Paint Mixing.pdf
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Colorants & Tinting Bases Tinting Machines You can tint by adding a drop here or a squeeze there from a tube or squeeze bottle of universal colorlarnts. The best method is to use a tinitning machine. Most tinting machines are set up in either 32nds or 48ths of an ounce. So a typical formula might require for example: 6 - 32nds of lamp black, 4 - 32nds of thalo blue and 4 - 32nds of red oxide. Know the color wheel and it’s workings The Munsel Color System is the key to understanding how color relates to each other. Colors are made by blending colors (actually colorants or universal tints in the case of paints) together to form another color. Know your colorants Paints are not made by adding hypothetical or theoretical colors. Paints are made by adding colorants into a paint base to form a paint color. Most of the time saturated (strong) colorants are added into a white base to form a “tint” or lighter version of the saturated universal colorant - color. A simple color would use one universal colorant, let’s say burnt umber which is a brown color, and that colorant is placed in a quantity (which varies depending on how strong the color is to be) into a can of white (base). This will produce a “tint” of brown which may be a very light bleached out beige hue “off white”. If a large quantity of burnt umber where placed into the white base , you would get a medium beige color. For a more complex color, you would use two or more colorants to make a color. Not only two or more colorants, but two or more in varying quantities of colorant. This is how paint is tinted and colors are made. In order to make a paint color you need to know what color the colorants are. Universal colorants are not pure clean colorants. There is no pure blue universal colorant. There is ultra marine blue or Thalo blue for example, each of these colorants are “tainted” with other hues so that they are not pure blue. So when mixing colors to make a paint color you need to know that you are not mixing pure “blue” and pure “red” colors to form a pure theoretical “purple” like you might see on the color wheel. You are actually mixing the colorants (for example) of Thalo blue and burnt sienna to form a new color form these impure colorants. Also keep in mind that the strength and color of the colorants can vary from batch to batch and from manufacture to manufacture. Different bases There are also different bases that colorant is added to - to achieve different colors. Adding burnt umber to a white base will bleach out the umber color to make anything from an off white to a medium beige. But, if you add the brunt umber to a clear base, you will have a deep saturated brown color, because there is no white to bleach out the saturated colorant. This is how deep tone paint colors are made. You could add the burnt umber to a yellow base and it would produce a gold color ranging from slightly gold yellow to slightly yellow brown. Paints are made by adding universal colorants to different paint bases. So that you are not totally confused, most paints are made from a white base. Most deep colors are made from a clear base. The rest of the bases you don’t need to be too concerned with. White base / Clear base You cannot make a deep color from a white base, the white in the base prevents this from happening. The white in the base will always bleach out the saturated color of the universal colorant. That is why there are clear bases, to make deep tones. The problem with clear bases is that they lack the hiding or coverage of the white base. The primary “hiding pigment” in paint is white (titanium dioxide). Titanium dioxide is a “blocking out” pigment, it prevents the previous paint color from showing through into your paint coating. The more titanium dioxide, the better the hide as a rule. Good hiding paints have a lot of titanium dioxide, and they cost more because titanium dioxide is expensive. Clear bases on the other hand, have no white or coloring pigments (other than the universal colorants that are added to the base to make a color). The lack of titanium dioxide (white) is why deep tone paint colors have poor hiding - even though the colors are deep and sometimes dark colors. It is not the deepness that permits hiding, it is titanium dioxide - white. When using deep tones a gray primer is usually used to aid in obtaining coverage.
