Service

REFINISHING T O P C O AT S

PAINT CONCEPTS

BASIC TRAINING MANUALS

No part of this document may be reproduced or transmitted wholly or partially in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage or retrieval system without the prior written permission of the copyright holders. TITLE: Paint concepts. Refinishing topcoats (B.T. No. 5) - AUTHOR: Service Organization - SEAT, S.A. Zona Franca, Calle 2 Reg. of business names Barcelona. Volume 23662, Folio 1, Page 56855 1st edition - DATE OF PUBLICATION: July 97 - LEGAL REGISTER: 10429/98 Typesetting and printing: TECFOTO, S.L. - Ciutat de Granada, 55 - 08005 Barcelona - Page layout: WIN&KEN

N
IN THE

S
4-5 6-7 8-9 10 - 11 12 - 13 14 - 15 16 - 17 18 - 19

EQUIPMENT REQUIRED SANDING TOOLS TYPES

OF

PAINTSHOP

SANDERS

SPRAYGUNS SPRAYGUN ADJUSTMENT EQUIPMENT

FOR

PAINT PREPARATION

AUXILIARY TOOLS AND EQUIPMENT PAINT BOOTH EQUIPMENT AND INSTALLATIONS TYPES
OF FOR

PAINT CURING

20 - 21 22 - 25

REFINISHING PAINTS
OF THE

PREPARATION AND APPLICATION BASIC COLOR KNOWLEDGE SYNTHESIS

OF

REFINISHING PAINTS

26 - 29 30 - 33 34 - 35

COLORS
OF

COLORIMETRY: THE ADJUSTMENT SELF CHECKING EXERCISES

COLORS

36 - 39 40 - 43

Dear reader, we would like to recommend that you revise the Basic Training Manual No. 2 (PAINT CONCEPTS. PREPARATION) from the same series in order to get the full benefit from this manual.

To ensure the correct operation of the paintshop it essential that it is properly equipped. Installations such as the paint booth and tools such as the sanders and sprayguns are essential but not the only equipment required.

EQUIPMENT REQUIRED I N T H E PA I N T S H O P
Paintshop equipment
In order to carry out all the refinishing work which is done in the paintshop with the proper guarantee of safety and quality, it is necessary to have sufficient and adequate means for each task. It is essential to have the complete and proper combination of all equipment such as, floor extraction facilities, paint booth, air compressor equipment and distribution lines, gun cleaners and tools such as sprayguns and sanders in order to ensure the optimum quality and efficiency of all the repair tasks carried out. For this reason we will revise the equipment, tools and installations required in the following chapters as well as main points to be observed during their utilization. A modern paintshop should dispose of the following installations, tools and equipment:

PAINT PREPARATION ZONE

APPLICATION OF TOPCOAT PAINT

Sanding tools
Manual. Electrical and pneumatic.

Rags and cloths. Dust collector cloths. For spraygun cleaning: Gun cleaner. For air supply: Air compressor. Filters and restrictors.

Paint application
tools Sprayguns.

Equipment for
paint repair Mixing equipment. Microfiche reader. Precision scales. Measuring jugs. Viscosity cups. Paint filters.

Installations for sanding

and primer application Extraction facilities.

Paint application
installations Paint spray and curing booth.

Paint drying
installations Paint spray and curing booth. Infrared equipment.

Auxiliary equipment and tools For parts cleaning:

The success of the sanding operation has a direct influence on the quality of the work done when repainting a vehicle: the correct choice of the appropriate tool is an essential part of this task.

S A N D I N G TO O L S
Use of sanding tools
The use of abrasive material in disc or sheet form is the most common in body repair work shops. These abrasives are rarely used by hand to sand the surfaces, instead their application is more usual with the aid of a tool to support the abrasive paper. Some manual tools used could be sanding blocks or pads, other sanding tools are electrically or pneumatically operated. The sanding discs are attached to the sanders in various forms: should be firmly attached to the base for efficient operation. For this reason the Velcro and self adhesive systems give the best results. The base of the abrasive tools which act as the support for the abrasive material have different degrees of flexibility according to the application for which they are designed.

If the base is rigid, it will

not adapt to the surface being sanded, and it is the base itself which determines the surface contact zone as sanding takes place.

Fixed with clips. Retained with flanges. Manual positioning. Self adhesive reverse side
of abrasive.

If the base is flexible,

and pressure is applied to it, it will follow the surface being sanded. For this reason, a rigid base should be used to form the surface profile (sanding fillers especially on flat surfaces),

Velcro system.
Since the movement of the abrasive is done by the sanding tool, the abrasive material

MANUAL SANDING TOOLS

Operating button Sander body

PNEUMATIC SANDER Speed regulator

Pneumatic extraction connection Base Abrasive

and a more flexible base should be used to for repeat work, enabling it to follow the contours of the surface (sanding of undercoats when preparing these for finish painting).

superior choice. Nevertheless we will list the main advantages of the different types of sanders according to the operating method:

Manual sanding tools

The manual sanding tools such as blocks or pads of various sizes are used for minor repairs or touch up operations to prevent the appearance of finger marks which could occur if the abrasive material was used directly with the hand.

Electrical sanders They do not suffer from

variations of the preset working speed.

They are heavier to use. They tend to heat after

prolonged use.

They do not require any

special installations for use.

They have the usual

disadvantages of electrical operation.

Electrical and pneumatic sanders

The sanding tools available in the paintshop could either be electrically or pneumatically operated. Each offers different advantages and inconveniences, although it can be safely affirmed that in a well equipped paintshop, the pneumatic version is the

Pneumatic sanders They may suffer from variations

of the preset working speed.

They are lighter to use. They do not heat even with

prolonged use.

They require a good air compression installation for proper use.

At each stage of repainting whenever a sanding is required, either with electrical or pneumatic sanders, there is always an optimum choice of sander possible which is perfectly suited for each situation. The type of movement given to the sander is the key factor.

TYPES

OF

SANDERS
Apart from the driving force used to operate the sander, three different types of sander can be distinguished according to the type of movement given to the abrasive material. Preparation of panels for stopper application. Rust cleaning.

Orbital sanders
On these types of sanders the attachment base for the abrasive is generally square shaped, and the movement is in the form of an orbit around a fixed axis.

