There are dozens of choices today for electronic film thickness gages.
BYK-Gardner offers a wide range of drawdown charts for a variety of applications. Test charts are easy to use and are an inexpensive substrate to test various coating properties. BYK-Gardner uses stringent quality control during the production process to ensure the most consistent chart properties for color and gloss in the industry. Selection of the chart depends on the coating technology that needs to be tested, as well as, the coating properties that need to be evaluated.
Standard Methods for byko-charts Drawdown Charts
Listed by Method
When customers go to the store, they need to know how many gallons of paint to buy to cover the area they wish to paint. They also want to know how many coats it takes to completely hide what they are painting over. The spreading rate of a paint is how to determine how “far” a paint will go by quantifying how much area is covered for a given quantity of paint. Sometimes to compare paints, a researcher will use the same spreading rate for two different paints and then compare the hiding power visually using the background of the drawdown chart as a guide or instrumentally using a spectrophotometer.
Paint produced by the architectural paint industry must perform on a wide range of substrates. Some examples are previously coated wallboard, from glossy to flat, wood trim, plaster, uncoated wallboard, stucco, etc. The porosity of these substrates varies greatly, yet the paint must maintain the same color and gloss appearance no matter the substrate.
When we evaluate paint, we ask, “how much paint must be applied to hide the substrate below it?” or “does this paint hide better than that paint?” Opacity is a paint’s ability to prevent the transmission of light in order to hide the substrate below it. Throughout the paint industry, the terms hiding, opacity and contrast ratio have frequently been used interchangeably. Hiding is a general term used to describe all of these concepts, including hiding power. However, hiding power also takes into account the spreading rate of paint and will not be discussed here. (More information on hiding power can be found in ASTM D 2805.) More…
Even though special effects and superstars get top billing in most blockbuster movies, very little of what you see on the silver screen would be possible if not for the set designers and costume designers working when the camera isn’t rolling. These artists use fabric and makeup and wood and steel to create visual imagery that immerses the viewer in the experience. The painters on these crews are responsible not just for painting sets a specific color, but also for enhancing light and shadow, providing depth, and – above all – taking fake structures and objects and making them real.
“I don’t like the color.”
“It just doesn’t look like I was hoping it would.”
“The trim looks messy.”
“I am not satisfied with the work.”
Despite your best efforts and the hard work you put into the job, some clients are never satisfied. This is a universal truth to every service business, not just professional painting. Dealing with difficult customers in a paint business is an unfortunate but necessary part of the business. Whether you did a poor job or the client is simply unable to find satisfaction in your work, sometimes the customer is unhappy and you have to address their concerns head on. Here are five tips for making the best of a bad situation and turning a negative into a positive.
It wasn’t long ago that if a client wanted a neutral interior paint color, their choices were limited to different shades of white or beige. Color names like “ivory”, “canvas,” “off white”, and “pearl” adorned the walls of homes. Occasionally a room would be painted green, brown, blue, or yellow…but instances of grey were few and far between. Furthermore, professional designers and paint professionals were loathe to suggest or recommend a grey pallette to clients because matching grey to other colors felt like an insurmountable challenge.
My, how times have changed.
For those that don’t work in the paint industry, they may think that paint is paint and there’s nothing much exciting going on there. In fact, quite the opposite is true. We’ve written about color changing paint and advances in graffiti-resistant coatings. Developing paint is essentially a chemistry project, but the advancement we’re going to discuss today came not from the mind of scientists, but a group of design creatives that engineered an exciting new paint that could change commercial and industrial painting – conductive paint.