DETERMINATION OF THE VARIOUS DEFECTS

ATTRIBUTED TO THE MANUFACTURE, SURFACE

PREPARATION AND APPLICATION OF TEXTURED PAINTS

BY

UKAEGBU CHIBUNDU JERRY

08/70854

DEPARTMENT OF PURE AND INDUSTRIAL CHEMISTRY

FACULTY OF BIOLOGICAL AND PHYSICAL SCIENCES

ABIA STATE UNIVERSITY, UTURU.

JANUARY, 2013.
 DETERMINATION OF THE VARIOUS DEFECTS
ATTRIBUTED TO THE MANUFACTURE, SURFACE
PREPARATION AND APPLICATION OF TEXTURED PAINTS

BY

UKAEGBU CHIBUNDU JERRY

08/70854

BEING A RESEARCH PROJECT SUBMITTED TO THE

DEPARTMENT OF PURE AND INDUSTRIAL CHEMISTRY,
FACULTY OF BIOLOGICAL AND PHYSICAL SCIENCES,
ABIA STATE UNIVERSITY, UTURU.

IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR

THE AWARD OF BACHELOR OF SCIENCE (BSC) DEGREE IN
PURE AND INDUSTRIAL CHEMISTRY

SUPERVISOR: MR. S. E. OKEREKE

JANUARY, 2013.
 DECLARATION

I, Ukaegbu Chibundu Jerry with matriculation number 08/70854

hereby declare that this project work is original and was fully carried
out by me. It has neither been previously presented wholly nor partly for
the award of any degree in any university in Nigeria. This research
project was submitted to the Department of Pure in Industrial Chemistry
in partial fulfilment of the requirements for the award of B. Sc (Hons)
degree in Pure in Industrial Chemistry.

…………………………… ……………………………
Ukaegbu Chibundu Jerry Date
(Researcher)
 CERTIFICATION

ABIA STATE UNIVERSITY, UTURU

FACULTY OF BIOLOGICAL AND PHYSICAL SCIENCES
DEPARTMENT OF PURE AND INDUSTRIAL CHEMISTRY

BY
UKAEGBU CHIBUNDU JERRY
08/70854
THE DEPARTMENT BOARD OF EXAMINERS
DECLARE AS FOLLOWS:
That this is the original work of the candidate; that this project is
accepted in partial fulfilment of the requirements for the award of the
degree of Bachelor of Science (B.Sc) in Pure and Industrial Chemistry.
………………………. ……………………………
Mr. S. E. Okereke Date
(Supervisor)
………………………… ……………………………
Dr. I. C. Nnorom Date
(Project Co-ordinator)
………………………… ……………………………
Very Rev. (Dr.) S.O Eze Date
(Head of Department)

…………………………. ……………………………
Prof. I.C. Elekwa Date
(Dean F.B.P.S)
………………………… ……………………………
External Examiner Date
 DEDICATION

This research project is dedicated to God Almighty for His love

and kindness throughout the time of this research work.
 ACKNOWLEDGEMENT

This work would have been possible without the intelligent

skilled vision of my seminar and project supervisor, Mr. E. Solomon
Okereke who taught me research method and ensured, I followed the
right steps necessary, Thank you Sir.

I am very grateful to my lecturers for their intellectual

competency and brilliance, especially my course advisor, Dr. Mrs.
Nnenna E. Okoronkwo and my H.O.D, Very Rev. S. O Eze.

I am thankful to my beloved parents Mr. Samuel Ukaegbu and

Mrs. And my siblings especially Barr. (Mrs) Ada Nkwocha and
Ukaegbu Ndidamaka “my second mother”, for their all round support
and encouragement through this period.

The words of advice, inspiration and motivation of my mentor,

Pastor Doyin-Dennis Oshideko, who taught me to live a positive and
influential life. Am forever grateful to you Sir.

I cannot thank everybody because it is a very long list but I have

to thank my friends, Godson Ogumka, Kenneth Osuji (freeman), Jude
Umenwa (Fajudon), Maurice Okoro Ejike, Ebuka Oluwadopemoni,
Pastor Aienakho Grace, Ugochukwu Gift, Pastor Kenneth Obioma
Loveday, Nwokocha Nneoma Peace, Raphael Odunze, Bethel Chineye,
Orji Ijeoma Joy, Henry Chinonso Gabriel, and my “Ruby”, Emezue
Nkem Deborah without you guys I would not have come this far.

