Part of

The Purdy Book of Knowledge

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A Little Purdy History...

The Purdy story begins in 1925 when S. Desmond Purdy began building paintbrushes in a converted 2-car

garage in Portland OR. His unswerving, uncompromising dedication to quality and excellence continue today. He was a man of strong principle, who believed that handcrafting the finest painting tools may take a little longer, but it was the only way to “build in” the characteristics and properties that assure superior coverage and unsurpassed performance that can only be found in Purdy tools. In 1961, David Howard Sr. was a buyer for Montgomery Wards in California. He left Wards to accept an offer

from Mrs. Purdy, after Mr. Purdy died, to come and manage the Purdy Corporation. In 1965, Mrs. Purdy retired, and David Howard Sr. took the helm. This marked the point when Purdy truly began to expand throughout the United States. Today the company sells its products in all 50 states as well as internationally. In 1994, RAF Industries acquired Purdy after David Howard Sr. elected to retire. Purdy’s philosophy is still

one of QUALITY, SERVICE, and VALUE, all of which are done with INTEGRITY. Purdy handcrafts the world’s finest painting tools. We are the “yardstick” by which all other painting tools are measured. We will always strive to remain far ahead of the competition and continue to improve our products as we market throughout the world! Today, Todd Barth, Senior Vice President and General Manager of Paint Sundry Brands is leading Purdy. Some points regarding Purdy painting tools & rules to remember: 110 Reasons why Purdy Painting tools are unique:

• Outstanding finish appearance, which forms a smooth, even layoff of the paint on the surface. Our

unmatched handcraftsmanship produces brushes that make all paints and coatings look their very best!

• Smoother “ no drag” brush strokes & better paint flow and release produced by our special care in

hand blending (special formulations) and flagging processes. Each brush type possesses its very own formulation; the correct amount of various lengths and stiffness of bristle to do the job for which the brush is intended.

• Better paint lifting capability by Purdy’s careful retention of the natural flags on all bristle brushes

and “satin edge” flagging on our synthetic tools. • Better overall coverage with less effort result from the use of the very finest materials & “full-sized

mixtures.” Correct stiffness for the length of bristle used makes for easier painting with less fatigue. • No unsightly streaked brush marks in the paint stroke due to reversed bristle or filament come from

Purdy’s extra handwork processing and exacting handmade chisel. • Longer wear is a direct result of Purdy’s proven blends and full stock.

• Faster, better production on big jobs because more brush time is spent on the painting surfaces and

less time “dipping” in the paint.

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• Best “cutting in” for corners and sash work because of individual craftsman’s care and handwork in the chiseling, shaping, and finishing of all Purdy brushes. You get clean, straight, flagged bristles or “satin edge” synthetic filaments every time.

• Less bristle and filament breakage in Purdy’s natural, undyed top quality bristle and special “satin

edge” processing. Purdy does not use black-dyed bristle. • Lightest weight, perfectly balanced brushes are easiest with which to paint. Our exclusive method

of matching components in paintbrushes, along with our exclusive alderwood handles, makes this possible. A balanced brush is easier to paint with.

Remember: Choosing the proper top quality applicator is as equally important to the success of your painting project as choosing the proper top quality paint or coating.

~ Purdy Production Notes ~

Brushes ~ When speaking of Purdy Painting Tools, one should first call to mind the 3 stand-out points of our products: 1 ~ Best overall coverage with less effort. 2 ~ Smooth, “no drag” brush strokes. 3 ~ Best “cutting in” ability.

Handles: Our handles are manufactured in Tillamook, OR, thereby providing Purdy with a reliable local

manufacturer who can ship product in a short amount of time. We also have handles that are produced in Italy. All of our professional brush handles are made out of Alderwood, the lightest solid hardwood available, which provides a durable, light & maneuverable handle. The wood is not sealed or lacquered, but rather is left raw in order to give the painter a sure-handed feel. Our handles are just one of the reasons why Purdy Painting Tools provide better overall coverage requiring less effort from the painter. Ferrules: Although we do not personally manufacturer our ferrules, we do have them made by two different

manufacturers to our own detailed specifications. We carry two types of material in our ferrules: either stainless steel, or steel with copper plating -- this varies on the specific brush. Most of our ferrules possess either a square edge (Mr. Purdy’s invention) or a round edge. The advantage to using a square edge ferrule is in the control of the brush because there is an even distribution of pressure. The round edge ferrule serves more as a production tool as it will generally hold more paint and lay off more paint, thereby providing the painter more time painting and less time dipping. Our semi-oval ferrule acts as a combination of the square & round ferrules as it is maneuverable and yet holds a great amount of paint.

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Natural Bristles: Our natural bristle, which is used in oil base paints, varnishes and enamels, comes from several different geographic regions of China. Obviously, in different regions there are different climates, therefore producing various types of bristle, varying in length, thickness and rigidity. A portion of every box that is shipped to the Purdy factory is checked for top-of-the-line quality; if the quality is not up to Purdy specifications, we return it to China. Natural bristle is extremely porous by nature and thus it soaks up a great amount of water that it touches. In fact, if one uses a natural bristle brush in water based or latex paint, the brush will paint like a “mop” in no time at all. Both black and white bristle is shipped to Purdy, along with Ox bristle. The white bristle is a finer smoother bristle than the black, and the Ox hair is used where an extremely smooth finish is required. On the flip side of this, the black bristle has much more of a “back bone” than the white bristle and is more durable. After our natural bristles are thoroughly mixed, placed in a ferrule, plugged, combed, given an insert and expoxied (glued), they are rinsed in a cleaning solvent and put through a process (proprietary) in order to replenish the oil that might have been lost in transit and production. After the brush is “broken in” (sanded to provide a soft smooth finish while diminishing dragging), and the handle is attached to the brush, the brushes are put through a process (proprietary) to assure that straight cutting line on the brush. The brushes are then given their final inspection, in which they undergo great scrutiny before being acknowledged as a Purdy Painting Tool. It should be noted that at every step in the brush making process, the brush undergoes tedious evaluation and inspection to assure Purdy’s commitment to being the best quality-painting tool in the world. Synthetic Filament: Shortly after WWII, water-based paint became popular, thus DuPont got into the business

