Paint Quality Research Articles

Corrosion of galvanized steel in animal waste environments

Abstract Specimens of seven different types of steel plate] were subjected to animal waste environments to determine resistance to corrosion during a 49-month trial. The metal types included: unpainted cold-rolled steel (BS), cold-rolled steel covered with epoxy paint (ECS), batch galvanized (BG), Galfan 60 (GF-60), Galfan 90 (GF-90), stainless steel (SS) and drawing quality galvanized (DQ). Specimens were exposed to dairy, swine and poultry manure in the following situations: manure collection pit, animal housing area, suspended over an anaerobic lagoon and submerged in an anaerobic lagoon. The manure collection pit environments caused the greatest amount of corrosion. Only the SS and BG specimens did not suffer metal loss for either the swine, dairy or poultry manure pits. All other metal types suffered appreciable metal loss in manure pit environments with the exception of GF-90 in the swine and dairy manure pits. Very little metal loss was observed on any of the specimens in the animal housing areas or those submerged in the anaerobic lagoons. Of the specimens positioned above the anaerobic lagoons only BS and ECS suffered metal loss.

Carpet, Paint and Indoor Air Quality

AbstractIndoor air quality was examined in a room following the application of latex paint, and again after the installation of carpeting (adhered with a solvent-based mastic). Tests for aromatic hydrocarbons were negative after the room was painted. Following carpet installation, substantial elevations in hydrocarbons were measured. These levels were readily reduced by ventilation. Without ventilation, concentration rapidly rose. A period of 1–2 weeks was required for dissipation of the solvent to concentration levels equivalent to those attained with forced ventilation.

Constable and his drawings

This collection of 42 drawings, never previously published together, gives new insight into Constable's technical and emotional approach into his work. With the help of copious comparative illustrations and exhaustively detailed research drawn from numerous contemporary sources, the author builds up a portrait of the artist, his background and family life. The luscious quality of Constable's painting typifies an idealized image of the English countryside in the 18th centruy. Such familiar paintings as Greenham Lock and Flatford Mill were not captured in spontaneous bursts, but were committed to canvas only after numerous working-drawings and oil sketches had been completed. This is the first full-length study of the subject, presenting much hitherto unpublished material and offering a balanced and pertinent assessment of Constable and his work.

Corrosion Commentary

Rust damage to passenger cars—Swedish report. At the initiative of Bilskadecenter, which is run by the Skandia and Trygg‐Hansa insurance companies, a joint research project was started at the Swedish Corrosion Institute in 1980 in order systematically to chart and analyse the extent and distribution of visible corrosion damage on different parts of cars. Special attention was to be paid to such factors as the significance of the quality of painting.

Automatic air electrostatics give ‘trouble‐free spray’ at Thorn Heating

Thorn Heating Ltd have been using twelve automatic Kontour electrostatic spraying units from Kremlin Spray Painting Equipment Ltd at their Team Valley, Gateshead, factory over the past nine months for applying a polyester primer to their single and double radiators. According to Mr Alan Cleghorn, Senior Production Engineer, during that period they have been ‘extremely trouble‐free in operation, with very few rejects on painting quality’.

Air electrostatics give ‘trouble‐free spraying’ at Thorn Heating

Thorn Heating Ltd have been using twelve automatic Kontour electrostatic spraying units from Kremlin Spray Painting Equipment Ltd at their Team Valley, Gateshead, factory over the past nine months for applying a polyester primer to their single and double radiators. According to Mr Alan Cleghorn, Senior Production Engineer, during that period they have been ‘extremely trouble‐free in operation, with very few rejects on painting quality’.

New instrumentation for paint thickness testing

In the surface coating procedure, it is not only the quality of paint which is crucial, but how it is applied. Accurate film thickness, ensuring paint film continuity meets the required specification, and adequate substrate coverage, minimising paint film permeability, is imperative for any successful paint system. Measuring coating thickness is an obvious necessity to save production costs, to meet specifications and ensure an accepted level of quality in the product itself, as well as ensuring the product is right from the supplier. In quality control processing, speedy, accurate measurement reduces time, labour and reject costs and minimises scrap materials.