UKAEGBU CHIBUNDU JERRY

+234803-633-7375
 LIST OF TABLES AND FIGURES

Table 2. 1: Additives and their Importance 16

Table 2.2: Tinting Cum-colour Matching of Paints 25

Table 3.0: Materials and their Group Functions 29

Table 3.1: Summary of Formulations of the Produced Brilliant

White Textured Paint 34

Table 3.2: Summary of Formulations of the Produced cream

Colored Textured Paints 38

Table 3.3: Formulations-Related Failure 41

Table 3.4: Substrate Related Failure 42

Table 3.5: Physical Defect-Related Failure 43

Table 4.0: Properties of the Formulated Textured Paints 45

 LIST OF FIGURE

Figure 2.0: Access Equipments 26-27

Figure 2.3: Tools for Preparatory Work 28

 TABLE OF CONTENTS

Title Page i

Declaration ii

Certification iii

Dedication iv

Acknowledgement v

List of Tables/Figures vii

Table of content viii

Abstract xi

CHAPTER ONE

1.0 Introduction 1

1.1 Categorization of Paints 3

1.2 The main Difference between oil and water based paints 4

1.3 Scope of the work 8

1.4 Aims and Objectives 8

CHAPTER TWO

2.0 Literature Review 9

2.1 Classification of Paints 10

2.2 Components of paints 10

2.3 The Pigments 11

2.4 Resins (Binders) 13

2.5 Solvents 15

2.6 Additive 15

2.7 A Textured Paint 19

2.8 Categorization of Textured Paints 21

2.9 Getting required Designs and Patters 21

2.10 Application of textured paints 22

2.11 Methods of textured painting 22

2.12 Benefits of textured paints 23

2.13 Formulation 23

2.14 Color Matching 24

2.15 Using the most Suitable Tools 25

2.16 Access Equipments 25

2.17 Tools for Preparatory 28

CHAPTER THREE

3.0 Materials and Methods 29

3.1 Apparatus and Uses 30

3.2 Tests on Raw Materials 31

3.3 Manufactures of A 30 Litre White Textured Paint 33

3.4 Manufacturers of A 30 Litre Cream Colored Textured

Paint 35

3.5 Quality Control Measures 37

3.6 Paint and Coating Failure 39

CHAPTER FOUR

4.0 Discussion of Results 45

4.1 Summary and Conclusion 47

4.2 Recommendation 48

References 49
 ABSTRACT

Usually the home improvement job undertaken by the average person is

painting and decorating. Very often, this is carried out by people with
little or no past experience. These jobs are attempted for numerous
reason one of the most common being an urgent need to get a coat of
paint onto walls of a house just purchased or achieving good protective
and decorative work. The most important are: selecting the correct paint
for the job, using the most suitable tools, preparing surfaces and
applying the paint. Failure to consider the first-two or inadequacies in
surface preparation and application might result to some paint defects.
A research study has been carried out to determine the various defect
attribute to the manufacture, surface preparation and application of
textured paint samples.
 CHAPTER ONE

1.0 INTRODUCTION

Paints are pigmented materials, liquid, semi solid or solid

compositions which are converted to relatively opaque solid film after
application as this layer to surface. They are used for artistic, decorative
and protecting surface against weather, moisture, solar radiation,
chemical and mechanical damages (Frant, 2000).

The 20th century brought enormous proliferation of articles

requiring protective coating, a corresponding proliferation of paint
products was achieved by intense research efforts.

Samples of the first known paintings, made between 20,000 and

25,000 years ago survive in caves in France and Spain. Primitive
painting tended to depict humans and diagrams have also been found.
Early artists relied on easily available natural earth pigments, charcoal;
berry juice, lard, blood and milk weed sap. Later ancient Chinese,
Egyptians, Hebrews, Greeks and Romans used more sophisticated
materials to produce for limited decorations, such as painting walls and
woods. Oils were used as varnishes and pigments such as yellow and
red were mixed with binders such as gum, lime, egg albumen and bee
wax. (Turner, 1981).
 Paint was first used as a protective coating by the Egyptians and
Hebrews, who applied pitches and balsams to the exposed wood of their
ships. During the middle ages, some inland woods also received
protective coatings of paints, but due to scarcity of paint, this practice
was generally limited to store fronts and signs. Around the same time,
artists began to boil resin with oil to obtain highly miscible (mixable
paints, and artists of the 15th century were the first to add drying oils to
paints, thereby hastening evaporation. They also adopted a new solvent,
linseed oil which the Romans called a paint vehicle. This linseed oil
remained the most commonly used solvent until synthetic replaced it
during the 20th century. (Levinson, 2000).

The 20th century has seen the most changes in paint composition
and manufacturing. Today, synthetic pigment and stabilizers are
commonly used to mass produce uniform batches of paints (Levinson,
2000). New synthetic vehicles produced from polymers such as
polyurethanes and styrene – butadiene emerged during the 1940’s.

Ancient coloured walls at Dendera, Egypt, which were exposed

for years to the elements, still possess their brilliant colours as vivid
when they were painted about 2,000 years ago. The Egyptians mixed
their colours with gummy substances, and applied them separately from
each other without any blending or mixture. They appeared to have used
six colours: 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 colours, they use minimum for red, and
generally of a dark tinge. (Bently, 1977).

By 2000BC, Egyptian tombs were being painted with materials

similar to paints made today. These paints were made of crudely refined
pigments natural resins and drying oils. The Egyptians got pigments
from as far away as India. By 1500BC, painting/paint making had
become known in Crete and Greece. The Romans learned how to make
paints from the Egyptians. After the fall of the Roman Empire in the
AD400’s, paint making became a lost art until English began to make
paints near the end of the Middle Ages. They used paint chiefly on
public making processes. Unfortunately, they kept their formula secrete,
and as a result the process of making a particular paint – often died with
the inventory. (Pappa 2011).

1.1 CATEGORIZATION OF PAINTS

Generally, paints may either be categorized into water-based

(Also called latex) paints, which are most used for home projects or the
solvents-based (also called oil-based or alkyd) paints according to
whether the solvent used is water or an organic compound (Smartdove,
2008). Water –based paints have a binder that is dissolved in water and
generally less toxic and contain fewer volatile organic compounds
(VOCs) than the solvent-based paints. (Blueegg, 2011).

Water-based paints are durable, dry quickly with little odor, and
can be cleaned up with soap and water. Oil-based paints, though they
hold up better over the long term have stronger fumes, dry slowly, and
require flammable solvents such as turpentive and paint thinner for
clean up. In recycling programmes, water –based paints are not
considered hazardous waste. Oil –based paints, however, are classified
as such and are more difficult to dispose off (Blueegg, 2011).

1.2 THE MAIN DIFFERENCE BETWEEN OIL AND WATER-

BASED PAINTS

Oil-based paints use a hydrocarbon based solvent that produces

very nasty vapour during application, but dries slower and penetrates
better than acrylics. This has always been a major selling point of oil;
however; with modern acrylic retardants the penetration of water base
paint can be greatly improved.
 The water-based paints, such as acrylics, can be applied with a
minimum of irritant vapours, but lay mostly on the surface, and do not
penetrate or adhere as well as the oil based paints.

The painting tool clean up is also different, acrylics can be

cleaned with soap and water, but tools used with oil based paints have to
be cleaned with mineral spirits. Although the hiding power and
coverage of oil based – paints are one of their qualities, the considerable
drying time vs water –based paints is a negative.

Another consideration is the application of the acrylic paints over

oil-based paint. The reason: Acrylic paint does not penetrate as well; its
like sheet of plastic that you put on a surface. Slick oil –based paint,
being either gloss or semi glass does not give the acrylic to paint over
oil-based paints, instead use a primmer coat between them.

The colour retention properties of acrylics do appear to better

than oil-based paints. They hold the colour longer and are not given to
fading and chalking, as the oil based paints are known to; Dee colours,
in particular sty true much longer with acrylics vs. oil (Daloy, 2011).
ADVANTAGES OF OIL BASED PAINTS

 It has a very hard surface that resists scuffs.