of making synthetic filament for painting tools -- unsuccessful at first, they eventually came out with a tapered filament, “12/8”, and now also produce a”7/4”, “9/5” & “15/10”. Purdy only purchases SRT (solid round tapered) filament (the best available) from Dupont (Tynex®, Orel® and Chinex®). Many competitors use DuPont’s hollow filament, which has no density and is obviously less durable -- they take the cheap way out. After the filaments are dyed, Purdy performs its very unique proprietary tipping and flagging operation. DuPont has given us permission to quote them saying; “Purdy performs the best tipping & flagging in the world.” Obviously this statement, coming from a company like DuPont, serves as a testimony of the precision, care and quality that goes into all of Purdy’s painting tools. We come closer than anyone else in duplicating the tips and flags of natural bristle. It should be noted that some competitors attempt to flag after the brush is made -- this technique “explodes” the filament and causes it to paint like a bush or a mop and maintains no stiffness at the tip. At Purdy, we first tip the blunt end of the filament and then flag it. It should be noted that 100% of our filaments get tipped, and about 80% of the filament at the first 2 to 3 lengths gets flagged (100% would make the brush too bushy). We also spray our synthetic filament so that there is virtually no static. We then mix the filaments a great number of times through one of Purdy’s unique machines, according to their secret formulations -- each brush has a different mix. Our Elite & XL lines have a unique mix of nylon and polyester; the polyester serves to provide stiffness and a long lasting flex to the brush. At this point the brush begins its building process. We first place the correct weight of filament in the ferrule; a wood plug (Alderwood) is inserted to hold the filament in place and also to create a “reservoir” in the brush for the paint (be sure to note that Purdy’s plugs are directly in the center of the brush providing an equal amount of stock on each side and an equal amount of flex in the brush, and also makes it easier to get an even chisel -- also take note that our plugs are located at equal level or slightly below our ferrules making it easier to clean and paint won’t stiffen the heel). We then “chisel” the filament, which facilitates opening, AND closing of the brush (it WILL return to its original shape) and this also gives a smooth lay off (note that some competitors attempt to give the chiseled look AFTER making the brush by cutting the top which only cuts off the flags of the filament). We also place a metal insert in the ferrule, which serves to give extra security in the stability of the handle connection and also serves to facilitate an even distribution of the epoxy). We then put the epoxy into the brush -- our formulation is tested every day in order to ensure that our special epoxy is not too much in which it would run into the brush and make it stiff and hard to clean, or too little in which the hold would not be sufficient. We have two unique finishing operations in which the brush is “broken in” for the painter providing a smooth finish, making the brush less likely to drag. And then, we also perform a unique process to give the brush a virtually straight cutting edge and also virtually gets rid of all of the stray hairs. After all of these processes in which the brush is inspected, the brush undergoes a very tedious inspection to assure the top quality of our Purdy Painting Tools. It should also be noted that all of

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Purdy’s brushes are “full-stock” brushes -- they have at least 50% of the top size in the brush. Purdy blends in the soft, mediums & stiffs with different lengths to give the painter the best formulation to perfectly lay off his/her paint and perform his/her task at hand as a professional painter should. Also, it seems that one concern is that Purdy Painting Tools are a bit more expensive than some of our competitors. One should note that the whole painting process is a very expensive operation -- the painting tool is not relatively expensive, BUT it does have a huge affect on the outcome of the painter’s effort. It is not worth it to save a few bucks to risk the quality of the painter’s performance! Purdy Painting Tools are the best brushes and rollers in the world; use them and you will see.

THE SUPPLY OF CHINA BRISTLES

Characteristics and Usages of the Bristle The brush, serving an integral part in everyday life, embodies a striking paradox. It serves two diametrically dissimilar purposes in that it can be used either to apply materials or to remove them. The removing action of a brush depends in part upon the whisking or flicking affect of the fibers, and partly upon its abrasive action. The brush is useful in applying materials, as in painting, because it holds viscose fluids among its fibers. Another important characteristic of a brush, underlying its value in both removal and application of substances, is the flexibility of the fibers, which permits the liquid to reach irregularities in the surfaces. The one natural fiber that best enables the brush to fulfill these uses is bristle, which although uncommon to layman knowledge, is a by-product of swine. The prime use of bristle is for manufacturing paintbrushes. Prior to 1939, the Paint Brush Industry consumed approximately 60 percent of bristle imports. Subsequent to 1939, this percentage rose to 80 per cent; the balance being used equally by manufacturers of industrial brushes and toilet brushes. The use of bristle for these purposes is dependent largely on the various characteristics of the raw product. It is the taper of the bristle, extending from the flesh end to the outer end, which gives bristle its stiffness and elasticity. The taper also permits a bristle brush to “Work” paint into hard-to-reach surfaces thus lengthening the paint’s durability. The bristle’s taper assures an even flow of paint from the brush’s butt to its outer end. The flag, meaning the split of the bristle near the outer end, and its minutely ridged surfaces permits the bristle to hold paint and other fluids. These unique characteristics of bristle are found only in hog bristle. No other animal fiber possesses such vitally important factors.

Preparation of Bristle for Market Bristle, after it is pulled from the skin of slaughtered swine, must undergo a series of operations to convert the raw and matted stock onto a product which can be used in a brush. This “dressing” of bristle is one, which has been handed down from master to apprentice since the Middle Ages. Despite modern industrial advances the processing of bristle remains a completely manual operation.

After the hog is killed, boiling water is poured over the carcass to loosen the bristle. It is then either scraped off the skin with a metal scraper or plucked by hand. Only a small quantity of bristle is obtained from each hog

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(approximately 1-1 ½ pounds). After being dried in the sun for several days, it is sold to the dressing houses where the following operations are preformed on the raw stock: 1. Selecting. When the bristle reaches the dressing house it is dirty; colors and quantities are mixed together. The

first step in dressing is to remove the short, soft hair and foreign matter from the crude bristle. 2. Rough Sorting. Next, the bristle is roughly sorted by color and quality. It is then segregated into short,

medium and long sizes, by color and quality, and tied into small bundles. 3. Washing. The bundles of crude stock are then soaked in water for several days. During this process fat and

skin attached to the butts of the bristle are separated and can easily be removed. The bristle is then dried in the sun or near a warm stove.

4. Combining. The dried bundles are then “combed” in order to remove the soft hair and to straighten and align all remaining bristle.

5. Drawing. The process by which the bristle is “drawn” to quarter inch lengths is a very exacting and important step in the dressing of bristle. One small combed and dried bundle is held in the hand of the “drawer” with the flag ends facing outward. With the other hand, and the assistance of a sharp knife, bristle of the same length is drawn from the bundle. Drawn bristle of similar lengths is gathered together and given to the “finisher”.

6. Finishing. The “finisher” ties a string around the butt ends of the bristle, and carefully trims the few protruding flag ends to make all the bristle of each bundle uniform in length.

7. Packaging. The bundles are individually wrapped in paper and packed in wooden cases for export. The quality of the dressing is determined on the basis of the following criteria:

1. Solidity. This is a trade name referring to the ratio of the weight of bristle of a specified length in each bundle to the weight of the bundle. Thus, in a bundle specified as 3 inches, if 75 per cent of the bristle measured between 2 ¾ and 3 inches, the material is said to be 75 per cent solid. The term “top” refers to that quantity between 2 ¾ and 3 inches. Thus the same bundle may also be said to have 75 per cent “top.” It follows that the more or the greater the “top” the more valuable is the dressed product.

2. Cleanliness. The absence of dirt, moth eggs and other foreign matter. 3. Purity. Absence of soft hair or other types of animal fibers, i.e. horsehair.

Sources of Bristle Supplies Dependence of the United States on Foreign Sources of Supply The United States, largest producer of brushes in the world, is dependent on bristle imports from foreign countries. This situation exists despite the fact that the United States slaughters more pigs than any other nation in world. There are two major reasons for this condition. First, domestic swine is developed for food only and generally is slaughtered before it is ten months old, hence there is not sufficient time for the growth of sizable quantities of usable bristle. Second, the collection of raw stock and the subsequent steps required to prepare bristle for market are slow and labor-consuming processes which are too expensive to be preformed in this country. It is in only the most primitive economies that wages are low enough to permit the manual collection and processing of bristle.