Rotary sander. Orbital sander. Random orbital sander.

Rotary sander
On this type of sander the base is logically a circular shape and the movement of the abrasive is also rotary.

Advantages
Ideal for sanding large flat surfaces. Provides a large sanding surface.

Disadvantages
Not useful for curved surfaces. Vibrates when not working completely flat. Usually not fitted with flexible base.

Advantages Very aggressive operation. Ideal for heavy work. Rapid sanding.

Disadvantages
Creates a lot of heat. Difficult to sand flat surfaces.

Applications
Any type of sanding on flat surfaces. Sanding of polyester stoppers.

Applications
To remove old paint.

ROTARY SANDER

MOVEMENT

ORBITAL SANDER

MOVEMENT

Random orbital sander

In this case the base is circular and the movement provided is a combination of the other two: rotary around an axis and also the rotation of the axis itself.

Disadvantages
It must operate completely flat to avoid creating waves. It is not recommended for sanding stoppers on flat surfaces.

Applications Paint sanding. Ideal for final sanding of undercoats.

Advantages Very easy to use. Generates little heat.

RANDOM ORBITAL SANDER

MOVEMENT

The spraygun is the painters most important tool. Proper cleanliness and maintenance will ensure its correct operation, and the professionalism and knowledge of the painter will enable maximum efficiency to be obtained from the gun.

S P R AY G U N S
Use of the spraygun
The application of paint using the spraygun ensures that with adequate pulverization, the paint adheres to the surface being painted, forming a perfectly uniform film which is made smooth and even with the help of the diluting agents, solvents and the paint composition itself. The spraygun is an essential tool in any vehicle paintshop, and it is the painters main tool. The need for constant maintenance and perfect
Principle of operation of the spraygun (Venturi effect).

When the trigger of a compressed air spraygun is pressed lightly, the first part of the trigger travel opens the air passage and allows the compressed air connected to the gun through a tube, to exit through the air cap. This is the only action which will take place at this stage. However if we continue to press the trigger until it reaches the end of its travel, the needle closing the exit of the paint will lift from its seat. The paint will then be dragged along by the air passing at high speed (Venturi effect), thus causing the paint to atomize and mix with the air, forming a cloud of minute droplets which are transferred to the surface being painted. The application of different types of paint make it necessar y to adapt the air pressure and the internal parts of the spraygun. For this reason, the greater the viscosity of the paint, the greater the spray nozzle orifice required; this is known as the air cap and needle. For this reason, the sprayguns are generally provided with interchangeable needle sets and air caps to enable these to be adapted

cleaning ever y time the gun has been used and care of its different components are essential to ensure the quality of repainting work is maintained at a high level.

Operation of the spraygun

A spraygun works with the help of compressed air which, thanks to the internal design of the gun draws the paint stored in the gun out with the air. The paint could be stored in a can on the top of the gun and in this case the gun is known as a gravity-fed gun; or it could be stored on the bottom of the gun, in which case the gun is called a suction-fed gun.

to the different types of paint to be applied. The diameter of the needle tip is generally given in millimeters, and the correct type for each paint will also depend on whether the gun is the gravityfed or suction-fed type, since if the paint cup is placed on top of the gun, gravity will assist the exit flow of the paint, and when the cup is placed under the gun, the air has to work against gravity to pull the paint out of the cup. Therefore a similar type of paint would have to be applied with a larger cap and needle set when using

a suction-fed gun than when using a gravity-fed gun. The design of the air cap also has an important influence on the quality of the spraygun, since the air not only flows through the same channels as the paint but it also passes through other channels which modify the form of the paint spray and gives a specific shape to the paint projected. This shape given to the projected paint is known as the pattern, and it will be larger or smaller depending on how the gun is adjusted, and containing more or less paint.

BREAKDOWN OF A GRAVITY-FED SPRAYGUN

Air cap

Paint cup

Fluid tip

Paint regulator Pattern regulator

Fluid needle Trigger

Air compressor line connection

11

The production of a good paint job not only implies the use of a good spraygun, but also the selection of the right air cap and needle set for the paint being applied, the optimum adjustment of the air and paint flow during painting and the correct movement of the spraygun according to the indications given.

S P R AY G U N A D J U S T M E N T
SPRAYGUN ADJUSTMENT

Gun regulators

Spray pattern

Spray distance

Spraygun adjustments
The spraygun needs to be adjusted to achieve the optimum spray pattern and size for the paint being applied. When the correct air cap and needle have been selected for the type of paint and gun being used, the gun is connected to the air line and the pressure is regulated (on conventional sprayguns this is normally between 3 and 5 kg/cm 2 ) with the manometer according to the gun and paint used. The pattern regulator is set to achieve the correct pattern and to ensure it has

the right size and shape thus obtaining a proper coverage. The paint regulator is used to adjust the flow of paint into the air stream, thus applying more or less paint to the same area. The easiest way to set these adjustments is to hold the gun at the correct distance from a carton or sheet of metal and pull quickly on the trigger to display the type of pattern formed. Furthermore it should not be forgotten that the paint effect achieved will depend not only on the prefect adjustment of the spraygun but also on its proper utilization.

Distance between the

surface and the gun This should be maintained constant, and the gun should always be held perpendicular to the surface.

Speed of gun
movement This should be uniform and constant from start to finish of application.

INTERESTING FACTS
HVLP sprayguns The sprayguns known as HVLP (High volume low pressure) represent a significant improvement in this type of tool, since they permit the application of paint using a lower pressure than conventional guns . This enables more efficient use of the paint since the pattern (mixture of air and paint) is achieved with less pressure , thus leading to less loss of paint in mist form outside the painted area. Less solvents are also released into the atmosphere , since less paint is required for the same area.

USE OF A SPRAYGUN

The spraygun should be used maintaining a constant distance from the surface.

13

To prepare the paint in the paintshop and ensure the correct color formulation and adequate addition of solvents and diluting agents, certain equipment is required such as: a mixing machine, a precision scales and a microfiche reader.