 It provides a smother finish than latex paints.
 Since oil-based paints are thicker than latex, they tend to hide
wall imperfections than latex.
 It offers a clear refractive index compared to latex because the
linseed oil contains smaller molecules than latex paint does.
 When running your hand over an oil paint on a wall, the texture
will feel smother than a latex paint (which almost has a rubbery
feel). (Filed, 1978)

DISADVANTAGES OF OIL –BASED PAINTS

 Oil based paints does not resist mildew that may form in a high
moisture room such as bathroom.
 It has a long-lasting odor. So ventilation is mandatory when using
them.
 It tends to bubble during the paint process, so it is imperative that
each coat is allowed to cure for hours before applying a second
coat.
 It tends to peel, oil-based paints form tighter, non-porous film
which does not allow moisture vapour to pass through it.
 It needs at least 24 hours to cure under best conditions (Filed,
1978).

ADVANTAGES OF WATER –BASED (LATEX) PAINTS

 Latex paints do not cause creaking and peeling

 Latex paints do not have strong odor that means less VOCs
(Volatile Organic Compounds) to ham the environment.
 Latex paint can be easily washed with soap and water.
 Latex paint is not flammable.
 The surface of the paint actually breathes meaning any moisture
in the dry wall can escape through the porous surface of the paint.
(Filed, 1978)

DISADVANTAGES OF WATER-BASED [LATEX] PAINTS

 It is not suitable for painting over steel without first using a

primer.
 It shrinks more than oil-based paint
 It is more sensitive to temperature
 It may stain when contaminated with water-soluble mixture.
 It takes longer time to cure than oil – based paint.
1.3 SCOPE OF THE WORK

The extent of the area that this project research work goes on
ranges from the background information of what paint chemistry is all
about; characterization of the paint types; a textured paint some of its
defects are to some other textured paint related issues in view.

1.4 AIMS AND OBJECTIVES

To determine the amount of the different raw materials used in

the manufacturing of the different sample colours of textured paints. To
detect the various paints defects encountered in the course of
production, surface preparation and application of any given colour
sample of a textured paint.
 CHAPTER TWO

2.0 LITERATURE REVIEW

A paint according to Talbert Rodger can be defined as “… any

liquid liquefiable, or mastic composition which after its application to a
substrate in a thin layer is converted to an opaque solid film”. It can also
be referred to as a pigment liquid composition, which is converted to
relatively opaque solid film after application as thin layer. One may also
consider the digital mimicry thereof. It is most commonly used to
protect, colour, or provide texture to objects. (Dickson and Jones, 2000).

Paints were in use for decoration and representational purposes

for thousands of years before the ideas of using them as protective
coating occurred. The earliest known painbtings found in the caves of
Lascausx, France and Altimaira, Spain made with iron oxide and
applied without binder, dated back to 15,000BC. Ancient Africans,
Oceanians, and the Americans also used paint to decorate temples and
dwellings. (Jude, 2011). Paints are essential for the preservation of a
type of architectural structures including factories, from ordinary attacks
of weather, moisture, chemical and mechanical damages. (Badminton,
2001).
2.1 CLASSIFICATION OF PAINTS

Paints are usually classified according to different views. The

industrial chemists often classify paints following the way they cured
(dry). Some paints cure simply through the evaporation of the solvent
which is accompanied by the hardening of the resin. Others however
cured by forming a solid film after a catalyst has triggered a
polymerization reaction to bond the resin particles together (Davidson
and Hornby, 2003).

Paints are further grouped according to their uses:

1. Household Paints: The household paints are used to decorate and

protect houses, offices, buildings and other structures. They are
mostly latex paints.

2. Industrial Paints: They are mainly used on consumer products

like automobiles, furniture and household appliances.

2.2 COMPONENTS OF PAINT

Any given paint comprises of the following major components in

it; they are the pigments, resins (binders), solvents, and additives.
Generally, all the two basic categories of paints (as mentioned earlier)
contain the above named main components of a paint mixture though in
different proportions as may be required, they are very important in the
manufacture of paints. When running the production of a new paint, the
raw materials are chosen for compatibility with the object to be painted.
Choice is based on the suitability of the raw materials for the application
and environmental properties of the raw materials that led to the
production of quality paint. (George and Alpha, 2000).

2.3 THE PIGMENTS

Paint’s pigment plays a large role in the determination of colour

and appearance. Some pigment also provide added bulk, helping to
thicken a paint when needed. In its unmixed form, a pigment is simply a
powder. There are two general categories of pigments: Prime and
Extender Pigments.

[1] Prime Pigments:

Prime pigments are mainly responsible for colour and whiteness

in paint, as well as the paint’s ability to hide undesirable surface flaws.
In paints that exhibit a white hue titanium dioxide is the main
ingredient. In paints that express other colours, the pigments are
selected to absorb only certain kinds of light, thus yielding a given
colour. Organic pigments yield the brightest colours, while the
inorganic yield less bright but more durable colours.

[2] Extender Pigments:

Extender pigments are designed to add bulk, but are not as well
suited to hiding surface flaws as prime pigments. They do, however,
influence the paint’s overall sheen, colour retention, and abrasion
resistance. Silicas and silicates, for example are extender pigments that
increase the paint’s durability. Zinc oxide helps to prevent mildew and
corrosion, and is especially useful in outdoor applications.

Pigments are further classified as either natural or synthetic

types. Natural pigments include various clays, calcium carbonates,
CaCo3, mica, silicas, and talcs. Synthetics would include engineered
molecules, calcined clays, blancfixe, precipitated calcium carbonates,
and synthetic pyrogenic silica. (D’eagle and Adonis, 2010).

[3] Hiding Pigments:

In making paint opaque, also protect the substrate from the

harmful effects of ultraviolet light. Hiding pigments include titanium
oxide, phthaloblue, red iron oxide, and many others. Some pigments are
toxic, such as the lead pigments that are used in lead paint. Paint
manufacturers have began replacing white lead pigments with the less
toxic substitute, titanium dioxide (titanium white). This 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) via better efficiency promoted by more optional
spacing within the paint film. (Davidson and Hornby, 2003).

