-4 strips of a paint, then these strips roll flat with pulled a paint in a horizontal direction (with a small inclination of the platen) until the paint in regular intervals will not be distributed by the platen on a surface. If it is required to limit coloured the area, its edges close a dense paper or stick a glued tape.

DISPERSION
This way of drawing of a paint has some advantages, is especial if colour big homogeneous, nothing attenuation surfaces. Paint and varnish materials of all kinds are in such a way rendered quickly and in regular intervals.

This way also is convenient for painting remote surfaces, for example internal parts of radiators of a central heating. During dispersion the smallest particles of a paint get on coloured a surface, incorporate one to another and form a uniform layer.

At drawing a paint in such a way it is necessary to close all surrounding surfaces, which are not subject to painting then to not waste time and forces on their clearing. For this purpose sticky tapes with which it is possible to fix a paper or a film will approach.

For reception of equal edge coloured the surface can use self-adhesive a tape pasted on beforehand beaten off with help of cord or a plumb a line. As soon as the level of a liquid will fall, it is necessary to fill capacity, differently after suction air paint-pulverizer will throw out uncontrollable quantity of a paint.

PROCESSING sponge
This way creates soft spotty figure. And light tone of the bottom layer (background) will look, as veines the uncertain form. The paint should not be clean - white, her it is necessary slightly tone, that will give more refined effect. If it is necessary to receive more contrast decision, it is necessary to render dark figure on matte emulsive to a paint - the original flickering pattern will turn out.

Drawing of a paint sponge can clarify or, on the contrary, darken the general tone. For a background and rolling it is necessary to choose harmoniously combined shades of uniform color scale or complementary colors of equal intensity. Densely put, without significant gleams figure gives impression of intensively painted surface. In turn, color and tone of the basic background can influence intensity of the figure put atop of it.

Processing sponge approaches almost for any surface, but it is most effective on the big planes, for example on walls. It is interesting, that this way is irreplaceable for masking not so attractive subjects, such, for example, as radiators.

Both for the basic layer, and for decoratively rendered atop of it, apply not dissolved emulsive a paint to walls, and greasy a paint - for wooden parts and metal details. For such works use natural sea sponge which structure has the greatest amount of emptiness. If figure received on a wall repeats, becomes regular, it is necessary to break off sponge and to continue work as its internal, most rough surface.

TECHNOLOGY OF DRAWING OF PATTERN sponge
The paint of more dark tone intended for drawing of a pattern sponge, found in a tray and good stir. Preliminary it is required to soften sponge - soak it in water if painting emulsion is necessary, and at the use of an oil paint - in white spirit. Wring out, and then dip sponge into a paint and press to corrugated inclined branch of a tray that the paint has impregnated all sponge.

After that it is necessary to take off surpluses of a paint with sponge by means of easy, abrupt contacts of a sheet of a paper: at oversaturated sponge figure can turn out with blots or in general blur.

Movements need to be begun from top to down. Work as easy, abrupt contacts, do not rotate and do not press sponge strongly. Position of a hand with sponge needs to be changed so that to avoid regular, repeating figure. When sponge becomes drier, it is possible to work in corners and along a plinth here involuntarily it is necessary to press it, and danger of expression of surpluses of a paint is real.

First the surface needs to be processed rare, not closing completely the bottom, basic tone figure and to leave to dry. Wash out sponge, and then put the second layer, blocking the first so that they have merged in the general figure. When the second layer will dry up, it is necessary light colour to correct separate allocated a stain. It is possible to apply colour a background or " elephant which will soften the general figure.

THE TRADITIONAL METHOD OF SHAPED PROCESSING
For such method it is necessary to prepare for glaze, having mixed 70 % of a varnish, 20 % of an oil paint and 10 % white spirit, and then to put structure on the basic tone a strip the in width of 500 mm from top to down. While glaze has not dried up, on it it is necessary to put a brush a dotted stroke fast and confident movement, but to not drag at all and to not rotate a brush. Then continue processing while all surface will not be covered with a stroke. To hide joints, it is necessary gush the next strip.