EQUIPMENT FOR P A I N T P R E PA R AT I O N
Mixing machine
The mixing machine contains the different cans of refinishing paint. Each can is fitted with a special cover which has two functions; paint dosage and stirring. The main paint components have a tendency to settle and form different layers, therefore it is essential to stir the paint before use. If the paint is not stirred when formulating a color, not only will the color be incorrect but also the paint remaining the can will also be altered since an irregular sample will have been removed from it. Any further mixtures made with the paint in this can will also give incorrect color formulations due to the incorrect basic constituent composition in the can.

Microfiche reader
The microfiche reader together with the up to date microfiches and the test cards make up the data base for the formulation of the colors to be applied on the vehicles which need painting.

Precision scales
A precision scales is essential to make the proper basic color mixtures, since the amount of each one has to weighed with precision.

The mixing machine, the microfiche reader, the precision scales, the mixing sticks, the viscosity cups, the filters and mixing cups all form part of the basic equipment required for the preparation of paints.

EQUIPMENT FOR THE PREPARATION OF PAINTS

Mixing machine Precision scales Microfiche reader Mixing cups Mixing sticks

Mixing sticks
The mixing sticks are the measuring items required for the addition of catalisers and diluting agents to the topcoats, primers and base coats. Since these mixtures are made according to volume, a simple mixing stick is sufficient for this task, on condition that the mixture is always made in a cylindrical container. Thus the preparation of single coat paint should be made by adding a specific proportion of diluting agents and catalisers, which could be for example, for two liters of paint, add one liter of cataliser and one liter of diluting agent. This mixture is known as 2:1:1 mixture. To make this mixture, the stick is immersed in the paint and the height of the paint on the stick will be the indication of the volume. By using a universal stick, the height of the paint could be 4 cm. Since the mixture is a 2:1:1, we need to add 2 cm of diluting agent and 2 cm of cataliser, in other words we should reach a total height of 8 cm (4+2+2). Pre calibrated sticks are also available where the proprtions

of each component are already marked on a series of vertical stepped scales. In this case, if the paint reaches the mark 3, the cataliser should be added until it reaches the next mark and the diluting agent added to the following mark.
USE OF THE MIXING STICKS Universal mixing stick Calibrated mixing stick (2:1:1 mixture)
2:1:1

Viscosity cups
To check the viscosity of the paint, it is common to use viscosity cups, which are small containers with a calibrated bottleneck orifice. The measurement is taken by counting the seconds required for the cup to empty. The greater the time required, the greater the viscosity.
Catalisers and diluting agents are added with the use of mixing sticks, making possible to use either calibrated or universal mixing sticks. Paint
B5-13

Diluting agent Cataliser

Paint filters
When the paint, primer or basecoat has been prepared, care should be taken to ensure that it contains no foreign bodies in suspension, making it necessar y to feed the spraygun through a filter. This prevents blockage of the gun and prevents these particles from being deposited on the surface being painted. The right type of filter has to be used for each paint.
B5-14

VISCOSITY CUP

15

A correct paint job is not limited to the use of sprayguns and sanders. The cleanliness of the surface to be painted, the spraygun and the tools used are important since this will ensure proper paint adhesion. The air supply to the spraygun and the sanders should be made with a proper compressed air installation and an extraction facility should also be available to permit dry sanding operations.

A U X I L I A RY T O O L S
INTERESTING FACTS
Use of the spraygun cleaner To ensure proper operation of the spraygun cleaner, it is essential to:

AND

EQUIPMENT
SPRAYGUN CLEANER

Operating switch

Nozzles Tubes Air connector Drain tap Solvent filter

Eliminate the major part of the

solid particles present before placing the gun in the cleaner, the gun and cans should be emptied into the waste container. Change the solvent when it becomes saturated with paint. as paper or any solid which could cause blockage of the filters in the machine and also periodically control and clean the filters when required.

Avoid introducing objects such

Air gun
This is a gun connected to the compressed air line which emits a jet of air. This is used to eliminate the majority of the sanding residues remaining after a dr y flatting operation.

eliminate any dust which may have settled on the surface.

Spraygun cleaner
The cleaning of the sprayguns, knifes, cans, sticks, etc. Is done with universal or cleaning solvents in equipment specially designed for this task, known as spraygun cleaners. A spraygun cleaner is a container with a top opening into which the tools to be cleaned are deposited. When the cover is closed, a pneumatic mechanism circulates the cleaning solvent inside the machine. When the time required has elapsed or when the cover is opened, the mechanism switches off and the solvent stops circulating. The machine will then dry the tools which have been cleaned.

Rags and cloths

The rags and cloths used should be lint and grease free, otherwise the threads could remain on the surface and the cleaning would be incomplete.

Dust collecting cloths

These are special types of rags impregnated with special adhesive resins which attract dust. They should be used just before the application of the refinishing topcoat paint in order to

Air compressors
Since the paint is applied with the aid of compressed air, a suitable installation should be provided capable of supplying the correct pressure and air flow for all requirements.

The application of each material requires different pressure settings, therefore it will be necessary to install valves with pressure adjustment regulators so that the pressure can be set for each application requirement.
Purification filter and regulating manometer AIR COMPRESSION INSTALLATION

Purification filters and regulating manometers

The air which is supplied to the spraygun should be free from all solid particles, grease, oil or water. Therefore the air should not come into contact with any lubrication system and it should be passed through a water condenser extractor as well passing through a filter which ensures the removal of all particles greater than 0.01 microns.

Extraction floors
Extraction floors are used in the preparation zone where base coat paint is applied or where sanding is done since these operations generate dust which has to be removed. An extraction floor is an area with grill openings in the floor through which suction is created by a motorised extractor unit, to draw out sanding dust and small particles from primer and basecoat applications outside the cabin.

Compressor

Accumulator tank

EXTRACTION FLOOR

The extraction floor helps to remove particles in suspension.

17

The paint booth is the main equipment required to carry repainting operations with the required quality. The correct knowledge of its operation and a proper maintenance program are the guarantee for a correct painting job.