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Mixing Paint
Transcript of Paint Mixing.pdf
Colorants & Tinting Bases
Tinting Machines You can tint by adding a drop here or a squeeze there from a tube or squeeze bottle of universal colorlarnts. The best method is to use a tinitning machine. Most tinting machines are set up in either 32nds or 48ths of an ounce. So a typical formula might require for example: 6 - 32nds of lamp black, 4 - 32nds of thalo blue and 4 - 32nds of red oxide. Know the color wheel and it’s workings The Munsel Color System is the key to understanding how color relates to each other. Colors are made by blending colors (actually colorants or universal tints in the case of paints) together to form another color. Know your colorants Paints are not made by adding hypothetical or theoretical colors. Paints are made by adding colorants into a paint base to form a paint color. Most of the time saturated (strong) colorants are added into a white base to form a “tint” or lighter version of the saturated universal colorant - color. A simple color would use one universal colorant, let’s say burnt umber which is a brown color, and that colorant is placed in a quantity (which varies depending on how strong the color is to be) into a can of white (base). This will produce a “tint” of brown which may be a very light bleached out beige hue “off white”. If a large quantity of burnt umber where placed into the white base , you would get a medium beige color. For a more complex color, you would use two or more colorants to make a color. Not only two or more colorants, but two or more in varying quantities of colorant. This is how paint is tinted and colors are made. In order to make a paint color you need to know what color the colorants are. Universal colorants are not pure clean colorants. There is no pure blue universal colorant. There is ultra marine blue or Thalo blue for example, each of these colorants are “tainted” with other hues so that they are not pure blue. So when mixing colors to make a paint color you need to know that you are not mixing pure “blue” and pure “red” colors to form a pure theoretical “purple” like you might see on the color wheel. You are actually mixing the colorants (for example) of Thalo blue and burnt sienna to form a new color form these impure colorants. Also keep in mind that the strength and color of the colorants can vary from batch to batch and from manufacture to manufacture. Different bases There are also different bases that colorant is added to - to achieve different colors. Adding burnt umber to a white base will bleach out the umber color to make anything from an off white to a medium beige. But, if you add the brunt umber to a clear base, you will have a deep saturated brown color, because there is no white to bleach out the saturated colorant. This is how deep tone paint colors are made. You could add the burnt umber to a yellow base and it would produce a gold color ranging from slightly gold yellow to slightly yellow brown. Paints are made by adding universal colorants to different paint bases. So that you are not totally confused, most paints are made from a white base. Most deep colors are made from a clear base. The rest of the bases you don’t need to be too concerned with. White base / Clear base You cannot make a deep color from a white base, the white in the base prevents this from happening. The white in the base will always bleach out the saturated color of the universal colorant. That is why there are clear bases, to make deep tones. The problem with clear bases is that they lack the hiding or coverage of the white base. The primary “hiding pigment” in paint is white (titanium dioxide). Titanium dioxide is a “blocking out” pigment, it prevents the previous paint color from showing through into your paint coating. The more titanium dioxide, the better the hide as a rule. Good hiding paints have a lot of titanium dioxide, and they cost more because titanium dioxide is expensive. Clear bases on the other hand, have no white or coloring pigments (other than the universal colorants that are added to the base to make a color). The lack of titanium dioxide (white) is why deep tone paint colors have poor hiding - even though the colors are deep and sometimes dark colors. It is not the deepness that permits hiding, it is titanium dioxide - white. When using deep tones a gray primer is usually used to aid in obtaining coverage.!
PAYLE$$ PATIO (909)�596Ͳ7179��~��(626)�357Ͳ2371��~��(866)�5ͲPATIOS
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COLOR�MATCHING�FORMULAS�for�ALUMAWOOD�COLORS
Lowe's Home�DepotValspar Brand Paint Behr Brand Paint
Exterior/Latex/Semi-Gloss Premium Plus Ext Semi-GlossDaylight
Ultra Pure White (5050) GallonOunces Shots Half Shots Colorant OZ 48 96
DESERT Base 101 8 B Lamp Black 0 4 1SAND B 1-20015 107 24 1 C Yellow Oxide 0 16 0
Can size: Gallon 109 1 1 I Brown Oxide 0 3 0
Ultra Pure White (5050) GallonOunces Shots Half Shots Colorant OZ 48 96
MOJAVE Base 101 18 B Lamp Black 0 12 1TAN B 1-20015 107 25 1 C Yellow Oxide 0 17 1
Can size: Gallon 109 3 1 I Brown Oxide 0 9 0
Pastel Base (5560) GallonOunces Shots Half Shots Colorant OZ 48 96
ADOBE Base 101 1Y 45 1 B Lamp Black 2 35 1B 2-20036 104 1Y 12 1 C Yellow Oxide 2 39 0
Can size: Gallon 111 1Y 32 F Red Oxide 0 14 0
Ultra Pure White (3050) GallonOunces Shots Half Shots Colorant OZ 48 96
SONORA Base 101 6 1 C Yellow Oxide 0 20 1BEIGE B 1-20015 107 31 1 I Brown Oxide 0 9 1
Can size: Gallon 109 4 1 L Raw Umber 0 4 0
Ultra Pure White (5050) GallonOunces Shots Half Shots Colorant OZ 48 96
WHITE Base 101 5 C Yellow Oxide 0 1 0B 1-20015 103 1 D Thalo Green 0 2 0
Can size: Gallon 107 4 I Brown Oxide 0 2 0
Pastel Base (5560/2-5560) GallonOunces Shots Half Shots Colorant OZ 48 96
LATTE Base 101 37 1 B Lamp Black 0 39 0B 1-20015 107 2Y 19 1 C Yellow Oxide 2 18 1
Can size: Gallon 109 17 1 F Red Oxide 0 10 1
Be sure to visit our informative How-To sectionfor lots of great tips and techniques.