2.4 RESINS (BINDERS)

In a paint mixture, the binder is responsible for providing

adhesion, binding the pigments and also gives the paint resistance
properties which make the final coating tough and durable. The binder
itself is clear and glossy but the presence of pigment interferes with this
quality. Depending the ratio of pigment to binder ratio, or the PVC
(Pigment Volume Concentration) the paint can assume varying levels of
glossy finish. Paint with the glossiest finish often have a typical PVC of
15 percent, while the most matte paints have a PVC anywhere from 40
to 80 percent. Paints with less gloss have more binder per unit of
pigment, and tend to be more durable. There are two specific types of
binders: Oil-based and Latex-based binders.
1. OIL-BASED BINDERS

Oil-based paint requires a binder that has similar properties to the

paint – in this case, the binder oxides or dries when exposed to air,
hardening along with the rest of the paint. Once applied, the liquid
factor of an oil-based paint evaporates, and the binder then reacts with
the air to harden into place with the pigment. However, sometimes, this
process can result in over dry, brittle paint, and chipping can occur.
Additionally, the oxidation makes the paint prone to yellowing. An
example of this binder is the alkyd resin formed from the addition of a
dibasic acid to a monoglyceride (formed from the simultaneous
esterification and deesterification of glyceride oil).

2. LATEX-BASED BINDER

Latex-based paints actually do not possess latex rather the binder

that is used (plastic-like in nature) creates a film in the paint that
resembles natural latex rubber. Almost all water-based paints have a
latex-based binder. When the coating is applied, water evaporates from
the paint, leaving behind a film of pigment and latex-based binder
which binds together into one continuous coating. The process by which
the binder and pigment are fused is called coalescence. However,
because the binding agent is thermoplastic, it cannot be applied at too
low a temperature or the binder will be too hard and difficulty will arise
during fusing. Common types of latex-based binders include acrylic and
vinyl acrylics. The acrylics are used in the production of textured paints,
while the vinyl acrylics are used mostly in the manufacture of emulsion
paints. (Briggs and Kark, 2009).

2.5 SOLVENTS

In the most basic sense, the liquid components of paint (the

solvents) are simply responsible for transporting the binder and pigment
to the substrate surface. The type of liquid depends upon the other
components of the given paint. Oil-based paints, for example can use a
basic paint thinner as the primary solvent. Latex-based paints, on the
other hand tend to use water as their liquid.

2.6 ADDITIVES

An additive is a substance that is added to another material to

change or improve its characteristics. In the case of paint, additives are
commonly added to paint to improve how the paint flows, to make it
stick to better and to limit growth. (Iceman, 2001). Some of the more
common additives includes thickener, mildewcides, surfactants,
antifoam agents and corrosion inhibitors. Each of these additives is
designed to address a different issue. Some combination additives are
also available such as a conditioner is often applied to additives that
enhance the workability, finish and performance of paint:

 Floetrol (for water-based paints) and penetrol (for oil-based

paints) are some of the most common paint conditioners.

 Even on interior surfaces not subject to frequent moisture,

mildewcides are important to prevent the growth of mildew.

 If you’re painting metal that rusts, including nail heads, look for a
primer or paint with a corrosion inhibitor. Below are some of the
basic raw materials to be used in the manufacture of a given paint
sample:

Anti-foam * Break or prevent bubbles

agents * Particularly important when applying their paint with a
roller

Biocides * Includes additives that control mold, mildew, fungus,

insects, and more

* Mildews are very important, even in room with “normal”

humidity.
 * Higher levels of mildewcides are generally reserved for
high-quality paints.

* Biocides also include preservatives that prevent growth of

bacteria in the paint can.

Corrosion * Help prevent the oxidation (rusting) of ferrous metals, as

Inhibitors well as resulting blistering, peeling, and rust-bleed through.

* For painting surface with metal fasteners (nails, screws,

etc.) In addition to all metal surfaces.

Penetrol * Conditioner for oil-based paints.

* Reduces paint peeling on wood and metals.

* Makes an ideal matte finish for interior rustic woods.

* Restores luster to faded paint fibreglass.

Floetrol * Conditioner for water-based paints.

* Reduces brush marks and bristle separation.

* Performs well in hot weather

Rheology * Provide better application properties and better appearance

Modifiers * Enhance the flow and levelling properties of paint and
(Thickeners) provide better film build, which improves hiding power and
 durability.

Surfactants * All water-based paints have surfactants.

* They reduce surface tension to improve wetting.

* Help disperse pigments for better coverage.

* Prevent the paint from crawling on the surface.

* Stabilize paint to prevent separation or thickening.

* Provide compatibility with tinting agents.

Table 2.1: Additives and their Importance

Other Additives: There are a variety of specialty additives, so, if

you have a specific painting concern, it’s worth checking if to see if a
useful additive exists. There are additives that reduce paint odour (e.g.
texanol ester alcohol), change the sheen, and provide better freeze/thaw
stability and more. Odour reducers keep paint odours to a minimum
without affecting other paint properties. Drying retardants and
enhancers change the drying time according to your needs. fillers
(kaoline, calcium carbonates (calcites and dolomite), and sea sand) give
the paint colour or coverage, they also improve the opacity and increase
the bulkiness of a coating thus reducing the cost of production.
(Merryheart, 2010).

FEATURES

Low VOCs: VOCs are volatile organic compounds that can be

dangerous to humans and the environment. Many paint additives and
paints especially oil-base paints, contain VOCs. Look for additives with
low VOCs for your own safety and that of the environment.

Nonskid Additives: These are gritty paint additives used to make

painted flows slippery.

2.7 A TEXTURED PAINT

A textured paint can be defined as a pain of heavy consistency

and coarse grain consisting usually of gypsum and sand with water-
based thinned binder and used for creating a rough patterned effect on a
wall surface. It can also be referred to as a finish paint having an
insoluble additive as sand for giving a slightly rough textural effect.
(Webster, 2011).

Textured paints offer matchless beauty and can provide substitute

for missing texture in plaster. The textured paint finish is available in
many colour trends such as metallic finish gold, silver and copper.
Glossy and shiny finish of texture can also be obtained. These paints
can be done on walls and ceiling easily and quickly. Textured paints of
different colours are becoming popular for home/ interior decoration
and may be used as an alternative to wall papers.

These paints provide excellent protection against changes in

atmosphere; withstand fairly well extremes of heat, cold and rain. They
contain special additives which provide good protection against alkali
and ultraviolet rays. The paints are extremely resistant to fungus and
algae, peeling, flaking, and fading and stay bright. Textured paints are
thick enough to cover minor defects, uneven surface damage and
imperfection in walls and add fresh look to the beauty of walls/surfaces.