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Purdy Rollers ~

Covers All Purdy roller covers feature .075 polypropylene r cores, which Purdy believes to be the strongest, most

solvent resistant core on the market today. Each cover has been wound with a perfect spiral seam for smooth rolling with no swerving or “fishtailing”. Purdy’s unique technology produces an even bevel, which eliminates “tracking.” Every Purdy cover is double-cleaned to assure that there is no fiber shedding. Our covers undergo the most tedious inspections in the industry, thereby producing the best product.

Purdy Woven vs Knitted roller sleeves and what to use them on. Woven: White Dove Made to be used wherever a smooth, totally lint free finish is needed. Can be used with all paints and exterior stains. Best with enamels on interior doors, bathrooms, kitchens and doors. Mohair (Parrot): Excellent with high gloss, semi gloss and clear finishes on smooth wood or metal surface, interior and exterior doors. Knitted: Made to be used for high production painting. Still relatively lint free. For use with all paints. Best with oil and water based flat paints and full body stains. Use in bedrooms, living rooms and halls. All exterior uses. Lambskin: Can be used in all paints. Best in oil based paints. Exterior surfaces, from light to heavy textures. Lambswool/Polyester Blend (Roadrunner): Made to be used with all paints. Exterior surface, from light texture to very rough.

The differences between woven and knitted roller fabric in Purdy Roller covers. WOVEN: A continuous yarn that goes in and out of backing. Interlocked fibers prevent shedding. Great where a smooth shed free finish is desired. The processes involved limits the maximum pile height to ¾” When thinking of woven material, think in terms of a W with 4 points of contact, giving it a virtually shed free property. After the fibers are put through the backing, the backing is sealed with a latex finish. For use in all paints and finishes. Best for enamels on interior doors or walls and with stains on exterior decks.

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KNITTED: These fabrics are used in a large percentage of available roller covers. Such fabrics consist of loops of yarn that have been punched through a backing material. Filaments are cut into staples, or short lengths. These staples are then pushed through the backing similar to needle point. When thinking of knitted material, think in terms of a V with 2 points of contact. While still greatly shed resistant because of our vacuuming process, these fabrics are more prone to shedding than woven, however do not have the same nap size constraints because the material is punched through in individual pieces of yarn. After the fibers are put through the backing, the backing is sealed with a latex finish. For use with all paints and stains. Best used with oil and water based flat paints and full body stains.

VVV

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GLOSSARY OF PAINT TERMS

100% ACRYLIC LATEX PAINT: Water-thinned paint in which only acrylic resin is used as the binder medium. Typically the highest quality latex paints used for a wide variety of architectural coatings. 100% Acrylic Latexes have superior adhesion, long-term flexibility, breathability, alkali resistance, toughness, and color and sheen retention. ABRASION RESISTANCE: Resistance to erosion by rubbing or friction; related more to toughness than to hardness. A necessary quality for floor finishes, enamels, and varnishes. ABRASIVE: Used for wearing away a surface by rubbing. Examples include powdered pumice, rottenstone, sandpaper, and steel wool. ACRYLIC: A synthetic resin used in some latex paints. ACRYLIC LATEX PAINT: Water-thinned paint which employs acrylic resin as the majority of the binder. Other binders, which may be added to reduce cost or add specific properties, include styrene, epoxy, and poly-vinyl acetate. ACRYLIC RESIN: Resins which have established a pre-eminent position among coating formulators, having shown superiority in such respects as color and gloss retention, alkali and oxidation (chalk) resistance, hardness, adhesive and cohesive strength, and overall film durability. Generically known as resins resulting from the polymerization of derivatives of acrylic acids, including esters of acrylic acid, methacrylic acid, acrylonitrile, and their copolymers. Also known as acrylate resins. ACRYLIC: A synthetic polymer used in high-performance latex or water-based paints with good gloss and color. As the paint's binder, acrylic resins enable the coating to last longer and retain its color. ADHESION: The ability of dry paint to remain on the surface without blistering, flaking or cracking. Adhesion is probably the single most important property of paint. Wet adhesion, the ability of dry paint to adhere to the surface in spite of wet conditions, is particularly important for exterior house paints. AEROSOL: Products that use compressed gases to propel paint onto a surface. The container is always under pressure and should be handled as per the instructions on the side panel. AIR DRY: The ability of a paint or coating to dry under normal conditions of temperature and humidity. AIRLESS SPRAY: A spray that increases the fluid pressure of paint by means of a pump that causes atomization with air, resulting in higher film build and little or no over-spray. AIRLESS SPRAYING: Process of atomization of paint by forcing it through an orifice at high pressure. The effect is often aided by the vaporization of the solvents, especially if the paint has been previously heated. ALKALI: A substance such as lye, soda, or lime that can be highly destructive to paint films. ALKYDS: Resins used mostly in trim paints, inside and out, although some medium duty equipment and marine enamels employ these resins as binders. Most often alkyd resins are found in vehicles employing aliphatic hydrocarbons (mineral spirits or other refined petroleum distillate) as thinner. Alkyds offer good leveling properties and cure to a relatively durable film, but tend to yellow interior and become brittle with age. Color and gloss exterior is only fair, and alkyds are highly prone to failure exterior on surfaces containing even moderate levels of moisture. Chemically, alkyds are synthetic resins formed by the condensation of polyhydric alcohols with polybasic acids. They may be regarded as complex esters. The most common polyhydric alcohol used is glycerol, and the most common polybasic acid is phthalic anhydride (a crystalline cyclic acid anhydride C8H4O3 used especially in making alkyd resins). Modified alkyds are those in which the polybasic acid is substituted in part by a monobasic acid, of which the vegetable oil fatty acids are typical. ALLIGATORING: Condition of paint film where surface is cracked and develops an appearance similar to alligator skin. A hard paint film being applied over a soft film causes the effect.