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1870's Color Mixing FormulasIn mixing different colored paints to produce any desired tint; it is best to have the principal ingredientthick, and add to it the other paints thinner. The following table shows the combination of colors requiredto produce the listed tints. The first named color is the principal ingredient. The additional colors follow inorder of their importance. Thus in mixing a limestone tint; white is the principal ingredient and red is thecolor of which least is needed. The exact proportions of each depend on the shade of color desired.
Desired Tint ....... Color CombinationBuff ....... White, Yellow Ochre, RedChestnut ....... Red, Black, YellowChocolate ....... Raw Umber, Red, BlackClaret ....... Red, Umber, BlackCopper ....... Red, Yellow, and BlackDove ....... White, Vermilion, Blue, YellowDrab ....... White, Yellow Ochre, Red, BlackFawn ....... White, Yellow, RedFlesh ....... White, Yellow Ochre, Vermilion*Freestone ....... Red, Black, Yellow Ochre, WhiteFrench Gray ....... White, Blue, Lake**Gray ....... White Lead, BlackGold ....... White, Stone Ochre, RedGreen Bronze ....... Chrome Green, Black, YellowDo Pea ....... White, Chrome GreenLemon ....... White, Chrome YellowLimestone ....... White, Yellow Ochre, Black, RedOlive ....... Yellow, Blue, Black, WhiteOrange ....... Yellow, RedPeach ....... White, Vermilion*Pearl ....... White, Black, BluePink ....... White, Vermilion*, LakePurple ....... Violet, with more Red and WhiteRose ....... White, Madder Lake***Sandstone ...... White, Yellow Ochre, Black, RedSnuff ....... Yellow, Van Dyke BrownViolet ....... Red, Blue, White
* Use Bright Red** Hard to say what this was as lake refers to natural dyestuff - probably a red color*** Also known as Alizarin - source of the dye color Turkey Red
This chart is reproduced from Dicks Encyclopedia of Practical Receipts and Processes by William B. Dickand is out of print.
We have found this chart useful as a guide in color mixing. Hopefully you will too.
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Trisodium Phosphate
Stevedarkwood's Blog
How to Mix, Match, Prepare, and Paint a Room
Posted by Steve Loughead on November 22, 2010 · Leave a Comment
How to prepare, match, mix, and paint walls:
Due to the growth in the do-it-yourself (DIY) industry, paint sales have been increasingsteadily. People take home modifications and repairs into their own hands. It is critical for theconsumer to understand the process of painting and home renovation to ensure that they don’thave to re-do their home projects. Before you delve into the process of mixing and matchingpaints; you must understand the basic characteristics of paints; oil based (alkyd) and waterbased (latex). When a wall is painted in oil based paint, you cannot paint latex paint over oilbased paint because the water based paint will peel off the oil based paint.
Part 1: The Preparation
Generally, when a homeowner chooses to repaint a room, there are esthetic characteristicsabout the room that are unpleasing; nicks in the wall or just a colour in the room that has keptthe homeowner up at night knowing that it is there.
Determine the paint type: dab a paper towel with varsol and scrub wall vigorously. If paintis left behind on the towel, then the walls have been painted with water based paint, if not,then the walls are covered in oil based paint. (Oil based paint is being phased out byhardware retailers because of its toxic and unsafe characteristics, therefore if you have oilbased paint on the walls a transition primer is required.)
1.
Wash the walls with trisodium phosphate (TSP), which is a wall preparation productavailable at many hardware stores available in liquid (dilutable), crystal, and ready to useform.
2.
Tape off anything that you do not want to paint, using painter’stape (green) or masking tape (beige).
3.
Scan the room for gaps, nicks and scratches. Use spackle and aputty knife to apply wallpatch: open the spackle container andestimate the amount required to fill the gap, remove the requiredamount of spackle using the putty knife and drag across the gapwith the knife parallel to the wall; scraping the spackle into thegap. Generally, one pass with the knife will be sufficient to fill thehole; however, the spackle tends to shrink, so another pass with the knife will make the
4.