If the surface processed thus further will require washing, atop of it it is necessary to put a layer matte polyurethane a varnish.

Dotted stroke - figure the Color stroke is given with more graceful figure, than processing sponge. Usually it is carried out on not stiffened glaze or a varnish and creates the effective surface spotted with points through which the background appears through. Tone and color for shaped figure choose by the same principle, as at processing sponge.

Let the background will have more light shade that it was formed as though color haze, and for a stroke more dark tone: it will better reveal figure. The return combination is possible also.

To render shaped figure it is possible on any surface, but especially effectively it looks on walls of small premises, on doors and on furniture.

It is better to apply to shaped processing undiluted emulsive or an oil paint (according to a material of a surface). For drawing a stroke on not dried glaze it is possible to use only an oil paint. The special brushes intended for this work, are made from badger hair, but almost any flat brush (even new shoe) can be used, provided that a bristle on it of identical length.

TECHNOLOGY OF DRAWING OF SHAPED FIGURE
Processing begin from top to down, making abrupt movements by a brush and changing a corner of its position on a plane of a wall.

To strengthen figure, put other layer (slightly pressing a brush) to achieve the greater contrast. At occurrence of blots block their shade of the basic ground.

At the end of work fill in corners, a surface around of platbands and near to a plinth almost dry brush, applying colour the first layer rolling.

PROCESSING WITH THE HELP OF THE FABRIC
This way is created with more distinct{clearer} pattern, than processing sponge or a brush. There are some ways with which it is possible to carry out it. Drawing of a paint by means of the crumpled rag of a fabric (it is similar to processing sponge) gives the certain precise figure.

Removal of a paint or lamination braid give softer and uncertain pattern, but these ways demand the greater skill. Prints which are similar to the combined petals, receive drawing or, on the contrary, removal of a paint by means of a piece of a fabric.

All specified ways are carried out with use of a fresh solution of glaze. As well as at the last ways of processing, figure is rendered from top to down on vertical strips in width of 500 mm. Preliminary soak a piece of a fabric in white spirit, wring out and crumple it in a hand or braid in braid (in the platen). Then slightly dunk a fabric into glaze.

For drawing figure by the platen it is necessary to keep its two hands and press from top to down as as the crow flies, and on irregular, casual directions. In this case it is possible to receive the uncertain, confusing figure. The rag needs to be shaken more often and again to crumple in a hand or to change its (rag) as soon as it becomes too oversaturated a paint. To mask joints between separate strips it is necessary especially carefully.

For drawing a paint by means of the crumpled piece of a fabric use emulsive or an oil paint (according to a material of a surface). For rolling by the platen or a method of removal of a paint, as the oil paint should be applied to the bottom, basic layer, and for rolling only.

colour for rolling will be the basic tone, therefore to choose it is necessary for more dark, than a background.

The fabric way, besides dressing walls or separate elements of furniture, is good when it is required to adjust painting of the built - in equipment under color of walls. It is possible to use any fabric - from muslin or a gauze up to suede, - if only it was not fibrous and well accepted a paint.

TECHNOLOGY OF DRAWING OF THE PATTERN WITH THE HELP OF THE FABRIC
For the beginning pour off there is some paint in a tray with a flat bottom. At dip in emulsion the dry cloth gives precise, rigid figure. If it is a little to moisten of it, softer prints will turn out. In case of application of an oil paint it is necessary to wet a cloth in white spirit, and then as it is necessary to wring out. Before the use a fabric crumple in a hand.

Dip a cloth into a paint and slightly wring out it on a sheet of a paper to remove surpluses. Render dabes from top to down or along an eaves free movements, it is similar to work with sponge. The cloth is necessary for shaking frequently and again to compress in a hand, to avoid repeating figure. Change it on I skin, as soon as will notice, that figure becomes less precise.

At the end of work necessarily correct insufficiently filled sites of a surface. In some cases the second layer colour can be put, but is usual it it is not required, as a rule, the expected effect is achieved from the first.