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Paint is a liquid pigment that, after applied to a solid material and = allowed to dry, adds a film-like layer, in most cases to create an image, k= nown as a painting. Paint can be made in many colors and types. Most paints= are either oil-based or water-based, and each has distinct characteristics= .
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For one, it is illegal in most municipalities to= discard oil-based paint down household drains or sewers.[citation needed] = Clean-up solvents are also different for water-based paint than oil-based p= aint.[3] Water-based paints and oil-based paints will cure differently base= d on the outside ambient temperature of the object being painted (such as a= house). Usually, the object being painted must be over 10 C (50 F), althou= gh some manufacturers of external paints/primers claim they can be applied = when temperatures are as low as 2 C (35 F).[4]
<= div>Paint was one of the earliest arts of humanity. Some cave paintings dra= wn with red or yellow ochre, hematite, manganese oxide, and charcoal may ha= ve been made by early Homo sapiens as long as 40,000 years ago.[5] Paint ma= y be even older. In 2003 and 2004, South African archeologists reported fin= ds in Blombos Cave of a 100,000-year-old human-made ochre-based mixture tha= t could have been used like paint.[6][7] Further excavation in the same cav= e resulted in the 2011 report of a complete toolkit for grinding pigments a= nd making a primitive paint-like substance.[7][8]
Interior walls at the 5,000-year-old Ness of Brodgar have been found= to incorporate individual stones painted in yellows, reds, and oranges, us= ing ochre pigment made of haematite mixed with animal fat, milk or eggs.[9]= [10]
Ancient colored walls at Dendera, Egyp= t, which were exposed for years to the elements, still possess their brilli= ant color, as vivid as when they were painted about 2,000 years ago. The Eg= yptians mixed their colors with a gummy substance and applied them separate= ly from each other without any blending or mixture. They appear to have use= d six colors: white, black, blue, red, yellow, and green. They first covere= d the area entirely with white, then traced the design in black, leaving ou= t the lights of the ground color. They used minium for red, generally of a = dark tinge.[citation needed]
In the 13th ce= ntury, oil was used to detail tempera paintings. In the 14th century, Cenni= no Cennini described a painting technique utilizing tempera painting covere= d by light layers of oil. The slow-drying properties of organic oils were c= ommonly known to early European painters. However, the difficulty in acquir= ing and working the materials meant that they were rarely used (and indeed,= the slow drying was seen as a disadvantage[12]). The paint was made with t= he yolk of eggs, and therefore, the substance would harden and adhere to th= e surface it was applied to. The pigment was made from plants, sand, and di= fferent soils. Most paints use either oil or water as a base (the diluent, = solvent, or vehicle for the pigment).
The Flemish-trained or influenced An= tonello da Messina, who Vasari wrongly credited with the introduction of oi= l paint to Italy,[13] does seem to have improved the formula by adding lith= arge, or lead (II) oxide. A still extant example of 17th-century house oil = painting is Ham House in Surrey, England, where a primer was used along wit= h several undercoats and an elaborate decorative overcoat; the pigment and = oil mixture would have been ground into a paste with a mortar and pestle. T= he painters did the process by hand, which exposed them to lead poisoning d= ue to the white-lead powder.
In 1718, Marsh= all Smith invented a "Machine or Engine for the Grinding of Colours" in Eng= land. It is not known precisely how it operated, but it was a device that d= ramatically increased the efficiency of pigment grinding. Soon, a company c= alled Emerton and Manby was advertising exceptionally low-priced paints tha= t had been ground with labor-saving technology:
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By the proper onset of the Industrial Revolution, in the mid-18th cent= ury, paint was being ground in steam-powered mills, and an alternative to l= ead-based pigments had been found in a white derivative of zinc oxide. Inte= rior house painting increasingly became the norm as the 19th century progre= ssed, both for decorative reasons and because the paint was effective in pr= eventing the walls rotting from damp. Linseed oil was also increasingly use= d as an inexpensive binder.