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ALUMINUM PAINT: A paint that includes aluminum particles and gives a metallic finish when dried. ANCHORING: Mechanical bonding of a coating to a rough surface as contrasted with adhesion, which is chemical bonding. ANTI-CORROSIVE PAINT: Metal paint designed to inhibit corrosion and applied directly to metal. ANTI-FOULING PAINT: The final coat of paint applied to the hull of a ship below the water line. Its purpose is to prevent the growth of marine life, such as barnacles, which greatly retard the speed of a ship. ANTIQUE FINISH: A finish usually applied to furniture or woodwork to give the appearance of age. BACK PRIMED: When a coat of paint is applied to the back of woodwork and exterior siding to prevent moisture from entering the wood and causing the grain to swell. BENZENE: Powerful but highly toxic and flammable solvent, usually restricted to spray application. Often used as a lacquer diluent and is highly volatile and a fire hazard in shipping and storing BINDER: The binder cements the pigment particles into a uniform paint film and also makes the paint adhere to the surface. The nature and amount of binder determine most of the paint's performance properties -- washability, toughness, adhesion, and color retention. Acrylic polymers are the binder of choice in producing quality high-performance latex paints. BITUMINOUS PAINT: (1) Originally, the class of paints consisting essentially of natural bitumens dissolved in organic solvents. They may or may not contain softening agents, pigments, and inorganic fillers. They are usually black or dark in color. Within recent years, the term "bituminous" has, by common usage, come to include bitumen-like products such as petroleum asphalt. (2) A low cost paint containing asphalt or coal tar, a thinner, and drying oils; used to waterproof concrete and to protect piping where bleeding of the asphalt is not a problem. BLEACHING: (1) The process of restoring discolored or stained wood to its normal color or making it lighter. (2) Loss of color, usually caused by exposure to sunlight. BLEEDING: The migration of dye/stain from lower layers to surface film causing stains. BLISTERING: The formation of bubbles or bumps on the painted surface caused by moisture in wood, painting a second coat before the first has properly dried, or excessive heat or grease under the paint. BLUSHING: A gloss film turning flat or a clear lacquer turning white, usually caused by moisture condensation during the drying process. BODY: The viscosity of a paint, varnish, or enamel. BOXING: Mixing paint by pouring from one container to another several times to ensure thorough mixing. BREATHE: The ability of a paint film to permit the passage of moisture vapor without causing blistering, cracking, or peeling. BRIDGING: Ability of paint to span small gaps or cracks through its cohesion and elastic qualities. BRISTLE BRUSH: Refers to paint brush fibers that are natural in their origin, like hog bristle. Suited to oil-based paints but not suggested for latex paints. BRISTLE: The working part of a brush containing natural bristle (usually hog hair) or artificial bristle (nylon or polyester). BRUSH MARKS: Marks of brush that remain in the dried paint film. BRUSHABILITY: The ability or ease with which paint can be brushed.

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BRUSH-OUT: A technique sometimes used to influence a large sale that consists of brushing out a sample of paint onto a slab of wood or other material so the customer can see how the finished job will look. BUBBLES: Air bubbles in a drying paint film caused by excessive brushing during application or by over vigorous mixing that results in air entrapment. BUILD: Thickness or depth of paint film. BURNING IN: Repairing a finish by melting stick shellac into the damaged places using a heated knife blade or iron. BURNISHING: Shiny spots on the paint surface that are apparent after rubbing the paint surface. CALCIMINE: Also spelled "kalsomine." Essentially, chalk and glue ready to mix with water. Used as a decoration for interior surfaces. It will not withstand washing. In Britain, it is referred to as powdered distemper. A water-thinned paint composed essentially of calcium carbonate or clay and glue. CAMEL HAIR: Trade name for tail hair from various types of Russian squirrels. Used for signwriting, lacquering brushes and lettering quills. CATALYST: Substance whose presence increases the rate of a chemical reaction. In some cases, the catalyst functions by not being consumed and regenerated; in other cases the catalyst seems to not enter the reaction and functions by the virtue of surface characteristics of some kind. A negative catalyst (inhibitor, retarder) slows down a chemical reaction. CAULKING COMPOUND: A semidrying or slow-drying plastic material used to seal joints or fill crevices around windows, chimneys, etc. CHALKING: Formation of a friable powder on the surface of a paint film caused by the disintegration of the binding medium due to disruptive factors during weathering. The chalking of a paint film can be considerably affected by the choice and concentration of the pigment. It can also be affected by the choice of the binding medium. CHECKING: Paint failure that appears as many small cracks in the surface of the paint. CLEAR COATING: A transparent protective and/or decorative film. COAL TAR: A dark brown to black cementitious material produced by the destructive distillation of bituminous coal. COALESCING: The settling or drying of emulsion paint as the water evaporates. COATING: One application of paint, varnish, lacquer, or other finish used to create a protective and/or decorative layer. COHESION: Attraction of molecules within a coating (the ability to hold together). COLOR RETENTION: The ability of paint to keep its original color and resist fading. COLOR UNIFORMITY: The ability to exhibit consistent color across its entire surface, particularly to maintain a uniform weathering process. COLORANT: Concentrated pigment that can be added to paint to make specific colors via a designed formula. COLORFAST: The fade resistant abilities of a paint. CONSISTENCY: The resistance of a paint to flow. Paints with high consistency flow slowly; paints with low consistency flow readily.

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CONTACT CEMENT: Completely non-staining cement. Ideal for applying wall paneling, and for covering counters, cabinets and table tops with both porous and non-porous surfacing materials ranging from linoleum to plastic laminates. COPPER STAINING: Usually caused by corrosion of copper screens, gutters, or downspouts washing down onto painted surfaces. Can be prevented by painting or varnishing the copper. COVERAGE: The area over which a given amount of paint will spread and hide the previous surface. (Usually expressed in square feet per gallon). CRACKING: The type of paint failure characterized by breaks in irregular lines wide enough to expose the underlying surface. CRAWLING: (1) Paint which runs together into little drops and does not wet surface properly. (2) Varnish defect in which poor adhesion of varnish to surface in some spots causes it to gather up in globs. CRAZING: Small, interlacing cracks on surface of finish. CREOSOTE: A type of liquid coating made from coal tar that is used as a wood preservative. It should not be used on wood that will be painted later. CURE: Chemical or physical change necessary for a paint film to become hard and dry. CURING: Final conversion or drying of a coating material. CUSTOM COLOR: Special colors made by adding colorant to paint or by intermixing colors, which permits the retailer to match a color selected by the consumer. CUTTING IN: Careful painting along a borderline such as a wall where it meets the ceiling or at the edge of woodwork where it meets the wall. DISTRESSING: Treatment of furniture, usually in the process of being antiqued, in order to make it appear older than it is. Consists of marring the surface or applying specks of glaze before varnishing, DRAG: Describes a material that is difficult to apply by brushing. DRIER: A paint ingredient that aids the drying or hardening of the film. DRY ADHESION: The ability of the paint to stick to the wall when it is dry. DRY DUST FREE: The stage of drying when particles of dust that settle upon the surface do not stick to the paint film. DRY TACK FREE: That stage of drying when the paint no longer feels sticky, or tacky when lightly touched. DRY: The effect of solidification or hardening of a paint film. DRY TO HANDLE: That stage of drying when a paint film has hardened sufficiently so the object or surface painted may be used without marring. DRY TO RECOAT: That stage of drying when the next coat can be applied. DRY TO SAND: That stage of drying when a paint film can be sanded without the sandpaper sticking or clogging. DULL: To reduce the gloss or sheen of a finish by using sandpaper. DURABILITY: The degree to which paint withstands the destructive effects of the environment to which it is exposed, especially harsh weather conditions. Durability has two aspects. Its protective properties

