> > > >

1950-51 Theatre Catalog, 9th Edition, Page 417 (395)

1950-51 Theatre Catalog, 9th Edition
1950-51 Theatre Catalog
1950-51 Theatre Catalog, 9th Edition, Page 417
Page 417

1950-51 Theatre Catalog, 9th Edition, Page 417

use a sealer. By preventing the absorption of oil from the paints, these coatings not only reduce the number of coats required but insure a stronger film.

If wear and tear on a floor finish has been general but not very severe, cleaning with a paint thinner and simple refinishing will probably be satisfactory. Where traiiic has been heavy in several scattered areas, the finish may have worn away entirely, and the wood itself damaged. As refinishing will result in a non-uniform appearance, the best procedure is to use a sanding machine to remove all of the old finish and scarred wood.

By following the foregoing recommendations, you can win the battle against the enemies of paint. But, be sure to do these things: Before painting, prepare thoroughly, employ a good painter, ask your paint dealer for advice, and use the best paint you can buy.

Repainting Metallic Surfaces

Here, in brief, is the formula for a successful paint job on metals: First get the surface clean before you paint, and then apply the recommended number of coats of paint to exterior bare metal surfaces.

The enemies of paint#rust and scale, oil and grease, moisture and salt depositse-must be completely removed before any new paint is applied. If the area is covered with dirt and grease, the coating does not come in contact with metal and so does not adhere. If the dirt and grease come off, the coating comes off with it. If rust is not removed, the paint is under a handicap from the start. Under severe conditions of exposure to salt water, rain and sun, rust soon breaks through again.

All surfaces have minute indentations or pores, sometimes so small that you can see them only through a microscope. In addition, good painting surfaces have small irregularities like a continuous series of hills and valleys. When the paint is applied, it flows or is forced into these pores and valleys, securing a foothold. If paint is well worked into these holes by brushing or spraying, better adhesion will result. A paint film, if it is applied over loose projections which are not secured to the surface, will give away. That is the reason for the warning: Never paint over a surface which is not clean, Do not paint over shiny smooth surfaces which do not have smalls and valleys so necessary for good adhesion. toughen them with a wire brush or sandpaper.

Steel surfaces are prepared for painting by these methods: (1) Sandblasting, (2) scalingr and power wire brushing, and (3) scraping and hand wire brush mg.

Sandblasting is the only method which thoroughly cleans steel of everything, including mill scale. In the same operation it roughens up the surface to permit good adhesion. There are two methods of sandblastingedry and wet, each with its special advantages.

Dry blasting is used in confined spaces where the dust can be controlled and where it would be difficult to remove the water if the wet process were used.

Wet blasting is used in the open and other places Where dust must be kept


NEW SYNTHETIC RESINS are playing their part in the development of better paints, as well as a role

in the conservation of natural oils and resins.

Through courtesy of the Goodyear Tire and Rubber

company, there are presented here live pictures on the use of Pliolite 5-5 in paint manufacture. Top picture shows preparation by plastic mixing on a hot two-roll mill preparatory to receiving the pigment.

PIGMENT IS INCORPORATED into the Pliolite S-S resin {or a paint base, as shown in the middle picture. This is a rapid and effective method of making paint. In the bottom pictures is shown the Pliolite S-5 resin being dissolved in a solvent to make a paint vehicle which can be used tor grinding paint by the conventional methods. The new resin is expected to make useful, last-drying, protective coatings.

l j v i l l
1950-51 Theatre Catalog, 9th Edition, Page 417