Textured painting varies from slightly gritty look of sand stone or

marble stone or wooden appearance and which can add deep look of the
texture. Premixed textured paint available in the market can directly be
applied on the surface. The premixed form of textured paint containing
small, gravel like particles has grainy appearance.
2.8 CATEGORISATION OF TEXTURED PAINTS

* Smooth texture giving a stucco effect.

* Sand texture, the effect of which is slightly rough (like sand

paper) because of added sand particles.

Quality, type, and colour of textured paint have big role to play in
hiding imperfections of wall. By applying high quality paints,
imperfections can be covered. But in case of low quality paints, it is
very difficult to hide streaks. To get best quality finish, high quality flat
paint is used to hide imperfections and defective areas.

2.9 GETTING REQUIRED DESIGNS AND PATTERNS

Sometimes glazes are used to get decorative paintings but these

paintings are quite different from standard latex and oil based paints. To
get require design and patterns, multiple thin layers paints are applied.
To achieve textured surface, simple tools are required such as rollers,
sponges, rags, brush, trowel, putty knives, and spray-painting
equipments.
2.10 APPLICATION OF TEXTURED PAINTS

Before applying textured paints, check if the surface has any

holes or damages. Make sure the surface is free from dust. It should be
cleaned with the help of broom and cotton cloth.

Don’t forget to cover surrounding furniture and flooring with

protective materials. Painting should not be done in adverse weather
condition like hail storm and durst storm. Brush painting should be done
for small works.

2.11 METHODS OF TEXTURED PAINTING

1. Brush painting

2. Roller painting.

3. Spray painting.

BRUSH PAINTING

This method is applied for small textured painting works. Clean

the surface and brush the container used for keeping the paint during
application. Apply paint only after contents of paints in drum are mixed
thoroughly. Apply the paint with brush first by using vertical strokes
until the surface is fully covered.
SPRAY PAINTING

Spray painting is more popular method of textured painting and is

specially done in textured painting of ceiling. This painting method is
easy and takes less time than rolling painting do as is done through
spray machine.

2.12 BENEFITS OF TEXTURED PAINTS

1. Strong in nature.

2. An alternative to wall papers.

3. Decorative in appearance

4. Needs less maintenance.

5. Protects against alkali and ultraviolet rays.

6. Cover uneven surfaces and imperfections of walls.

7. Available in metallic finishes gold, silver, and copper.

2.13 FORMULATION

The term formulation in paint production process refers to the

selection of raw materials or paint components in the appropriate weight
of satisfying given conditions and purposes. A good quality formulation
of paint will continually yield paint of good properties. It has been
known that solvents that, a good quality paint composed mainly of a
binder, additives, solvents, and pigments. The property of any particular
paint is determined by the pigment and the binder i.e. the pigments and
binders govern the properties of paints. (Spencer, 1988).

2.14 COLOUR MATCHING

Most paint manufacturing firms give names and codes to all their
paint products which they produce. This helps for easy recognition of
any shade of colour produced at any point or quantity in time. As
individuals, their customers have their own personal colour preferences,
and as producers, they should meet their requirements to their mutual
benefit.

This colour matching is most commonly done by adding a

dispersing pigment in a paint to get a sample colour. This act is called
tinting. This can instantly produce even small amount of coloured
liquid paints. Some examples of shades of colours gotten through tinting
are listed in the table below:
Table 2.2: Tinting-Cum-Colour Matching of Paints.

BASE DURING TINTING COLOURS AFTER

COLOURS TINTING

1. Pacific Blue Pacific blue + green pigment Union Bank Blue

2. Black Black + pint red Purple

3. White White + little red oxide Rose pink

4. Milk Milk + yellow oxide + black + red Beige

5. White White + little black Gray

6. Red Red + Black Brown

2.15 USING THE MOST SUITABLE TOOLS

In terms of painting and decorating, tools range from equipment

enabling you to gain safe access to the part of the house to be decorated,
to the brushes or rollers used to apply the paint.

2.16 ACCESS EQUIPMENT

For most interior painting, you will seldom need more than a
good set of stepladders with a platform at the top and a handle to hold.
The platform is intended as somewhere to put your paint pot rather than
a place on which to stand. You may need longer ladders when working
in a stairwell and the extension ladders or access tower, mentioned
shortly, may be required. ALWAYS use stepladders fully opened and
with all four feet firmly on the floor. Never lean unopened ladders
against a wall or other prop.

Fig. 2.0

For outside work, you will need longer ladders to reach up to

eaves level and extension ladders will serve the purpose. Make sure that
they are always set on firm ground, cannot slip or slide on wet ground,
and are ideally secured at the top to an eave hooks, for added security.
Scaffold or access towers allow far greater freedom of movement and
are safer than ladders, since you stand on a platform some 1200mm
wide and have space to move and lay out working materials. Safety
precautions must still be taken to ensure the stability of the tower but in
practice, they are safer and more adaptable than ladders. Towers with
base dimensions of about 1200 x 600mm can also be used very
conveniently indoors when decorating stairwells for example.

An access accessory is a length of rope! When working up a ladder or

scaffold tower, it is far easier to haul up your working tools and even
the paint in a bucket on the end of a rope rather than trying to carry it all
up in one hand whilst the other hand holds the ladder.

Fig. 2.1:
2.7 TOOLS FOR PREPARATORY WORK

Careful preparation of surfaces to be decorated is the key to a job

well done. To achieve good preparation, you will require a selection of
basic tools used both indoors and outside. Essentials will be scrappers to
remove flaking paint, filling knives to make good defective woodwork,
plaster or rendering, a wire brush.

Again to remove flaking paint from, especially, metal such as

guttering, down pipes, wrought iron or window frames, perhaps an
electric heat gun for the removal of old paints.

Fig. 2.3:
 CHAPTER THREE

3.0 MATERIALS AND METHOD

In the manufacture of the textured paints, some certain raw

materials used in the process are sourced from the Chem. Labs Ventures
Limited, Aba, Abia Sate. The materials, their trade names and
functional groups are listed in the table below:

Table 3.0. Materials and their Group Functions:

Materials Group Function

1. Acticide bg, Sodium benzoate, Preservatives

formalin, and biocides

2. P.V.A, Linseed oil, Acrylics, Binders

Alkyd, etc.