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safeguard the substrate from degradation and its decorative properties allow the paint to retain its attractive appearance. DYE, DYESTUFF: A colored material used just to dye or change color with little or no hiding of the underlying surface. EFFLORESCENCE: An encrustation of soluble salts, commonly white, deposited on the surface of coatings, stone, brick, plaster, or mortar; usually caused by salts or free alkalies leached from mortar or adjacent concrete as moisture moves through it. EGGSHELL FINISH: The degree of gloss between a flat and gloss finish. ELASTICITY: The ability of paint to expand and contract with the substrate without suffering damage or changes in its appearance. Expansion and contraction are usually caused by temperature fluctuations. Some substrates such as yellow pine expand at different rates depending on the type of their grain. Elasticity is a key to durability. Acrylic binders are noted for their elasticity. EMULSION PAINT: Paint in which particles are suspended in water or oil with the aid of an emulsifier as in latex paint. ENAMEL: (1) Topcoat which is characterized by its ability to form a smooth surface; originally associated with a high gloss, but may also include lower degrees of gloss, i.e., flat enamels. (2) A class of substance having similar composition to glass with the addition of stannic oxide, SnO2, or other infusible substances to render the enamel opaque. EPOXY: Clear finish having excellent adhesion qualities; extremely abrasion and chemical resistant. Epoxies are alcohol proof and very water resistant. EROSION: The wearing away of a paint film caused by exposure to the weather. ETCH: Surface preparation by chemical means to improve the adhesion of coatings. EXTENDER: A less-expensive ingredient than titanium dioxide that fills out and extends the pigment's capabilities. Extender cannot be used without pigment. Some common extenders are clays, calcium carbonate, and silica. EXTERIOR: The outside surfaces of a structure. FADING: Lightening of the paint's color, usually caused by exposure to light, heat, or weathering. FEATHER: A technique of brushing paint. FEATHER SANDING: Tapering the edge of dried paint film with sandpaper. FERRULE: The metal band which connects the handle and stock of a paintbrush. FILLER STRIPS: Strips made from specially treated wood, metal, fiber, or plastic in the center of a paintbrush, creating a reservoir of paint, thereby greatly increasing the paint carrying capacity. FILLER: A product used to fill the pores of wood before applying prime or finish coat. FILM: A layer or coat of material applied to a surface. FILM FORMATION: The paint's ability to form a continuous dry film. This process is the result of the water or solvents evaporating and the joining of the binder particles. A continuous dry film repels water. FINISH COAT: Last coat of paint or other finish. FLAKING: A form of paint failure characterized by the detachment of small pieces of the film from the surface of previous coat of paint. Cracking or blistering usually precedes it.

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FLASH POINT: The temperature at which a coating or solvent will ignite. FLASHING: Surface where there are spots that are different in color or gloss. FLAT APPLICATOR: A rectangular-shaped flat pad with an attached handle that is used to paint shingles, shakes, and other special surfaces and areas. FLAT: A painted surface that scatters or absorbs the light falling on it, so as to be substantially free from gloss or sheen. FLEXIBILITY: Ability of a coating to expand and contract during temperature changes. FLOATING: Separation of pigment colors on the surface of applied paint. FLOW: The ability of a coating to level out and spread into a smooth film. Paints that have good flow usually level out uniformly and exhibit few brush or roller marks. FRIEZE: A horizontal band of decoration around a room, building, mantel, etc. FUNGICIDE: An agent that helps prevent mold/mildew growth on paint surfaces. GALVANIZED: A thin coating of zinc that covers iron or steel to prevent rust. GLAZE: A term used to describe several types of finishing materials.(1) A glazing putty is of creamy consistency and is applied to fill imperfections in the surface. (2) A glazing stain is a pigmented stain applied over a stained, filled, or painted surface to soften or blend the original color without obscuring it. (3) A glaze coat is a clear finish applied over previously coated surfaces to create a gloss finish. GLAZING COMPOUND: A putty used to set glass in window frames and to fill nail holes and cracks. GLOSS METER: A standard scale for measuring the shine of light reflectance on paint. Different brands with the same description such as semi-gloss or flat may have quite different ratings on the gloss meter. GLOSS: The apparent shininess of the paint after drying. The higher the gloss the more glass-like the paint appears. The luster or shininess of paints and coatings are generally classified as flat, semi gloss, or gloss; the latter has the highest reflecting ability. GLYCOL: A co-solvent, combined with water in aqueous (latex) systems to form the total thinner. Various glycols perform various functions, however, they are generally valuable as brushing agents and for temperature stability (ethylene glycol is the chief ingredient in anti-freeze). Generically, CH2OHCH2OH. General term for dihydric alcohols; ethylene glycol is the most simple of the glycols. GRAIN RAISING: Swelling and standing up of the wood grain caused by absorbed water or solvents. GRAINING: Simulating the grain of wood by means of specially prepared colors or stains and the use of graining tools or special brushing techniques. GROUND COAT: The base coat in an antiquing system that is applied before the graining colors, glazing, or other finish coat. HARDBOARD: Reconstituted natural wood, fabricated by reducing natural wood to fibers and then pressing the fibers together into panels of various thicknesses. HARDNESS: The ability of a paint film to resist denting, scratching, or marring. HIDING POWER: The ability of paint to hide or obscure a surface, color or stain over which it has been uniformly applied. Hiding power is provided by the paint's pigment. HOLDOUT: The ability of a paint film to dry to its normal finish on a somewhat absorptive surface. Sealing of a surface so the next coat will have a uniform sheen.

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HOLIDAYS: Application defect whereby small areas are left uncoated. Syn: Misses, Skips, Voids, Discontinuities, Vacations. HOT SPOTS: Lime spots which are not completely cured and bleed through the coating on a plastered wall. INHIBITOR: Material such as primer used to retard rusting or corrosion. INTERCOAT ADHESION: The adhesion between two coats of paint. INTERIOR: The inside surfaces of a structure INTERMEDIATE COAT: The coating between the primer and finish, often called a barrier coat. INTUMESCENT COATINGS: Fire retardant coating which, when heated becomes plastic and produces nonflammable gasses, such as carbon dioxide and ammonia. The gasses are trapped by the film, converting it to a foam about fifty times as thick as the original paint film. At this stage, the film solidifies, resulting in a thick, highly insulating layer of carbon, which effectively protects the substrate from fire. JOINT CEMENT: Cement used for dry wall construction; also used as a bedding compound for joint tape and as a filler for nail holes. JOINT TAPE: Special paper or paper-faced cotton tape used over joints between wallboard to conceal the joint and provide a smooth surface for painting. KALSOMINE: See Calcimine. LACQUER: A fast-drying clear or pigmented coating that dries by solvent evaporation. LAP: (1 )To lay or place one coat so its edge extends over and covers the edge of a previous coat, causing an increased film thickness. (2) Point where a newly painted area joins a previously painted area. LATEX: (1) Stable dispersion of a polymeric substance in an essentially aqueous medium. (2) Fine dispersion of rubber or resin, natural or synthetic, in water; the synthetic is made by emulsion polymerization. (Strictly speaking, after polymerization a latex is a solid dispersed in water, and therefore is not an emulsion. Latex and emulsion are often used synonymously in the paint industry.) (3) A water-thinned paint, such as polyvinyl acetate, styrene butadiene, or acrylic. LATEX PAINT: Water-thinned paint made with synthetic binders such as polyvinyl acetate or acrylic resins. In contrast to oil-based paint, latex paint dries fast, flows smoothly, and cleans up easily with water. High-performance latex paints contain 100% acrylic resins. LEVELING: The ability of a coating to form a smooth film without brush marks appearing. Higher quality latex paint has superior leveling ability. LIFTING: The softening and penetration of a previous film by solvents in the paint being applied over it, resulting in raising and wrinkling. LIGHTFASTNESS: No loss of color due to exposure to light, heat, or weathering. LINSEED OIL: A drying oil used in paint, varnish, and lacquer. MARINE VARNISH: Varnish specially designed for immersion in water and exposure to marine atmosphere. MASKING TAPE: A strip of paper or cloth similar to adhesive tape, which can be easily removed, used to temporarily cover areas that are not to be painted. MASKING: Temporary covering of areas not to be painted. MASTIC: A heavy-bodied paste like coating of high build often applied with a trowel.