P A I N T B O OT H
A paint booth is a closed compartment into which the vehicle to be painted is introduced. It has a forced air ventilation in a vertical direction towards the bottom and this is responsible for removing all the paint particles which remain in suspension. The air which enters the booth at the top is finely filtered with the aid of high quality filter blankets, which should be changed according to the degree of use of the booth, since the atmospheric dust will clog up the filters. At the same time, the air drawn in from outside can be heated to an optimum application temperature, which is generally in the region of 20 C. The air exits from the booth through grills in the floor. This air will be contaminated with paint vapors and particles in suspension. A filtering system retains this paint, these are fiber filters known as paint stop filters and have to be changed frequently since they become blocked with paint. To prevent the passage of solvents to the atmosphere, the booth could be fitted with organic vapor filters, consisting of active carbon cartridges which retain these components. These filters should be replaced when they are saturated. With the introduction of air at the top and its exit at the bottom, a vertical flow of air from top to bottom is achieved, thus ensuring optimum renovation of air inside the booth. The design of the booth should be such that this flow of air takes place without turbulence, to ensure that the remains of paint spray are pulled downwards to the filters in the ground without interference or disruption. The amount of air introduced to the booth is slightly more than that extracted, which means that there is a slight pressurization effect inside the booth, meaning that there is a tendency for the air to escape from the booth through the corners, seals and hinges, etc. and also when the door is opened a flow of air takes place from inside to outside. If this pressurisation did not exist, there could be a risk that unfiltered air would come in from outside, and the consequence would be contamination of the air inside the booth with dirt and dust etc. Since the booth is closed area, a good lighting system is required which provides light in sufficient quality and quantity for the work being done.

PAINT BOOTH

Air exit

Air entry

Flow regulator

Flow regulator PLENUM (Filter blanket) Heater Blower

Excess pressure indicator

Temperature controller

Extractor

Carbon filters

PAINT STOP filter

The maintenance and care of the booth (change of filters, cleaning of walls, cleaning of lights, maintenance of motors and burners) will be vital for its proper

operation. This work should be well done to ensure that the repainting operations done in the booth will be efficient and offer maximum quality.

19

In order to obtain rapid drying and hardening of the paint applied, it is necessary to use equipment which heats the paint film. The so called paint booth-ovens are one option, another is the use of infrared drying equipment.

E Q U I P M E N T A N D I N S TA L L AT I O N S F O R PA I N T C U R I N G
Paint booth-oven
The booth used for paint application is often combined to serve as also as a drying and curing oven. The booth-ovens thus used will have two operating modes, one as paint spraying areas and the other as curing ovens, when the air flow and speed is reduced and the temperature is increased to 60 C. The increase in temperature increases the chemical reaction between the components and provokes the evaporation of the solvents contained in the paint film. However an excessive increase in temperature could cause bubbling since the heating of the paint would take place from outside to inside. This means that it is the hot air which heats the vehicle and the paint, therefore the heating of the paint will begin in the area in contact with the air (paint applied), and this will transmit the heat by conduction to the inside. This will cause the outer part of the paint to dry first and form a barrier against the evaporation of solvents, which provokes the characteristic boiling as these try to escape from the paint film. Therefore it is advisable to wait for 10 minutes after completing the application of paint before connecting the oven. This will permit the lighter solvents to evaporate from the paint film. On the other hand, the temperature increase should be done gradually to avoid temperature shock effects. The temperature setting should be automated and calibrated during the operation of the oven.

Infrared drying
The infrared drying equipment operates in a very different manner from the air curing equipment. The radiation given off goes through the paint causing very little increase in temperature. In effect, the panels are heated and it is these that transmit the heat to the paint and therefore the drying progresses from inside to outside. The time required for curing is much less than with air curing. It is important to pay attention to the operating details of each type of equipment in relation to:

Evaporation time of the paint

before connecting the infrared heaters.

Distance between the surface

of the paint and the heater.

Radiation exposure time.

The most common application of infrared drying is presently for

drying preparatory paints (fillers and basecoats), thus avoiding time loss between each paint operation and allowing the paint booth to be used for topcoat painting and curing of this layer. The infrared drying equipment used in paint shops could be two different types, depending on the type of radiation which they use for operation.
Hot air Steel plate DRYING BY CONDUCTION-CONVECTION

Short wave infrared equipment. Medium wave infrared

equipment. The short wave infrared equipment is fitted with quartz tubes, which emit in the visible spectrum and for this reason they give off a characteristic orange or red light. When they are switched on, they reach working temperature in a few seconds and they also loose their heat very quickly when switched off. The radiation waves are more penetrating than the medium wave rays and the drying times are consequently shorter. The medium wave infrared equipment emits rays produced by ceramic plates and these are not visible, the only indication that they are operating can be had from the heat given off. They need several minutes to reach their working temperature, likewise they also require some minutes to loose their heat when switched off.
Infrared radiation

Paint film

DRYING BY RADIATION

Steel plate

Paint film

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The refinishing topcoat paints presently used in the paintshops could be applied according to different systems: Single coat system and dual coat system which is the most common. The tri-coat system is in fact a result of the painting technique required by certain dual coat pearl effect paints.

TYPES

OF

R E F I N I S H I N G PA I N T S
Refinishing paints and application methods
The refinishing paints are generally the last layer of protection which is applied to the vehicle and therefore it will remain in contact with the atmosphere. It should be resistant to the sun, humidity, abrasion and protect the internal paint layers. Finally since it is the external paint layer, its aesthetic aspect is very important in relation to the quality of the finished paint job: it will provide the color and attractive shine aspects which are so important nowadays in vehicle bodies. The paints which are presently used in vehicle repairs are the acrylic polyurethane types, which offer very good aesthetic and protection qualities. The usual finishes offered by these paints are dual and single coat.

Single coat finish

This term is used when the final coat is unique and offers all the qualities of protection and appearance required. These are also known as solid color paints.

Dual coat finish

This is the term given to the paint when the external layer provides all the protection and shine qualities except the color, in other words, when this is a varnish; therefore it will be necessary to apply an intermediate coat between the primer and the varnish which provides the color. This coat is known as the dual coat base.