My Background and Intent as a Painter of Nonfigurative or Abstract Pictures

In 1965, I spent the summer in Provincetown, Massachusetts, with a dozen or so artists and friends. Over a period of two months, interviews were recorded on tape by Dorothy Sechler for inclusion in the Archives of American Art of the Smithsonian Institution, Washington, D.C. Our work differed widely and ranged from Realism to nonfigurative abstraction to Pop Art. Each interview led to lively discussions. We were asked what we had gained from our art education, and each voiced basically the same complaint: It had been narrow, boring and dissatisfying. In the early 1940s, a four-year course at the Otis Art Institute in Los Angeles, California, highly academic in approach, engendered in me and some of my classmates a sense of restless frustration, the cause of which I did not then understand. Later I realized that too much emphasis had been placed on narrow interpretations of color theory and of rules of pictorial composition and on memorization of names and dates in art history. Little attention was given to, say, the qualities of Leonardo da Vinci's drawings and paintings. Impressionism was highly regarded but Cubism was dealt with as a 'communicable disease'! The degree of skills acquired in drawing and in oil and water color painting of figurative subjects was estimated by how closely one's pictures resembled those made by the supervising teacher. Individual exploration was not encouraged or even tolerated. Those of us in the group who had been educated in private art schools or in university departments reported essentially the same experience: inhibition of inclinations to originality by stress on formulas of the past. We agreed that most of what we had learned had little to do with the

Instrumentation and painting quality control

Any suggestion that the use of instruments in the inspection of painting and its allied operation of surface preparation is a substitute for the visual and critical inspection carried out by an inspector experienced in the work involved would be a serious disservice to the quality control of painting. Broadly speaking, the experienced inspector knows the problems associated with achieving a predetermined result, he knows how the operator may react to problems of access and other difficulties and is familiar with the short cuts that are sometimes taken. He can, by concentrating his attention on these higher risk areas, do much to prevent bad work and to eliminate the premature breakdown which too frequently mars the finished job. As each successive operation will tend to obscure any faults in the work already done, it is only when the inspector is at hand to see the work actually in progress, and at the completion of each stage, that a sufficiently high degree of security is achieved. This said, it must be added that it is only in conjunction with the use of instruments that the quality of the work can be correctly assessed. In fact the case for the introduction of instrumentation into painting quality control is particularly strong. But great care is required in the interpretation of individual measurements. Many of the tests for physical properties of the dry paint film are empirical, and need to be carried out under controlled conditions if reproducible results are to be obtained.

New Erichsen paint testing instruments

Elcometer Instruments Ltd, the United Kingdom agents for Messrs Erichsen of West Germany, announce the new Erichsen lacquer and paint testing machine, Model 202, which has been designed for the rapid and accurate measurement of the elasticity and adhesive quality of paints and protective coatings of all types in accordance with the test standard DIN 53 156 — ‘Testing of Paints, Cupping test on coating materials (in accordance with Erichsen)’.

"As Unreserved as a Studio Chat": Holman Hunt's Letters to Ernest Chesneau

man Hunt to the French art critic Ernest Alfred Chesneau (1833-1890), which have particular interest because they contain the painter's own views of the Pre-Raphaelite Brotherhood.1 Chesneau, who was finishing up La Peinture Anglaise, had written to Hunt both to secure permission to reproduce his works and for information about himself and his contemporaries. In 1884, two years after its French publication,2 Chesneau's book appeared in England as The English School of Painting, accompanied John Ruskin's prefatory comments. Possibly because of the Ruskinian endorsement, Chesneau's work became popular and influential-eventually receiving the official stamp of approval when it was awarded as prize book by order of the Lords of the Committee of Her Majesty's most honourable Privy Council on Education.3 By 1891 The English School of Painting had gone through four editions in England and several more in its original French version, so Hunt's ideas and information had the opportunity to be widely disseminated. Although Ruskin believed the French critic was rather too ready to forgive the transgressions of minor genius, he enthusiastically recommended the book as a piece of entirely candid, intimately searching, and delicately intelligent French criticism-mostly praise, indeed, but scrupulously weighed and awarded.4 Like Holman Hunt, Ruskin was deeply concerned that English art, which had so long suffered from provincialism, was then so quickly changing its ways that it would soon lose all national characteristics, both good and bad. He therefore believed that Chesneau, who pointed out the special qualities of English painting, had much to offer readers in both France and England. The English