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METALLICS: A class of paints that include metal flakes in their composition. METAMERISM: A phenomenon exhibited by a pair of colors which match under one or more sets of conditions, be they real or calculated. Metamerism should not be confused with "flair" or color constancy, terms, which apply to the apparent color change exhibited by a single color when the spectral distribution of the light source is changed or when the angle of illumination or viewing is changed. MILDEW RESISTANCE: The ability of a coating to resist the growth of molds and mildew. Mildew is particularly prevalent in moist, humid, and warm climates. MILDEWCIDE: Chemical agent in quality paint that retards mildew, a common problem in humid climates. MINERAL SPIRITS: Paint thinners or solvents derived from petroleum. NAILHEAD RUSTING: Rust from iron nails that penetrates or bleeds through the coating and stains the surrounding area. NAP: The length of fibers in a paint roller cover. NONVOLATILE: The portion of a paint left after the solvent evaporates; sometimes called the solids content. OIL STAINS: There are two types of oil stains, penetrating and nonpenetrating. Penetrating oil stains contain dyes and resins that penetrate to the surface; nonpenetrating oil stains contain larger amounts of pigments and are usually opaque or translucent. OPACITY: Ability of a paint to hide the previous surface or color. OPAQUE COATING: A coating that hides the previous surface coating. ORANGE PEEL: A texture seen in dried paint film that is not unlike that seen in an orange’s peel. Usually occurs as a result of rolling paint when it has partially dried or using too high a pile in the roller. PAINT GAUGE: Instrument for measuring the thickness of paint film. PAINT REMOVER: A compound that softens old paint or varnish and permits scraping off the loosened material. PATCHING PLASTER: A special plaster made for repairing plaster walls. PEARL: A sheen level that is quite low, but not as low as flat. PEELING: Separation of a paint film from the surface caused by paint being applied to a dirty, greasy or damp surface. PIGMENT: Finely ground, natural or synthetic, inorganic or organic, insoluble dispersed particles (powder) which, when dispersed in a liquid vehicle to make paint, may provide, in addition to color, many of the essential properties of the paint: opacity, hardness, durability, and corrosion resistance. The term is used to include extenders, as well as white or color pigments. The distinction between powders which are pigments and those which are dyes is generally considered to be on the basis of solubility. Pigments being insoluble and dispersed in the material, dyes being soluble or in solution when used. PILE: Refers to the length or height of the material on a paint roller sleeve. High pile rollers have longer fibers holding more paint and can create some texture in the paint finish. PINHOLE: Very small holes in paint film, usually not deep enough to show undercoat. PLASTER OF PARIS: A quick setting, pure white powder, used to set bathroom wall fixtures such as towel racks or used by craft groups for pouring molds and making plaster objects.

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POLYMER: This binder is produced from petrochemical feedstocks. The binder's polymer particles are small in size and carried in water. The binder polymers and water mix is known as emulsion. POLYURETHANE: Wide range of coatings, ranging from hard glossy enamels to soft flexible coatings. Good to very good adhesion, hardness, flexibility, and resistance. Surface preparation critical. POLYVINYL ACETATE: A synthetic resin largely used as a vehicle for many latex paints. Often referred to as PVA. POROSITY: The rate of absorbency of a surface. Unpainted drywall is considered to have high porosity because it has a tendency to heavily absorb paint. POT LIFE: Amount of time after mixing a two-part paint system during which it can be applied. POWDER: Excessive chalking of a paint film. PRIME COAT OR PRIMER: The first coat or undercoat that helps bind the topcoat to the substrate. PROPELLANT: The gas used to expel materials from aerosol containers. PUNKY: Rooted wood that has become soft to touch. PUTTY: Dough like mixture of pigment and oil used to set glass in window frames and to fill nail holes and cracks. PVA (Polyvinyl Acetate): A colorless, thermoplastic, water soluble, resinous high polymer derived from the polymerization of vinyl acetate with a catalyst; used as a latex binder in certain, generally lower quality water-base coatings. PVC (Pigment Volume Concentration): The ratio of the volume of pigment to the volume of total nonvolatile material (i.e., pigment and binder) present in a coating. The figure is usually expressed as a percentage. REMOVERS: Substances used to soften old varnish or paint so they may be removed easily. RESIN: (1) General term applied to a wide variety of more or less transparent and fusible products, which may be natural or synthetic. They may vary widely in color. Higher molecular weight synthetic resins are generally referred to as polymers. (2) A solid, semi-solid, or pseudo-solid organic material that has an indefinite and often high molecular weight, exhibits a tendency to flow when subjected to stress, usually has a softening or melting range, and usually fractures conchoidally. (having elevations or depressions shaped like the inside surface of a bivalve shell) (3) In a broader sense, the term is used to designate any polymer that is a basic material for coatings and plastics. ROLLER: A paint application tool having a revolving cylinder covered with lambswool, fabric, foamed plastic, or other material. ROPINESS: Paint dries with a stringy look because it did not flow evenly onto the surface. RUNS: Blemished film caused by excessive flow of coating. RUST PREVENTIVE PAINT OR PRIMER: The first coat of paint applied directly to iron or steel structures to slow down or prevent rust. SAG: Excessive flow that causes runs in paint during application. The cause is usually a result of applying too much paint or thinning the paint too much. SAL SODA: Crystallized sodium carbonate. It is used for making cleaning solutions to remove grease and grime from old painted surfaces. SAND FINISH: Rough finish plaster wall.