SINGLE COAT FINISH

DUAL COAT FINISH

Single coat enamel

Varnish

Primer

Dual coat base

PIGMENT USED IN AUTOMOBILE PAINTS

LI GH T

LI GH T

Covering pigment

Covering pigment

Single and dual coat application

It is important to point out that the paint which provides the true finish, the protection, shine and durability, is the solid color paint in the case of single coat paints, and in the case of the dual coat paints, this is the varnish. Both paint types, the acrylic solid color paint and acrylic varnish, have the same characteristics, in other words, they are both 2 component acrylic paints, and therefore their application is vital to protect the parts painted underneath. The dual coat base does not offer any protection from the elements and its only function is to give the color finish, for this reason the varnish

finish should always be applied on top of this.

Topcoat pigments
The different pigmentation of the topcoats, whether these are single or dual coats will determine the color and finish effects. The pigments which could be found in the topcoat paints can be divided into three groups:

Covering pigments. Metallic pigments. Pearl effect pigments. Covering pigments

The covering pigments are mineral and organic substances which provide opacity and specific colors; in other words, red, white, green or blue pigments.

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 Metallic pigments
The metallic pigments are obtained from fine metallic films (aluminum). They provide the finish and give a reflective surface. Depending on the size of the particles, the reflection will var y in form. The mixture of metallic pigments with covering pigments will provide metallic colored finishes (metallic red, blue, etc.). If there are only exclusively metallic pigments, the finish will be called silver or silver grey or simply metallic grey.

oxides, iron The nucleus of the pigment as well as the covering are transparent, therefore this pigment does not offer a ver y good finish. The chromatic effect which is produced with these pigments is achieved by the phenomena of reflection and refraction when the light rays pass through the pigment particles. In this case, the thickness of the oxides covering the nucleus will determine the tone of the reflection as reddish, pearl, purple or gold. To achieve opacity, the pearl effect or pearl pigments need to be mixed with covering pigments, since they cannot cover the surface on which they are applied

Pearl effect pigments The pearl effect pigments are made from a nucleus of mica covered with titanium

PIGMENT USED IN AUTOMOBILE PAINTS

LI GH T

LI GH T

Metallic pigment

Pearl effect pigment

completely. Moreover, if they are not mixed with covering pigments, the primer base color could change the final effect achieved.
SINGLE COAT FINISH Solid, smooth or pastel Metallic (rarely used) TYPES OF AUTOMOBILE FINISHES

Types of finish
Presently, with the single coat system, the finishes known as smooth, pastel or solid colors are applied (with covering pigments), although at one time metallic pigments were also used. The dual coat system was developed for the application of metallic finishes although it can also be used for solid color finishes. Since the introduction of the pearl effect paints this type of dual coat finish is also used for these applications. When the original paint has only pearl effect, the color achieved will depend on the thickness of the paint film and the base to which it is applied (in this case the basecoat applied on the vehicle body).When repainting this type of surface, it is necessar y to apply a homogenous base coat to the entire surface to cover the stoppers and fillers before applying the pearl base. For this reason these types of finishes are known as pearl effect tri-coat or simply tri-coat finishes.
PIGMENTS Covering Metallic Pearl effect TRI-COAT FINISH Pearl effect Solid, smooth or pastel DUAL COAT FINISH Metallic Pearl effect

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The preparation of the refinishing paints consists in the addition of the cataliser and the diluting agent suitable for the conditions of application. This is done with the aid of the mixing sticks. A good spray paint application demands knowledge and control of the different variables which play a role in this operation: diluting agents, temperature, regulation and movement of the gun.

P R E PA R AT I O N A N D A P P L I C AT I O N O F T H E R E F I N I S H I N G PA I N T S
When the color formulation corposants have been mixed to achieve the tone required, the corposants for spraying such as the diluting agents and the catalisers should then be added to the mixture. for conditions above and below this temperature.

Preparation of dual coat paint

Dual coat base

The dual coat base is a monocomponent paint and for this reason, no cataliser needs to be added. It is only necessary to add a diluting agent in order to adjust the viscosity of the paint. The type of diluting agent can also be varied according to the temperature.

Preparation of the single coat paint

The preparation of the single coat paint consists in the addition of the catalisers and diluting agents in the proprtions required. The ambient temperature will influence the application of the paint since the ideal temperature is between 18 and 25 C, and the paint manufacturers formulate catalisers and diluting agents which correspond to this ideal temperature and also

Varnish
There are many types of varnishes which can be used on top of a dual coat base and each one of these has different qualities. The preparation

PREPARATION OF SINGLE COAT PAINT

PREPARATION OF DUAL COAT BASE PAINT

Diluting agent Cataliser Single coat paint

Diluting agent Single coat paint

PREPARATION OF VARNISH

Diluting agent Cataliser Varnish

is similar to that of the single coat paint, requiring the addition of a diluting agent and cataliser.

with lack of required shine will be formed. On the other hand, if the solvents take too long to evaporate, the paint film could come off, producing the effect known as sags or runs. The factors with the greatest influence over the evaporation of the solvents are as follows: 1. Chemical composition of the solvents and diluting agents The greater or lesser volatility will determine the speed of evaporation. The utilisation of different corposants can adjust the evaporation curve to the working temperatures. For this reason different diluting agents are available for use at different temperatures. 2. Ambient temperature during spraying The higher the ambient temperature, the faster the evaporation of the solvents and diluting agents, for this reason, a solvent should be used with a slower evaporation factor, known as heavy or slow. When the temperature is lower, the solvents with a faster evaporation factor should be used and these are known as light or rapid.

Spray painting
The application of paint by spraying is done by atomising the paint so that it adheres to the surface and leaves no visible trace of application. To achieve this objective satisfactorily, it is necessary to control all the variables which influence the formation of the paint film, among which we can mention:

Paint composition. Diluting agents used. Ambient temperature. Nature of the part being
painted. The evaporation of the solvents and diluting agents have an important influence on the paint job.

Evaporation of the volatile composant (solvents)

The evaporation of the solvents and diluting agents have a decisive influence on the formation of the paint film, permitting this to spread properly without peeling. If the solvents and diluting agents evaporate too quickly, the paint film will not extend sufficiently, and a rough surface (orange peel)

27

3. Speed and shape of the spray

IMPORTANT FACTORS IN THE FORMATION OF A PAINT FILM Poor spread of paint film (orange peel) Paint film with perfect spread Excessively liquid paint film (sags or runs)

formed by the spraygun The compressed air pressure and the diameter of the nozzle will determine the shape of the spray and therefore the amount of solvents which will evaporate before reaching the surface. 4. The distance between the gun and the surface There is an optimum distance which guarantees that the paint which reaches the surface has the correct content of solvents. This distance depends on the type of paint and the gun but is generally between 15 and 20 cm.