3. Barmacoll, Nitrosol Thickeners

4. Calcium carbonates (calcite and Fillers and Extenders

dolomite), Kaoline, China clay

5. Genepour, Calgon Dispersants

6. Defoamer Antifoaming agent

7. Red oxide, yellow oxide, Naphatho Pigmenys

 blue, black paste, green paste, TiO2,
etc.

8. Ammonia Catalyst

9. Floetrol Conditioner

10. Water, Toluene, Kerosene, etc. solvents

3.1 APARATUS AND USES

The under listed apparatus are used in the manufacture of any

kind of textured paint sample and also in the manufacture of other paint
types. They are as follow:

1. Drawdown card: This is used in measuring the opacity (hiding

strength) and the film thickness of paint.
2. pH Meter: It is used to measure the pH of the paint sample before
packaging is done. Paint must be slightly alkaline.
3. Stirrer: Used to stir the components of products during the
production of a very small sample. It has a high shearing force
and avoid sedimentation
4. Dispersion tank (a 20litre bucket): This is a container in which
the raw materials used to run the paint production are poured into
before they are being stirred.
5. Weighting balance: For the weighting of the raw materials used
for production
6. Beakers (250ml and 100ml): The beakers are used to measure the
liquid solvents during production.
7. Potter Thinner Viscometer: This is used in checking the viscosity
of the paints
8. Over dry: The over dry is used in the drying of a plate sample of
paint i. e. heat drying of the paint which enhances faster
production, thereby reducing the drying time since samples must
be plated and dried before confirmatory test will be carried out.

3.2 TESTS ON RAW MATERIALS

The raw materials used in the manufacturing of any the textured

paint sample are passed through some stringent tests to ascertain their
qualities before being used to run production. The following tests are
carried out on some of the under listed raw materials:

1. Pigments’ Test (Palm Scrub Test Using TiO2): A little quantity of

TiO2 is placed on the palm and rubbed. It is then scrubbed with
water. For a high quality TiO2, it takes a long period of time to be
washed off, while for a lower quality TiO2 pigment no time is
wasted in washing out.
2. Test for Dispersants (e.g Genepour): In testing for the quality of
genepour, a little sample of calcite or dolomite is mixed with
water to form a jelly paste and after it’s added genepour. The time
it takes the genepour to dissolve is measured. The faster it takes it
to dissolve jelly paste, the high the quality
3. Test on Binders (e.g. PVA, Acrylic, Alkyd, etc.): These resins
have adhesive properties. A little Quantity of the binder is
dropped on the palm nad allows to dry, on any attempt to pull it
out of the palm; the dry film will pull fast. This shows that a
quality binder will pull directly without tearing or without
breaking into pieces. Also, the most appropriate test on the binder
is when used to run a pilot sample of paint. This shows that the
paint is scrubbed to determine the strength of the binder.
4. Test on the extenders (Acid test): A little portion of
CaCO3(approx.3g) is weighed and placed into a reactor and drops
of dilute HCL is added. The CaCO3 gives effervescence which is
an evolution of CO2. The gas involved were passed through a
lime water Ca(OH)2, it turns light color or milkfish, which
indicates the presences of CO2 and the reaction is given as follow:
CaCO3+2HCl CaCl2+H2O+CO2
CaCO3 is readily soluble in water and cannot resist scrub. In testing for
CaCO3, about 28g of CaCO3 is dissolved in 10ml of H2O, a little Binder
(PVA) is added and the sample is plated. The brightness of the sample is
compared to the standard one. If it is accepted and if it is not brighter,
the CaCO3 is of poor quality

3.3 MANUFACTURE OF A 30 LITRE WHITE TEXTURED

PAINT

Materials: 300g Calcium carbonate (dolomite), 10Lwater, 0.5L

Toluene, 0.5L Ammonia, 3g Acticide BG, 0.5 Formalin, 0.5 Texanol,
8g PVA, 75g 6g Solvrin 0.5L genepour.

Apparatus: Measuring balance, Beakers, Viscometer, Drawdown card,

Stirrer, Drum.

Procedures: A 10L of water was poured into the drum. Titanium

dioxide was added into the drum together with the Solvrin and stirred a
little. After about 2 seconds of stirring, the calcium carbonate is added
and premixed with the PVA to form a paste. After about 5 mins, the
Marble Kaolin and Marble dust are added together through gradual
means and are subjected to additional stirring. Later, the genepour is
added into the mixture followed by the step-by-step addition of
Toluene, Texanol, Aciticide BG and Formalin. These were vigorously
stirred again and after about 6 mins. Ammonia is added and allowed to
mix well for about extr 5 mins. The paint is now done and ready to be
packed.

Table 3.1 Summary of Formulations of the Produced

Brilliant White Textured paint

Raw material Weight(g) Weight(Kg)

CaCO3 800 0.800
TiO2 75 0.075
Water 600 6.000
Toluene 80 0.080
Genepour 80 0.080
Acticide 13 0.013
Texanol 80 0.080
Marble dust 450 0.450
Marble Kaolin 370 0.370

Solvrin 100 0.100

Ammonia 80 0.080
PVA 400 0.400
Formalin 80 0.080
Defoamer 60 0.060
3.4 MANUFACTURE OF A 30 LITRE CREAM COLOURED
TEXTURES PAINT

Materials: 300g Calcium carbonate (Calcite), 10L water, 8g Yellow

oxide, 75g TiO2, 6 Nitrosol, 12g Marble dust, 8g Marble Kaolin, 8g
PVA, 0.5 Genepour, 0.5 Texanol, 0.5 Formalin, 0.3 L Deformer, 0.5L
Kerosene and 0..5L Ammonia.

Apparatus: Measuring balance, Beakers, Viscomeer, Drawdown card,

Stirrer, Drum.

