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This work provides a comprehensive introduction to paint technology supported by the relevant aspects of chemistry and physics. It covers the basic science and is devoted to paint composition, formulation and drying mechanisms, paint ingredients such as solvents, pigments and additives, and the different paint groups by chemical type. Throughout the book the authors emphasize the factors which govern the choice of a particular paint for a particular job. This new edition has been thoroughly revised to modernize and clarify the text. Areas of new development have been added including environmental impacts, safety issues and modern paint making techniques. Nomenclature and units have also been updated and a glossary of technical terms added. This book should be of interest as a course text for paint technology students and technical staff concerned with the paint industry.
The Chemistry and Physics of Coatings provides an introduction to the science underpinning the paint (organic coatings) industry to graduate level chemists who may have no previous knowledge of polymer-based technologies. This book stresses important physical phenomena such as rheology, film formation, and mechanical properties, their exploitation in paint, and the economic and legislative background against which coatings technology is tested. Attention is given to the chemistry of the polymers, pigments, and solvents that compose typical coatings, and the complex 'science and art' of formulating them effectively. The book also aims to give insights into the commercial application of the chemistries described, and includes a glossary of industry and polymer-related terms. Revised and updated, this second edition has been expanded to include separate chapters on binders for high solids and solvent-free coatings, inorganic and hybrid coatings and coatings formulation. There is also a new section on coatings additives. The Chemistry and Physics of Coatings will be of particular interest to graduates of materials and polymer sciences and related areas. It will also appeal to undergraduates, lecturers and those in the paint industry. Extracts from reviews of 1st Edition "... readable and surprisingly comprehensive ... In short this is an excellent book, which I recommend without hesitation." Journal of Materials Chemistry "..an informative and thoroughly recommended volume." Polymer International
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 edition. Excerpt: ...continued oxidation takes place a white enamel paint may turn entirely pink, due to the formation of a manganese salt of that color. Where lead is used slow and sticky drying may result, but where lead and manganese are used together in dark colored enamels excellent results are obtained and any change in color value is not noticed. Some stand oils are made also by partial oxidation or blowing and partial heating. These, however, are short, and when placed between the thumb and forefinger and rubbed rapidly do not form a long thread but a short thread. Experience has taught that a short oil is short lived and a long oil is long lived. There is obviously a good reason for this, as the short oil has been highly oxidized and continues to oxidize after it is dry. Yet for interior enamel purposes a short enamel oil will last many years. One of the best features of enamel oil or stand oil is that brush marks even with a poor brush are eliminated and flow together. Zinc oxid is the principal pigment used in the manufacture of all of these enamel paints. Japanner's Pruss1an Brown O1l This is a stand oil or marble oil identical in all respects with that described under the heading "Stand Oil," excepting that it is dark in color and therefore only used for making dark colored enamels such as patent leather, machinery enamels and waterproof coatings which must have a high glaze. The method used for making this oil depends very largely upon the good quality of the linseed oil, and the oil must have no tendency to "break" whatever. It must be heated to 5500, at which temperature three ounces dry or six ounces in oil of Japanner's Prussian Brown are added slowly until the oil which at first is muddy becomes clear and of the color...
Excerpt from The Chemistry and Technology of Paints The manufacture of mixed paints is essentially American, having been accredited to some enterprising New Englanders who observed that when a linseed oil paint was mixed with a solution of silicate of soda (water glass) an emulsion was formed, and the paint SO made Showed very little tendency to settle or harden in the package. Several lay claim to this discovery. The first mixed paint was marketed in small packages for home consumption and appeared about 1865. The addition of silicate of soda is still practised by a few manufacturers, but the tendency is to eliminate 'it as far as possible and to minimize as much as possible the use of an alkaline watery solution to keep the paint in suspension. The general use of zinc oxid has had much to do with the progress of mixed paint, for it is well known that corroded white lead and linseed Oil settle quickly in the package, while zinc oxid keeps the heavier lead longer in suspension. Where only heavy materials are used, manufacturers are inclined to add up to 4 per cent Of water. Under another chapter on Water in the Composition of Mixed Paints, page 254, this subject will be fully discussed. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
In 'The Chemistry and Technology of Mixed Paints', the author provides a comprehensive guide to the science behind paint production. Through detailed analysis of the chemical makeup of paints, Toch provides insight into the complex world of color and texture. With clear illustrations and accessible language, this book is an essential read for anyone interested in the science of color. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.