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SAND: To remove the gloss from an old finish, using an abrasive material such as sandpaper, or to smooth a surface. SANDING SURFACES: A heavily pigmented finishing material used for building the surface to a smooth condition. It is sanded after drying. SATIN FINISH: See Semi gloss. SCRUBBABILITY: The ability of a paint film to withstand scrubbing and cleaning with water, soap, and other household cleaning agents without apparent degradation. SEALER: A thin liquid applied to seal a surface, to prevent previous paint from bleeding through from the surface, or to prevent undue absorption of the topcoat into the substrate. SEEDS: Small, undesirable particles or granules other than dust found in a paint, varnish, or lacquer. SELF CLEANING: Controlled chalking of a paint film so dirt does not adhere to the surface. SEMIGLOSS: Having a luster between full gloss and flat. SEMITRANSPARENT: A degree of hiding greater than transparent but less than opaque. SET UP: A film that has dried so that it is firm is said to have "set up.' ' SETTLING: Paint separation in which pigments and other solids accumulate at the bottom of the container. SHADE: The act of darkening a color. SHADOW: When preceding paint films shows through the last coat applied. SHAKE PAINTER: A rectangular-shaped flat pad with an attached handle that is used to paint shingles, shakes, and other special surfaces and areas. SHEEN: The degree of luster of a dried paint film. SHEEN UNIFORMITY: The even distribution of the gloss level over the entire paint surface. SHELLAC: Derived from a resinous substance called Lac. Used as a sealer and finish for floors, for sealing knots, and other purposes- a natural resin, usually in the form of thin flakes. SHINER: A spot that is glossier than the surrounding areas. SHOP COAT: A primer applied at the time of manufacture. SILICATE: Any one of a large family of substances chiefly used with titanium dioxide, the primary pigment, as an extender pigment. When used in moderation, these silicates (magnesium silicate, aluminum silicate, etc.) are valuable in helping control gloss, aid brushability, and increase hold-out properties and overall exterior durability. SILICONE: See Resin. SILK: A sheen level between Semi-Gloss and Pearl. Usually used on kitchen and bathroom walls. SKIN: A layer of semi-hard paint or varnish in a can caused by exposure to air in a partially used container. SOLIDS: See Nonvolatile. SOLVENT: The volatile part of paint composition that evaporates during drying.

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SPACKLING COMPOUND: A material used as a crack filler for preparing surfaces before painting. SPAR VARNISH: A very durable varnish designed for service on exterior surfaces. SPATTER: Small drips of paint thrown off the roller while applying the paint. Moving the roller too quickly can cause spatter. SPOT PRIMING: A method for protecting localized spots. The areas primed are those that require additional protection due to rusting or peeling of the former coat. SPRAYING: A method of application in which the coating material is broken up into a fine mist that is directed onto the surface to be coated. SPREADING RATE: The area to which a Paint can be spread; usually expressed as square feet per gallon. STAIN: A solution or suspension of coloring matter in a vehicle de-signed primarily to be applied to create color effects rather than to form a protective coating. A transparent or semi opaque coating that colors without completely obscuring the grain of the surface. STIPPLING: A finish made by using a stippling brush or roller stippler on a newly painted surface before the paint is dry. STREAKING: The irregular occurrence of lines or streaks of various lengths and colors in an applied film; usually caused by some form of contamination. STRIP: Removal of old finishes with paint removers. STYRENE-BUTADIENE: See Resin. SUBSTRATE: Surface to be painted. SURFACE TENSION: The property of a coating which makes it tend to shrink when applied. SURFACTANTS: Contracted from surface-active agents, these are additives which reduce surface tension and thereby improve wetting (wetting agents), help disperse pigments, inhibit foam, or emulsify. Conventionally, they are classified as to their charge: anionic (negative); cationic (positive); nonionic (no charge); or amphoteric (both positive and negative). TACK CLOTH: A piece of cheesecloth saturated with a tacky varnish. Used for wiping up dust and other loose particles. TACK FREE: A paint film that is not sticky to touch, but is not cured hard dry. TACK RAG: A piece of loosely woven cloth that has been dipped into a varnish oil and wrung out. When it becomes tacky of sticky, it is used to wipe a surface to remove small particles of dust. TACKY: Sticky condition of coating during drying, between wet and dry-to-touch stage. TEXTURE PAINT: Paint that can be manipulated by brush, roller, trowel, or other tool to produce various effects. TEXTURE: The roughness or irregularity of a surface. THINNER: The thinner and binder together form the paint's vehicle. Water, the thinner used in latex paints, evaporates as the paint dries, allowing a smooth paint application. Turpentine or spirits are the thinners in oil-based paints.

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THIXOTROPIC: Adjective which describes full-bodied material which undergoes a reduction in viscosity when shaken, stirred, or otherwise mechanically disturbed and which readily recovers the full-bodied condition on standing. THIXOTROPY: The property of a material that causes it to change from a thick, pasty consistency to a fluid consistency upon agitation, brushing, or rolling. TINT BASE: A can of paint not intended for use without adding additional colorant to create specific color. TITANIUM DIOXIDE, ANATASE (TiO2): A high opacity, bright white pigment of the chalking type, used as a prime pigment in paints, rubber, plastics. Prepared from the mineral ilmenite, or rutile ore. TITANIUM DIOXIDE, RUTILE (TiO2): A high opacity, bright white pigment of the non-chalking type, used as a prime pigment in paints, rubber, plastics. Prepared from the mineral ilmenite, or rutile ore. TONER: Pigmented lacquer sealer that is applied by spray. Toners provide color and make the surface appear more even. TOUCH UP: The ability of a coating film to be spot repaired (usually within a few months of initial painting) without showing color or gloss differences. TURPENTINE: A colorless liquid, which is used as a thinner for oil paints and varnishes, distilled from the products of the pine tree. UNDERCOAT: A primer or intermediate coating before the finish coating. VARNISH STAIN: Varnishes colored with a dye and without the same power of penetrations as the true stains, leaving a colored coating on the surface. VARNISH: Transparent liquid that dries on exposure to air to give a decorative and protective coating when applied as a thin film. VEHICLE: The liquid portion of a paint in which the pigment is dispersed, composed mainly of binders and solvents, resins, or oils. VINYL: (1) The unsaturated, univalent radical CH2: CH -- derived from ethylene. (2) Any of the various compounds containing this group, typically highly reactive, easily polymerized and used as a basic material for coatings and plastics. (3) Any of the various plastics, typically tough and flexible. (4) A resin with poor adhesion but good hardness, flexibility, and resistance. Used for swimming pools, tank linings, and marine equipment. VISCOSITY: The thickness of a coating as related to its ability to flow as a liquid. VOC (Volatile Organic Content): Any carbon compound that evaporates under standard test conditions. Essentially, all paint solvents except water are VOCs. Federal and state governments are beginning to limit the amount of volatile organics found in paint because of concerns about possible environmental and health effects. VOLUME SOLIDS: The volume of pigment plus binder divided by the total volume, expressed as a percent. High volume solids mean a thicker dry film, improved hiding, and high durability. WASHABILITY: Ease with which washing will remove dirt from the paint's surface without causing damage. WATER EMULSIONS: Mixture of pigment and synthetic resin in water with low solvent emission, low fire hazard and toxicity. and good durability and chemical resistance. WATER SPOTTING: A paint appearance defect caused by water droplets. WEATHERING: The effect of exposure to weather on paint films.