Procedures: A 10L of water was added into the drum followed by the
Titanium dioxide and the yellow oxide and were stirred vigorously. The
calcite was then poured into the mixture and was mixed together with
the PVA to form a paste. The marble dust and marble Kaolin was added
bit-by-bit to ensure thorough mixing followed by serial additions of the
Genepour, nitrosol-water mixture, texanol, kerosene and formalin.
These mixtures were also subjected to further turning. After 6 minutes
of turning the ammonia is then added and allowed to mix well for about
5 minutes. The paint is now done and ready for packaging.
Table 3.1 Summary of Formulations of the Produced cream
Coloured Textured Paints

Raw Material Weight(g) Weight(Kg)

CaCO3 800 0.800
TiO2 75 0.075
Kerosene 80 0.080
Genepour 80 0.080
Acticide bg 13 0.013
Texanol 80 0.080
Marble dust 450 0.450
Marble Kaolin 350 0.350
Yellow oxide 75 0.075
Water 6000 6.000

Floetrol 70 0.070

PVA 400 0.400

Ammonia 80 0.080
Formalin 80 0.080
Defoamer 60 0.060
3.5 QUALITY CONTROL MEASURES

In the manufacture of any of the textured paint samples, extensive

arrays of quality control measures were utilized. The raw materials and
the manufacturing process undergo stringent tests, and the finish paint is
inspected for its density, fineness of grind, dispersion, viscosity. Paint is
then applied to a surface and studied for bleed resistance, rate of drying,
and texture.

In terms of the paint’s aesthetic components, the following tests

are carried out:

1. Colour Test: The colour is checked by an experienced observer

and by spectral analysis to see if it matches a standard desire
colour
2. Resistance Test: Resistance of the colour to fading caused by the
element is determined by exposing a portion of painted surface to
an arc light and comparing the amount of fading to a painted
surface that was not so exposed.
3. Opacity Test: The paint’s hiding power is measured by painting
it over a black surface and a white surface. Te ratio of coverage
on the black surface to coverage on the white surface is then
determined, with 98% being high-quality paint.
4. Gloss Test: It is measured by determining the amount of
reflected light given off a painted surface.
Test to measure the paint’s more functional qualities includes:5
5. Adhesion Test: Adhesion is tested by making a crosshatch,
calibrated to 0.7 inch (2mm) on a dried paint surface. A piece of
tape is applied to the crosshatch, and then pulled off’ good paint
will remain on the surface.
6. Scrubbability Test: Scrubbaility is tested by a machine that rubs
a soapy brush over the paint’s surface.
7. Viscosity Test: It is performed using neto-thinner to determine
the fluid thickness of paint. The viscosity of standard textured
paint is 25%.
8. Setting Test: A system also exists to rate settling. An excellent
paint can sit for six months with no settling and rate a ten. Poor
paint, however, will settle into an immiscible lump of pigment on
the bottom of the can and rate a zero.
9. Weathering Test: Weathering is tested by exposing the paint to
outdoor conditions. Artificial weathering exposes a painted
surface to sun, water, extreme temperature, humidity or sulfuric
gases.
10. Test for Retardancy: Fire retardancy is checked by burning the
paint and determine its weight loss. If the amount loss us more
than ten percent, the paint is not considered fire-resistant.

3.6 PAINT AND COATING FAILURES

The majority of paint and coating-related failures can be

attributed six primary causes. These causes are as follows.

1. Improper surface preparation- the substrate surface is not

adequately prepared for the coating that is to be applied. This
may include cleaning, chemical pretreatment or surface
roughening.
2. Improper coating selection- either the paint or coating selected is
not suitable for the intended service environment, or it is not
compatible with either shop-applied or field applied coatings, and
occurs when the required specifications or parameters for the
application are not met.
3. Improper drying, curing and over coating times – again, this
problem relates to a lack of conformance to the required
specifications or parameters.
4. Lack of protection against water and aqueous systems – this is a
particularly serious problem with aqueous systems containing
corrosive compounds such as chlorides.
5. Mechanical damage – which results from improper handling of
the painted or coated substrate, resulting in a breach in the paint
or coating.

There are innumerable possible failure modes which can result

from these primary causes. For the purposes of this review paper, the
failure modes will be divided into three general categories, as follows.

1. Formulation-related failures.
2. Substrate-related failures
3. Physical defect-related failures

These three general categories of failure modes will be described

briefly.

Formulation-Related Failures

There are many types of paint and coating failures for which the
coatings or corrosion engineer has little or no control over. These types
of failures are related to the formulation of the coating itself. If the
coating system that is selected by the engineer is formulated
inadequately, these formulation-related failures occur as a result of the
ingredients used and their formulation in the paint or coating. These
ingredients include the resins used, the pigments used, as well as the
solvent formulation. Several specific types of formulation-related
failures detected during the manufacture of the given samples of texture
paints are presented in Table 3.3, as well as appearances, causes, and
problem prevention. They include chalking; alligatoring; cracking;
biological failure; and discoloration for organic coatings.

Table 3.3 Formulation –Related Failures

Pant Failures Failure Cause of Failure Problem Prevention

Appearance
1. Chalking Surface soft and UV degradation of Use UV-resistant resins
powdery. Easily resins. Improper and non-chalking
wiped away. pigmentation. Also pigments. Remove any
occurs when interior unstable paint film, and
paints are used for repaint with a
exterior surface. recommended paint.
2. Alligatoring Large macro- Internal stresses with Apply thin coasts and
cracking and cross- greater surface thoroughly dry before
hatching. shrinkage. reapplication
3. Cracking Small breaks in Stresses due to Use no-reactive resins and
coating to substrates continued pigments.
of various geometries polymerization/oxidat
ion.
4. Biological Softening or slime Bacterial or fungal Use permanent fungicides
failures reaction. Blotchy degradation or bacterial in coating.
Brown or black spots
5. Discoloration Yellowing, graying, Weathering or Use colour stable resins
darkening chemical reaction and pigments
Substrate-Related Failures

A substantial percentage of paint and coating failures are related

to the substrate to be coated and its proper preparation prior to coating.
To eliminate this class of paint and coating failure, it is imperative that
the painters and coating applicators take great care in following
specified methods of surface preparation. There is no substitute for
proper surface preparation if long service lifetime is expected from the
paint or coating. Several specific types of substrate-related failures
detected during surface preparation and application of the manufactured
textured paints are presented in Table 3.4, as well as appearances,
causes, and problem prevention. They include previously used wood;
and concrete.