High viscosity

Low viscosity

Paint composition (formulation)

High temperature Application temperature

Low temperature

The greater the distance, the dryer the film which will reach the surface, and therefore the paint spread will be less(orange peel), while if the distance is too small, the paint will be applied with an excess of solvents and

High pressure Application pressure

Low pressure

will run on the surface. Another important point is that the distance between the gun and the surface should always be maintained constant. 5. Ambient humidity If the relative humidity is very high, it will make the

Distance of spraygun

evaporation of the solvents more difficult. A very high humidity, above 80 % or a very low humidity, below 20 % should be taken into account when spraying.

Main observations for spray painting

As a consequence of the points mentioned in the previous chapter, to achieve a good quality paint finish it is advisable to proceed according to the following recommendations: 1. Formulate the paint according to the indications in the specification sheets, taking into account the ambient temperature in order to decide on the solvent and diluting agent to be used. 2. Adjust the conditions of operation of the spraygun, working pressure and nozzle diameter in line with the indications on the product technical sheet and the type of gun being used. 3. Keep the gun distance from the surface within the allowed limits and always hold the gun perpendicular to the surface being painted. In short, make side to side movements with the arm and avoid rotation of the wrist or elbow. 4. To ensure that the film thickness is equal on the entire surface, the side to side movement of the gun should be done at a constant speed, and each pass will cover half of the mark left by the previous one. To avoid sharp cuts in the paint line, the trigger
Side to side movement Guns and nozzles Product specification sheets

SPRAY PAINTING

APPLICATION

Product to be applied

Distance of application

Position of the gun

B5-26

should not be pressed until the movement of the arm has already begun, and in the same way, the trigger should be released before the arm movement stops.

29

The color of an object is a sensorial perception which depends on the nature of the object, the lighting and the eye which perceives the object.

B A S I C C O L O R K N OW L E D G E
INTERESTING FACTS
Electromagnetic radiation Electromagnetic radiation is a form of energy propagation through waves which is defined by the: Wave amplitude. Wavelength. Speed of propagation. The wavelength is the property which defines different electromagnetic radiation. The values can vary from 0.001 nm (*) to more than 10 km. The properties of the electromagnetic radiation can vary considerably depending on the length of the wave. The wavelengths between 400 nm and 700 nm make up the visible light spectrum. The wavelengths above 700 nm are no longer visible to the eye and are known as infrared radiation (IR) waves. The wavelengths below 400 nm are also invisible to the eye and these are known as ultraviolet radiation waves (UV).
* nm, nanometer, a billionth of a meter

Color perception
A true understanding of the phenomena of color is complex. A very important point to bear in mind is that color is only a sensorial perception, meaning that in reality that color does not exist. What we mean by color is an interpretation which the brain provides us with from a series of phenomena which are captured by sensorial preceptors: the eyes. The phenomena which produces the excitation of these preceptors is nothing other than light, which could be coming from different primary sources, such as the sun, light bulbs, fluorescent lights, fire, etc., and it is capable

of passing directly to the eyes. However it could also illuminate all other objects which reflect this light in very different ways, and this is how each of these are seen as different colors. To create a color three essential factors need to play a part:

LIGHT
Illuminates the object

OBJECT
Depending on its composition, it will reflect the light in different ways.

THE EYE
This perceives the light reflected from the object and sends sensations to the brain, these are interpreted as forms and colors.

ELEMENTS OF COLOR PERCEPTION

LIGHT EYE

OBJECT

ELECTROMAGNETIC RADIATION Wavelength: 1000 m 10 m 1m 1 cm 0.1 mm 700 nm 400 nm 10 nm 0.01 nm

Type of reduction:

AM radio

Short wave

TV/FM

Radar

Microwave

Infrared

Visible light

Ultraviolet

X ray

Gamma ray

Light
What we understand as light is in a fact a type of electromagnetic radiation, in short, the radiation with wavelengths between 400 and 700 nanometers are the only ones capable of being perceived by the photosensitive cells of the human eye and which form what is known as the visible light spectrum area of the electromagnetic spectrum. The different wavelengths are perceived as different colors:

from purple (400 nm), up to red with a (700 nm) wavelength. When the light has radiation spread over the entire visible spectrum in a uniform fashion, it is known as WHITE LIGHT, since this is the light which we see. For this reason it can be said that all white light is made of a mixture of all the other colors. Isaac Newton is responsible for having made this discovery, which he achieved by passing a ray of white light through a quartz prism.

ELECTROMAGNETIC RADIATION

White light is made of a mixture of all the other colors. When it passes through a transparent prism, it decomposes into all the colors of the rainbow. This is due to the different angles of refraction of each one of the colors.

31

SECTION OF THE HUMAN EYE Cells Eye ball

Retina Pupil Crystalline lens

Optic nerve

The eye
The human eye has cells containing substances which are sensitive to the electromagnetic radiation in the visible light spectrum. When one of these minute cells is excited by the light which reaches it, it sends a nerve impulse to the brain. The combination of the thousands and thousands of signals which the brain receives from these cells composes what we call vision: forms and colors. All these cells do not behave in the same way. Three types are responsible for color vision: some are more sensitive to red light, some to green and others to blue. The perception of the different colors is the result of the mixture in different proportions of the sensations from these three cell types.

Objects
Everything which surrounds us is perceived as having different colors, and although these objects may not be primary light sources, such as the sun, light bulbs, fluorescent lights, fire or a television, they receive light from different sources and it is this light which generates the color of the object. Different materials can absorb all or part of the light which illuminates these, and reflect the remainder, which is what arrives at our eyes. In this way an object is seen as red, when it absorbs the green and blue light shining on it and reflects the red. It will be seen as yellow when it absorbs the blue radiation and reflects the red and green (the mixture of which is perceived by the eye as a yellow sensation).

t ligh ite h W

LIGHT ABSORPTION BEHAVIOUR OF OBJECTS t igh el hit W

The different behaviour of the objects which surround us under the influence of light is what makes us perceive them as having different colors.