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WET ADHESION: Refers to how well the paint sticks to the wall when it gets washed. WET EDGE: Edge of a wet painted area which remains workable. When painting large surfaces, it is generally necessary to join up to the edge of a paint film which has been left for an appreciable time; when this can be done by blending this edge with free working paint without any lap showing, the film is said to present a wet edge. WITHERING: Withering or loss of gloss is sometimes caused by varnishing open-pore woods without filling pores use of improper undercoating or applying top coat before undercoat has dried. WOOD FILLER: There are two kinds of fillers-paste and liquid. Paste fillers are something like a very thick Paint and are comprised of some solid powdered substance, usually silica or powdered quartz, mixed with linseed oil or varnish thinned with turpentine or benzene. WRINKLING: Development of ridges and furrows in a paint film when the paint dries. YELLOWING: A yellow color or cast that develops over white or light colors or in some clear finishes ZINC CHROMATE: (1) Bright yellow pigment which chemically is substantially zinc chromate, although its precise composition is rather complex. Its chief use is in anti-corrosive paints and primers for steel. (2) Rust-inhibiting Pigment, greenish-yellow in color, that are used with a high-hiding pigment. ZINC OXIDE: Substance used as a white pigment for high hiding power hardness, and gloss. Reduces yellowing, increases drying; provides resistance to sulfur fumes and mildew. Used with linseed oil for self-cleaning exterior paints. ZINC RICH PRIMER: Anti-corrosive primer for iron and steel incorporating zinc dust in a concentration sufficient to give electrical conductivity in the dried film, thus enabling the zinc metal to corrode preferentially to the substrate, i.e., to give cathodic protection.

Types Of Finishes

ACRYLIC-EPOXY Two-component coatings developed by Pittsburgh Paints include Pitt-Glaze Water Base Coatings. Chemically, acrylic-epoxy coatings provide the resistance to staining, yellowing and scuffing of acrylic resins, combined with the toughness, acid and alkali resistance of epoxies. Their performance characteristics are almost equal to those of polyester-epoxy solvent-based products and their stain-resistance is superior. Acrylic-epoxy coatings are available in gloss and semi-gloss finishes - in both clear and pigmented formulations. Colorant can be added to the pigmented products to achieve hundreds of colors.

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Though priced higher than conventional enamels, acrylic-epoxy coatings offer superior washability, non-yellowing characteristics, and generally 3-5 times longer life, which makes them an outstanding value for interior walls continuously subjected to hard-use conditions.

ALKYDS Alkyd finishes are produced in four sheens: flat, semi-gloss, low-luster and high-gloss. Flat finishes have a velvety texture and are used to produce a rich, softly reflective surface. Alkyd flats can often be applied to painted walls and ceilings, metal, fully cured plaster, wallboard and woodwork without a priming. When required, the primer should be of a similar material. For high alkaline surfaces, an alkali-resistant primer should be used. Semi-gloss or low-luster types add just enough sheen to woodwork and trim for contrast with flat-finished wall surfaces. Each offers great resistance to wear and washing. Low-luster enamels are preferred in such areas as kitchens, bathrooms, nurseries and schoolrooms. Alkyd high-gloss enamels are often used for even greater serviceability and washability.

ALUMINUM PAINT

An all-purpose aluminum paint formulated with varnish as the vehicle for aluminum flake pigment. As the paint dries, the aluminum flakes float to the surface, providing a reflective coating. Highly resistant to weathering. Also suitable for interior use on wood, metal or masonry. When formulated with an asphalt base, aluminum paint offers maximum adhesion and water resistance at low cost when applied to asphalt composition.

ENAMEL

Enamel is a varnish with pigments added. Enamel has the same basic durability and toughness of a good varnish. It produces an easy-to-clean surface, and in the proper formulation, can be used for interior and exterior applications. For the highest quality interior work, an undercoat is required.

EPOXY A two-part formulation which is thoroughly mixed just before use. Epoxy finishes are extremely hard and durable and excellent for demanding applications. They can be used for protecting materials such as steel, aluminum and fiberglass. The paint film dries to a brilliant gloss. The tile-like finish is smooth, easy to clean and lasts for years under the most severe conditions.

LATEX PAINT

Consists of a dispersion of fine particles of synthetic resin and pigment in water. Latex paints are quick drying, low in odor and thinned with water. They permit the repainting and decorating of a room within a day. Because latex paints set quickly, tools, equipment and spattered areas should be cleaned promptly with warm, soapy water. No special primer is required for interior applications except over bare metal or wood, or over highly alkaline surfaces. Spot priming with shellac should be avoided because shiny spots will bleed through the latex film. Exterior latex house paint can be applied directly to old painted surfaces. On new wood, it should be applied over a primer. For other surfaces, follow specific label directions.

OIL PAINT

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Contains pigments usually suspended in linseed oil, a drier, and mineral spirits or other type of thinner. The linseed oil serves as the binder for the pigments, the drier controls drying time, the thinner controls the flowing qualities of the paint. As the thinner evaporates, the mixture of pigments and oil gradually dries to an elastic skin as the oil absorbs oxygen from the air or "cures". The curing action bonds a tough paint film to the applied surface. Oil paints are used inside and outside and are regarded as the traditional house paint.

POLYAMIDE-EPOXY

Tough, two-component finish with outstanding hardness, abrasion resistance, alkali and acid resistance, and adhesion when dry. Excellent as a concrete floor finish where heavy traffic wears through an alkyd finish in a short time. For exterior applications, polyamide-epoxy will chalk and lose gloss on prolonged exposure; however, film integrity is not lost.

POLYESTER-EPOXY

Two-component materials that are usually mixed prior to application. Polyester-epoxy combines the physical toughness, adhesion and chemical resistance of an epoxy with the color retention and permanent clarity of polyester. The film is stain resistant and moisture resistant. Polyester-epoxy is available in gloss and semi-gloss sheens, and can be applied to any firm interior surface. Pot life is a full working day.

SHELLAC

A long-standing favorite for finishing wood floors, trim and furniture. Shellac is thinned with alcohol and should be applied in dry, warm air to avoid clouding. It dries dust-free in 15-20 minutes. Shellac can be used as a pre-staining wash coat to obtain an even stain tone on porous or soft wood such as pine. It can also be used to change the tone of an already shellacked surface by tinting it with alcohol-soluble aniline dye. Instead of re-staining, pigmented shellac, also called shellac enamel, is often used as a sealant over stained finishes for a uniform, freshly painted surface.

URETHANE-MODIFIED ALKYDS

One-component finishing material for outstanding abrasion resistance on wood floors, furniture, paneling, cabinets, etc. Good resistance to normal household materials such as alcohol, water, grease, etc. It may yellow to some degree with age.

VARNISH Consists of a solution of resins in a drying oil. Varnish contains little or no pigment. It dries and hardens by evaporation of the volatile solvents, oxidation of the oil, or both. Varnish is recommended for both outdoor and indoor applications where a hard, glossy finish that is impervious to moisture is desired. For a satin finish, the gloss varnish surface can be rubbed down with steel wool, or a "satin" varnish can be used. As a floor finish, varnish provides a hard, durable film that will not greatly alter the tone of the wood.

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WATER-REDUCIBLE PAINTS

This term has come into wider use in the paint business within the past few years. These products are also called "water-base" or "water-borne" paints. They include the well-known latex products, as well as products based on new synthetic polymers. While both groups employ water as the reducing agent, the chemistry of each is different. For example, most latex coatings dry by solvent evaporation or coalescence. The new synthetic polymeric paints dry by a combination of solvent evaporation and chemical cross- linking. Chemical cross-linking frequently requires the blending of two materials (these products are called "two-component" coatings) and a "digestion" time before the coating can be applied. The blending of specific materials results in chemical cross-linking and outstanding performance features, such as mar resistance, scratch resistance, washability and stain resistance.