Table 3.4 Substrate-Related Failure

Pant failures Failure Appearance Cause of Failure Problem Prevention

1. Wood Checking, cracking and Expansion and Start with clean the
flaking of coating. contraction of wood newly sanded surface.
Blistering from trapped due to vary Use highly penetrating
moisture in wood temperatures and paints with high moisture
humidity. permeability,
2. Concrete Blistering, peeling, or Chemical reactivity, Concrete surface should
loss of adhesion. moisture content and be clean and dry. Use
Formation of Calcium porosity of concrete. elastic, highly
salts under coating. penetrating paint with
alkali resistance.
Physical Defect-Related Failures

Many specific types of physical defects have been categorized

and studied by the paint and coatings industry and by coatings and
corrosion engineers. Many of these physical defect-related failure types
overlap with the formulation-related failure and substrate-related failure
types discussed above. However, these physical defect types and their
nomenclature as discussed here are traditionally considered by the paint
and coatings industry and they merit a separate category. Several
specific types of physical defect-related failure are presented in Table
3.5, as well as appearances, causes, and problem prevention. They
include blisters; bubbles and craters; colour mismatch; dirt;;; runs and
sags, and paint adhesion loss.

Table 3.5 Physical Defect-Related Failure

Defect Failure Failure Appearance Cause of Failure Problem Solution

1. blisters Dome-like raised area Contamination on Clean surface prior to
containing moisture surface prior to painting remove any
or other liquids. painting or coating. unstable paint film and
Moisture in wood allow the surface to dry
substrate thoroughly. Then repaint
with a recommended
paint. Avoid painting
under direct sunlight.
2. Bubbles Bubbles: dome like Solvent or moisture Application of coating
and craters raised area containing entrapment during in thin layers. Sufficient
vapour: crater: drying or baking. flash time before baking
concave area once
 covered by bubbles
3. Colour Colour deviations Variations of film Consistency required in
mismatch from one area/part to wetness and build, film wetness, build,
another. substrate, thickness, thickness application
application and and agitation
agitation.
4. Dirt Any contaminants Inadequate facilities, Improved housekeeping
found in paint or on poor housekeeping, and attention to painting
painted surfaces. poor painting practices and
practices. procedures.
5. Runs and Downward flow of Application of Proper spray gun or
sags paints prior to film coating too thick or roller cleanliness and
hardening. too wet. operation. Avoid storing
the paint in hot locations
for a long period.
6. Paint Premature separation Contaminants, Cleanliness, correct
adhesion of film from excessive bake time, bake parameters,
loss substrate. condensed moisture. prevents condensed
moisture.
 CHAPTER FOUR

4.0 DISCUSSION OF RESULTS

In order to arrive at a successful formulation of a high quality

textured paint, it is always necessary to understand not only the
performance criteria but also the function of the components especially
the base polymer of a base binder. For instance, the PVA provides the
major proportion of the adhesive strength in the textured paint
production process as explained in the previous chapter.

Table 4.0 Properties Of The Formulated Textured Paints.

pH Fire Dry
Retardancy Rate
Temperature Adhesive Settling Opacity Viscosity

8.2- 25-260C Very good Very Less than 10 Very 25 percent Under
8.5 good percent good 24
hours

From the experimental results in the table above, it is shown that the pH
values of 8.2-8.5 obtained for textured paints produce conformed to
product specification range of 7.0-9.0 for paints. This pH study gives an
idea of the level of acidity or alkalinity of paints. Acidity points are
controlled by addition of ammonia.
 Adhesion property of any given textured paint is expected to be
very good after each application on a substrate. In order to arrive at this
point, it is certain that the necessary raw materials to be used in the
production process are added in their suitable amount. An excellent
textured paint produced can sit for six months with no settling and rate a
ten. Poor textured paints, however, will settie into an immiscible lump
of pigment on the bottom of the can and rate zero.

A properly formulated textured paint requires a weight loss of

about 8-10 percent. Thus, from the fire retardancy test paint is not
considered fire –resistant if its weight loss after burning id more than 10
percent.

The opacity ( ability of a paint to the previous surface or color)

rate of a given textured paint also helps to determine the quality of the
paint being produced. On using the drawdown card to check for the
opacity rate of any of the manufactured textured paints, it can be seen
that a well formulated textured paint sample has a coverage ratio of
about 98.0-98.5 percent on the surface being applied with, below this,
the paints hiding power is termed epileptic.

In the case of the temperature effect on a given textured pain

sample, it is observed that any given textured pain sample is not
supposed to be applied in extremes of temperature, contrary to this, a
perfect finish may not be gotten, no matter how good the paint. Too
cold or humid, it will take an age to dry, and if allowed to become wet
or freeze, it will ruin the finsh. Too hot and you will quickly loose your
wet edge, the paint surface will dry very quickly ( possible, in the time it
takes to reload your roller or brush) and will look patchy.

4.1 SUMMARY AND CONCLUSION

Base on the results of the research, it now appears that man

contributes immensely to the premature failure of paints which occurs
during the manufacture, surface preparation and application of the
paints. Some paint manufactures in order to maximize profits do not
assess the quality of the produced paint samples. They do not consider
factors like the quality of their raw materials, the hiding strength of the
produced paint, the appropriate solvent needed for a particular resin,
weather resistance and so on. Such manufactures are only after the
profits made at the expense of the quality of the product.

Inexperienced painters also contribute largely to the failures.

Some of them do not care to examine the environment before applying
any paint, thereby applying a good paint on the wrong substrate. Most
individuals usually hire these untrained painters in order to save cost of
application.
 Moreover, some contractors on attempting to hit the deadline
given them apply paints on insufficiently prepared or wet surfaces.
These paint later crack and in most times peel as the entrapped moisture
finds it way into the atmosphere.

4.2 RECOMMENDATION

The present effort is to make feasible recommendation on the

result of the research findings. Paint makers should always ensure that
their products are formulated with the necessary requirement at their
right proportion. They should also endeavor to evaluate the processing
method, storage condition and the quality of the raw materials prior to
production to avoid the use of inferior ingredients which could affect
the standard quality of the finished product.

Another thing to consider is that legislation is changing the way

paints are formulated, so, the paint you are about to use may have subtly
changed from that of a year ago. An example of this is the reduction in
VOCs ( Volatile Organic Compounds) in paints. This has the effect of
increasing the drying time, no matter which brand you use, and because
of this, it is very important you read the product instruction before use
(CCME, 1994).
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