Metamerism
Due to the fact that the color of objects depends on the surrounding light and this light could have very different composition, more blue (daylight), more red (light bulb), etc., we could find that two objects under the same light source will have the same color, however if we illuminate them with a different light, they could appear to have different colors. This phenomena is

known as metamerism. The only manner of ensuring that two objects have no color difference under any type of light (that they do not show metamerism) is to ensure that they have the same composition. Therefore in the reproduction of the color of a vehicle by mixing the basic constituents, it is important to use the same pigments as those contained in the original paint of the vehicle.

METAMERISM

Cyan light (greenish blue)

Day light (white)

33

The synthesis of colors consists in taking advantage of the form in which these are perceived by the human eye, so that different stimulations could give the sensation of similar colors. The process of color mixing is different depending on whether we are dealing mixture of light or mixture of pigments.

SYNTHESIS

OF

COLORS
Light: additive color mixing
By combining different intensities of three lights: red, green and blue, we can reproduce the entire color range and for this reason these three colors are known as primary colors. The combinations between these to obtain different colors is known as additive mixing, since the lights which are mixed add to their effects. This is the principle on varying proportions, makes it is possible to produce a whole series of colors. For example, by mixing cyan and yellow pigments, the result will be a substance which absorbs red and blue light and reflects green radiation (which will be the secondary pigmentation color). As an analogy we will get the same result with all the other mixtures. The mixture of the three primary pigmentation colors will not give white light, since the resulting mass will equally absorb red, green and blue, and the result will be a black or grey more or less dark. Primary pigmentation colors
YELLOW (absorbs BLUE) MAGENTA (absorbs GREEN) CYAN BLUE (absorbs RED)

The combination of the primary light colors are known as additive mixing.

which the color television screens are based (RGB screens). The maximum intensity mixture of these three colors will produce white light. If the intensity of the three is zero, the resulting color will be black.

Pigments: subtractive color mixing

When a certain substance absorbs selectively and singularly the wavelength of one of the primary light colors, the resulting color perceived is due to the excitation of two of the three chromatic receptors in the eye. The primary pigmentation colors are thus created, they are cyan blue (absorbs red), magenta (absorbs green), and yellow (absorbs blue). The mixture of pigments or paints of these three colors in

This will give us the term known as the CHROMATIC PIGMENTATION CIRCLE, which will provide the basic pigmentation colors and the mixtures which can be made from these. Starting with a specific cyan pigment, a specific magenta and a yellow, a specific chromatic circle can be obtained. If we change one

of the basic pigments for another, a darker green, a dirty yellow, etc., we will get different chromatic circles, with other variations in the different mixtures. For this reason, the mixing machine is not limited to three colors, since in reality with three colors it is not possible to get all the other colors. The so called cyan (sky blue), and magenta (fuchsia red), are often changed for red and blue. When we take a marino blue as the primary color instead of sky blue, and a dark

yellowish red instead of fuscia red, the descriptions are generally simplified and they are taken as the three basic pigmentation colors. Basic pigmentation colors
YELLOW RED BLUE

The mixtures of these three colors, known as secondary colors are: green, orange and purple.

B5-34

With subtractive mixtures, pigments are used to obtain the different colors. CHROMATIC PIGMENTATION CIRCLE PRIMARY YELLOW

OR AN GE

N EE GR

GREY

PRIMARY

PRIMARY

The chromatic pigmentation circle is a template which represents all the colors which can be obtained by mixing the three basic colors YELLOW, RED, and BLUE, and where it is possible to analise the different tendencies which any color could have.

PURPLE
B5-35

BL UE

D RE

35

The variations in the colors which could be found on vehicles in relation to a pattern or reference card could make it necessary to correct the color formulations. A knowledge of colorimetry is essential to ensure the success of these corrections or adjustments.

C O L O R I M E T RY :
INTERESTING FACTS
Variations of color in relation to the standard patterns In theory all the vehicles identified with a specific color code should have a color which corresponds exactly to that code, however in reality this is not true. The reasons for deviations in color, which give rise to the term known as color variants or alternatives with respect to the standard color are varied, some of these are:

THE

ADJUSTMENT

OF

COLORS

Color identification and tendencies

To apply the topcoat of paint, it is essential to have paint with the same color as the vehicle. The first step in this task is to locate the color code on the body, which will indicate the paint used to paint the car in the factory. When this code has been identified it should be compared with the test cards corresponding to this color and its possible variants. These variants are the result of the follow up done by manufacturers of paint in order to provide paint for the repair of vehicles, by analising the possible differences in relation to a standard patron.

correct selection, this paint should then be applied to a test card. To enable a good comparison to be made, the following aspects should be taken into account:

If the paint is a single coat,

it should be applied with cataliser and diluted as if applying to the vehicle.

If the paint is dual coat, apply

it diluted as if applying to the vehicle and then apply a varnish on top.

Different suppliers of paint

to the same factory The paint supplied by these suppliers comes with difference inside a tolerance limit, however between each different supplier these differences could be greater.

Do not compare the color until

the test card is completely dry (the use of a small drying oven could be convenient).

Different factories

Different paint spray lines where the parameters (thickness, drying time, temperature, etc .) could have slight differences which affect the color.

The paint layers should be

applied in the same way as on the vehicle and in sufficient numbers to ensure complete coverage, for this task, test cards should be used having contrast marks (black lines on a white background or black and white squares).

Natural ageing of the paint

with the passage of years This could lead to change in the paint tone and cause yellowing.

Painting of test cards

When the color has been chosen, it will be prepared by following the instruction s given in the microfiche. In order to ensure the

The test card should have a contrasting base to ensure that sufficient paint layers have been applied to provide adequate coverage.

TEST CARD

When the painting of the test card has been finished, it can then be compared with the vehicle. This comparison should be done in the same area as the comparison with the patron. The result of the comparison with the test card could be one of the following cases: 1. The test card has the same color as the body without any noticeable differences. In this case the color prepared can be applied to the parts which require painting. 2. The color of the test card has some differences with that on the body. In this case it will be necessary to make some adjustments to the color formula in order to adapt it to the vehicle. To enable the color formulation to be made properly it is important to make an analysis of the deviation tendencies of the color.