Quality of paint and varnish coatings of medical products and problems of raising it

1. In order to raise the quality of painting of medical products while at the same time reducing the net cost, it is necessary to: a) Paint articles made of rolled ferrous or nonferrous metals with a cleanness of ∇6 (which wholly obviates filling and sharply reduces the number of operations involved in the technological process of painting, while increasing the quality, reliability, and protective properties of the coating); b) Degrease the surface to be painted with MEA and OP-7 aqueous solutions (this sharply increases the corrosion resistance of a paint or varnish coating); c) Use MS-006 quick-drying alkyd styrene filler for local filling of welding seams, etc., instead of PF-002 lacquer filler; the former dries in the cold, whereas the latter requires hot drying or prolonged drying in air of normal temperature; and d) Adopt the method of hand electrospraying instead of painting with a pneumatic sprayer in all cases where there is extended use of monotypic paint or varnish materials of the same color.

It may take a year and a day to beat the quality of your new latex paint.

RETURN TO ISSUEPREVAdvertisementNEXTIt may take a year and a day to beat the quality of your new latex paint.Cite this: Chem. Eng. News 1966, 44, 35, 61Publication Date (Print):August 29, 1966Publication History Published online6 November 2010Published inissue 29 August 1966https://doi.org/10.1021/cen-v044n035.p061Copyright © 1966 AMERICAN CHEMICAL SOCIETYArticle Views3Altmetric-Citations-LEARN ABOUT THESE METRICSArticle Views are the COUNTER-compliant sum of full text article downloads since November 2008 (both PDF and HTML) across all institutions and individuals. These metrics are regularly updated to reflect usage leading up to the last few days.Citations are the number of other articles citing this article, calculated by Crossref and updated daily. Find more information about Crossref citation counts.The Altmetric Attention Score is a quantitative measure of the attention that a research article has received online. Clicking on the donut icon will load a page at altmetric.com with additional details about the score and the social media presence for the given article. Find more information on the Altmetric Attention Score and how the score is calculated. Share Add toView InAdd Full Text with ReferenceAdd Description ExportRISCitationCitation and abstractCitation and referencesMore Options Share onFacebookTwitterWechatLinked InReddit PDF (416 KB) SUBJECTS:Quality management Get e-Alerts

It may take a year and a day to beat the quality of your new latex paint.

It may take a year and a day to beat the quality of your new latex paint.

It may take a year and a day to beat the quality of your new latex paint.

It may take a year and a day to beat the quality of your new latex paint.

Gros'Battle of Eylauand Roman Imperial Art

It was this realism, called by Delacroix l'id6e frappante du fait,'2 which captivated the younger generation of French romantic painters and caused Gericault, a few days before his death, to have a copy of the picture brought to his bedside. But it is less certain, as Friedlaender has also stated, that Eylau reveals a and distinctly unclassicistic psychology. Much of its acknowledged novelty may be ascribed to Gros' discovery-perhaps with Vivant Denon's help-of new sources in the relief sculpture of Imperial Rome, which not only furnished him with prototypes for Denon's new imperial program but also lent classical authority to his own predilection for dramatic realism. Not long before the great painting was exhibited, Gros was publicly rebuked in the presence of the Emperor. In an address on the state of the arts in France, Joachim le Breton told the painter to moderate the sorte de fugue and grand eclat which had hitherto marred his paintings.3 Speaking from a Davidian point of view, he further reminded Gros that a painting was a thought or an action immobilized for the viewer and proposed to his intellect alone. In order to understand the peculiarly Roman quality of Gros' painting one must consider two neglected facts of its history insufficiently treated in the meager literature on the painter. The first of these is Denon's burdensome program, which the artists who competed for the commission were required to follow in preparing their preliminary pictures for the jury.4 The second is Gros' first treatment of the theme (Fig. 2), a painting now in the collection of M. Frangois Desarnauts in Toulouse, which won him the final commission.5 The program for the painting has customarily been given as it appeared in the official description of Gros' winning composition: Le lendemain de la bataille d'Eylau, l'Empereur, visitant le champ de bataille, est pinetr6 d'horreur et de compassion ai la vue de ce spectacle. Sa Majest6 fait porter secours aux Russes blesses. Touch6 de 1'humanit6 du vainqueur, un jeune Lithuanien lui temoigne sa reconnaissance avec l'accent d'enthousiasme. Dans la lointain on voit les troupes frangaises qui bivouaquent sur le champ de bataille au moment oi sa Majest6 va passer les troupes en revue. The official documentation furnished to the competing painters was, however, much more detailed. Deposited for their use at the Musie Napoleon was a pen and ink sketch of the battlefield by Vivant Denon who had witnessed the combat. This drawing gave not only the general topography of the field but also the exact position of all the principal figures. It was numbered, and each number referred to a few lines of verbal