In the 21st cen= tury, "paints" that used structural color were created. Aluminum flakes dot= ted with smaller aluminum nanoparticles could be tuned to produce arbitrary= colors by adjusting the nanoparticle sizes rather than picking/mixing mine= rals to do so. These paints weighed a tiny fraction of the weight of conven= tional paints, a particular advantage in air and road vehicles. They reflec= t heat from sunlight and do not break down outdoors. Preliminary experiment= s suggest it can reduce temperatures by 20 to 30 degrees Fahrenheit vs conv= entional paint. Its constituents are also less toxic.[15]
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The vehicle is composed of binder; if it is necessary to thi= n it with a diluent like solvent or water, it is a combination of binder an= d diluent.[16][17] In this case, once the paint has dried or cured very nea= rly all of the diluent has evaporated and only the binder is left on the co= ated surface. Thus, an important quantity in coatings formulation is the "v= ehicle solids", sometimes called the "resin solids" of the formula. This is= the proportion of the wet coating weight that is binder, i.e., the polymer= backbone of the film that will remain after drying or curing is complete. = The volume of paint after it has dried, therefore only leaving the solids, = is expressed as the volume solid.
The binde= r is the film-forming component of paint.[18] It is the only component that= is always present among all the various types of formulations. Many binder= s must be thick enough to be applied and thinned. The type of thinner, if p= resent, varies with the binder.
Thermoplast= ic mechanisms: Some films are formed by simply cooling the binder. For exam= ple, encaustic or wax paints are liquid when warm, and harden upon cooling.= In many cases, they re-soften or liquify if reheated.
The paint type known as Emulsion in the UK and Latex in the Uni= ted States is a water-borne dispersion of sub-micrometer polymer particles.= These terms in their respective countries cover all paints that use synthe= tic polymers such as acrylic, vinyl acrylic (PVA), styrene acrylic, etc. as= binders.[21] The term "latex" in the context of paint in the United States= simply means an aqueous dispersion; latex rubber from the rubber tree is n= ot an ingredient. These dispersions are prepared by emulsion polymerization= . Such paints cure by a process called coalescence where first the water an= d then the trace, or coalescing, solvent, evaporate and draw together and s= often the binder particles and fuse them together into irreversibly bound n= etworked structures, so that the paint cannot redissolve in the solvent/wat= er that originally carried it. The residual surfactants in paint, as well a= s hydrolytic effects with some polymers cause the paint to remain susceptib= le to softening and, over time, degradation by water. The general term of l= atex paint is usually used in the United States, while the term emulsion pa= int is used for the same products in the UK, and the term latex paint is no= t used at all.
Recent environmental require= ments restrict the use of volatile organic compounds (VOCs), and alternativ= e means of curing have been developed, generally for industrial purposes. U= V curing paints, for example, enable formulation with very low amounts of s= olvent, or even none at all. This can be achieved because of the monomers a= nd oligomers used in the coating have relatively very low molecular weight,= and are therefore low enough in viscosity to enable good fluid flow withou= t the need for additional thinner. If solvent is present in significant amo= unts, generally it is mostly evaporated first and then crosslinking is init= iated by ultraviolet light. Similarly, powder coatings contain little or no= solvent. Flow and cure are produced by the heating of the substrate after = electrostatic application of the dry powder.[citation needed]
Combination mechanisms: So-called "catalyzed" lacquers" = or "crosslinking latex" coatings are designed to form films by a combinatio= n of methods: classic drying plus a curing reaction that benefits from the = catalyst. There are paints called plastisols/organosols, which are made by = blending PVC granules with a plasticiser. These are stoved and the mix coal= esces.
Solvent-borne, also called oil-based= , paints can have various combinations of organic solvents as the diluent, = including aliphatics, aromatics, alcohols, ketones and white spirit. Specif= ic examples are organic solvents such as petroleum distillate, esters, glyc= ol ethers, and the like. Sometimes volatile low-molecular weight synthetic = resins also serve as diluents.
Pigments are= granular solids incorporated in the paint to contribute color. Dyes are co= lorants that dissolve in the paint. Fillers are granular solids incorporate= d to impart toughness, texture, give the paint special properties,[24] or t= o reduce the cost of the paint. During production, the size of such particl= es can be measured with a Hegman gauge. Rather than using only solid partic= les, some paints contain dyes instead of or in combination with pigments.
Hiding pigments, in making paint opaque, als= o protect the substrate from the harmful effects of ultraviolet light. Hidi= ng pigments include titanium dioxide, phthalo blue, red iron oxide, and man= y others.
Fillers are a special type of pig= ment that serve to thicken the film, support its structure and increase the= volume of the paint. Fillers are usually cheap and inert materials, such a= s diatomaceous earth, talc, lime, barytes, clay, etc. Floor paints that mus= t resist abrasion may contain fine quartz sand as a filler. Not all paints = include fillers. On the other hand, some paints contain large proportions o= f pigment/filler and binder.
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