Hue deviation
This deviation consists in situating the color of the vehicle in the chromatic circle and the color will displace from this position in one or other direction of the circle, accentuating one of the hues.

Purity deviation
With the paint color of the vehicle located in the chromatic circle, the paint which has been prepared displaces from this position, towards the inside or outside of the circle, and in the first instance this is known as a dirtier color and the second case a purer color. The pure colors are those located at the outside of the circle, as the center of the circle is approached, the color becomes dirtier due to mixture with the other colors, until the center is reached, where the mixture of all colors takes place and none has priority, in other words black and all the tones of grey until white is reached. Deviation of clarity This occurs when the color which has been prepared is found in the same point of the chromatic circle as the color of the car, but in a superior or inferior level; this means that it is clearer or darker respectively.

Analysis of tendencies
Taking into account that the color formula is very close to the color of the vehicle, the deviations could be as follows. COLOR DEVIATIONS

HUE towards neighboring colors. PURITY of color. CLARITY.

37

ANALYSIS OF DEVIATIONS IN THE CHROMATIC CIRCLE BLUES GREENS Color of the vehicle and purity deviations PURPLES

Color of the vehicle and hue deviations

Color of the vehicle and clarity deviations

YELLOWS ORANGES

REDS

B5-37

Examples of color deviations

will also be green, could show a deviation towards the outside of the circle, giving a more vivid or pure green, or to more dirtier colors, such as olive green, located on the inside of the chromatic circle.

Hue deviations
If the car is an orange color, the paint which is prepared (which will also be orange) could show a deviation to red, or to yellow, thus giving an orange which is more reddish or more yellowish than that of the car.

Clarity deviation
If the color of the car is red, the paint prepared could have no variation other than being darker (dark red), or brighter (rose colored).

Deviation of purity If we have a green car, the paint prepared from the code, which

Correction of deviations
The correction of color is done by adding one of the basic colors to move the color prepared towards the position in the chromatic circle of the color present on the car. In chromatic colors (color tendency clearly defined), the correction needed will usually be that of the hue, and when this has been adjusted, the clarity can then be adjusted, if needed. In achromatic colors, or colors with a neutral tendency, such as whites, greys or beiges, etc., the correction of purity is the most commonly required.

Correction of purity
When an achromatic color has a tendency which needs to be corrected, this is done by adding a color which is complementary to this tendency; in other words, located in the opposite end of the chromatic circle. For example, on preparing a grey, the resulting formulation comes out yellower than the car, the color which has to be added to neutralise this tendency will be a purple or a blue.
CORRECTION OF PURITY CORRECTION OF HUE

Correction of clarity
When the only deviation which exists between the color sprayed on the test card and that of the vehicle is in the area of clarity or luminosity, the correction can be made as follows: To darken:

Correction of hue
To make a correction to the hue, a basic is added which has a tendency opposed to that of the deviation found in the formula prepared in relation to the cars color. For example, if the color is green, and the color prepared is more yellow, a blue or bluishgreen basic should be added. To make the correction it is advisable to use the basics already present in the formulation, to avoid the phenomena of metamerism, and also to choose those included in the formula which are closest to the color of the vehicle.

With chromatic mixtures

(reds, greens...): add black

With achromatic mixtures

(white, grey...): add the chromatic base which is most present in the original formula. To lighten:

CORRECTION OF CLARITY

With pastel or solid colors,

add white.

With metallic colors, add

metallic base with a heavier grain. White cannot be used, since it has a tendency to cancel the metallic effect.

39

SELF CHECKING EXERCISES

The following questions will serve as a self-checking test, which will enable the degree of understanding of the present manual to be determined.

1. What type of sander base is the most appropriate for sanding primers/fillers? A. Flexible base. B. Rigid base. C. Rectangular base.

2 . What type of sanders are generally heavier to handle? A. Electric.

B. Pneumatic.

C. Rotary.

3. Which of the paints in the diagram has the higher viscosity? A. B. C . It is not possible to determine exactly.

4. The HVLP (high volume low pressure) sprayguns differ from the conventional guns for the following reasons: A. The amount of air which enters the HVLP gun is less than the conventional gun and for this reason it atomises less. B. The exit pressure from the HVLP gun is less than on conventional guns and for this reason it atomises less. C. None of the previous statements is correct. 5. What mixture has been used to formulate this mix of paint? A. 2:1:0.5 mixture. B. 3:1:1 mixture. C. 4:1:1 mixture.

6. What quality should the compressed air supplied to the sprayguns posses? A. Free from solid particles. B. Free from solid particles and condensed water. C. Free from solid particles, condensed water and be properly lubricated.

41

7. What volume of air should be passed into the paint booth by pumping equipment? A. The same volume as that removed from inside the cabin by the extraction equipment. B. A lower volume than that extracted. C. A bigger volume than that removed from inside the cabin by the extraction equipment.

8. Which of the following paint, hardener and diluting agent has been correctly prepared according to the mixture 4:2:1? A. Mixture A. B. Mixture B. C. Mixture C.

9. What is important to bear in mind in relation to the distance between the gun and the surface being painted? A. That it should be that specified for the gun and the material being applied. B. That it should always be the same maintaining the gun perpendicular to the surface being painted. C. The two statements are correct.

10. What color deviations could the test card show in relation to the vehicle? A. Hue deviation, clarity or purity. B. Deviation of red blue or yellow. C. Deviation of red blue or green.

11. The test card was painted with the paint prepared for this car, what basic color is needed to make the correction to the formulation? A. Any basic with greenish blue color. B. A basic blue which has been included in the original formulation. C. A basic greenish blue included in the original formulation.

A NSWERS :

43

1 :A. 2:A. 3:B. 4:B. 5:B. 6:B. 7:C . 8:C . 9:C . 1 0:A. 11 :C .

ECOLOGICAL PAPER

SERVICE DIVISION Service Organization

Technical status 05.97. Due to constant product development and improvements, the data which appear in this document are subject to possible variations. The booklet is for exclusive use of the SEAT sales organization. ZSA 23807977005 ING05CB JULY 97 70-05