Great advance in "air-dry" paint quality at no cost premium with new Isophthalic based resins

Great advance in "air-dry" paint quality at no cost premium with new Isophthalic based resins

ホットスプレーガンの機能について (第1報)

To study the spraying mechanisms of spray guns, a series of researches on the influence of painting conditions such as quality of paints, spray distances and air pressure on the spray pattern, distributions and amounts of spray, thickness of coating painted, and size of spray mist was carried out.The relations between paint nozzles and air caps, as well as the anti-abrasion properties of paint nozzles and needles were also studied.

Notes

AbstractMrs. Cornelius J. Sullivan has a splendid exhibition of paintings by Soutine. There are examples from all his periods including the latest and best. New York has been unfortunate up to now in that few except Soutine's early pictures were to be seen. Now, confronted with La Cathédrale de Chartres no one can deny Soutine a very high place among contemporary painters. One sees how far he has gone from the hectic, contorted landscapes dating from his Montmarte days, in which the houses, hills and all flow and toss like lava, like the entrails of a cataclysm. One sees how his great passion has not diminished though the outward forms have quieted and order has established understanding of the painter's intent. On the contrary his fervor becomes only more valid as the texture of the pigment expressing it becomes richer and more varied. Soutine prefers to chance superficial ugliness in a canvas if the course of his honest and deliberately difficult search for the great qualities of painting lead him to almost impossible problems. When he completely succeeds as in the case of La Cathédrale de Chartres, and Un Arbre à Vence here shown, there is no painter alive who can produce a texture so rich and full of implication, few have worked so hard and so honestly or succeeded so well.

Exhibition of Chinese Art at South Kensington

THE exhibition of Chinese art at the Royal Academy, Burlington House, closed on March 7, when the number of visitors had reached the remarkable total of 422,048. This number constitutes a record for all the recent winter exhibitions, with the exception of the exhibition of Italian art. It justifies the opinion expressed at the time the exhibition opened that the quality of Chinese art, when once certain conventions had been assimilated, was such in its general outlook and approach to reality as was likely to appeal to the susceptibilities of a British public. This was most strikingly manifested in the attention attracted by the transcendent qualities of the scroll landscape paintings; but it was also to be noted that the bronzes and other exhibits belonging to the early prehistoric period and the T'ang figures received little less detailed inspection, so far as conditions allowed. The popularity of the exhibition did not, indeed, conduce to a full appreciation of the subtler qualities of this great art, and it is, therefore, all the more gratifying to leam from the Directors of the British Museum and Victoria and Albert Museum that arrangements are being made for the exhibition at South Kensington at an early date of the Eumorfopoulos collection of Chinese art. This exhibition will include not only the purchased objects already assigned to South Kensington and the British Museum respectively, which will be brought together again for this purpose, but also that part of the collection of which the purchase is not yet complete, through the generous public spirit of the owner. If the public displays an interest in this collection in any way comparable to the enthusiasm shown at Burlington House, it should prove a strong incentive to early action in providing the much desired Museum of Asiatic Art, so greatly needed in London.