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Spackle and Putty Knife
Available Paint Swatches
wall flush (even).
Depending on the finished surface texture, selecting the correctroller for the job is essential: for a rough surface, use 20-30mmply roller, for a semi-rough surface, use a 10-15mm plyroller, andfor a smooth surface use a 5-10mm roller. However, the higherthe ply of the roller the more paint it can hold, so many peopleget a higher ply to make painting faster.
5.
Once you are satisfied with the wall finish proceed to part two.
Part 2: The Matching
The first task involved with matching paints is gathering swatches from a local hardware storein order to create a colour scheme appropriate to your home. The next step in matching iscomparing the swatches from the hardware store to the room you are considering paintingincluding the carpets, drapes, and furniture. Once you are happy with the colour scheme;determine the room’s square footage allowing you to purchase the correct amount of paint. Perfectly matching paint is an art form. Many people have a hard time doing so; however, atlocal hardware stores paint experts are available for advice on current trends and colourschemes.
Print out a diverse colour wheel to determine what colours contrast and which colourscompliment. On the colour wheel,the colours that sit opposite from each other complementeach other, one s that are side-by-side contrast one other.
1.
Determine your desired colour scheme according to thefurniture and accessories in your room according to the colourwheel.
2.
Determine what sheen (flat, eggshell, velvet, semi-gloss andgloss) you need for the room and the type of paint you want beit or a bathroom, hallway, or exterior paint.
3.
Once you are satisfied with the chosen colours, paint sheen, and typeproceed to part three.
Part 3: Painting Procedure
Painting has many different methods and procedures; however, the standard patter forpainting a wall is the alternating W pattern in 2-3 square foot areas. This pattern allows for thehighest amount of coverage with the least amount of brush strokes and fatigue.
Attach paint roller to the cage.1.Pour paint into paint tray or any similar container.2.Drench roller (on cage) in the paint, use agitator on paint tray to remove excess paint.3.Paint walls following a W or V pattern moving from left to right in approximately 2-3sqfoot areas.
4.
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Paint Roller on Cage
Determining Colour Code
Part 4: The Mixing (For Home Hardware Employees)
Due to the variability of paint colours, manufacturers do not remixpaint. The majority of paint is mixed in store. Stores need to have theirown method of replicating paint formulas, so distribution andmeasurement machines have been developed to make it easier for theuser to mix paint. In certain circumstances, automated matchers andmixers are available, however, the more financially sound method forretailers is hand pump machines.
Paints have 3 bases: clear, medium, and white; depending on theamount of tint required in the formula.
1.
Select colour from paint swatches; match up the code of the paint swatch with the formulacards.
2.
Open the paint can.3.The formula cards call for parts of a fluid ounce broken downinto 0, 1/96th and 1-48(Y). There are also 12 colour bases usingthe fluid ounce breakdown listed above: AX, B, C, D, E, G, H,MX, R, T, U, and Z. A basic paint formula for a gallon (4L)paint bucket is as follows: C – Y40, H – 26, U -2. Therefore,this formula calls for 1 full pump 48(Y) plus 40 of C, 26 of Hand 2 of U.
4.
Once the tint is in the can, hammer lid back on using a rubbermallet.
5.
Place into mixing machine, depending on the amount of tint used—use more time or less.6.
About the Author:
Stephen Loughead has worked and still is working at Thorncrest Home Hardware as amanager. He has been a manger for over 2 years and has worked at the location for over 6years. Paint mixing and matching was introduced to his skill set from day one and hasdeveloped his skills throughout the years; making him an expert in the subject. Mixing andmatching paints is a skill that requires concentration and a keen eye for colour becausecustomers rely on the mixers advice to match paint and to mix it correctly.
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cheadley18: To mix paint colors, you must create the perfectbalance of colors to get the desired shade you want. For example,mixing one drop of red paint with two drops of blue paint will give youa royal purple. You can find more information here:http://www.scrapjazz.com/topics/Techniqu...
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60227: If you are going to try to mix paint for your own use. Alwaysmake sure you mix enough to cover the complete area. For instanceif you are wanting a certain type of light blue. You will pour a bluepaint into white paint a little at a time while stirring really good. It isbest if you go to a paint store they know exactly how to mix the coloryou want. For more information, look here: painting.about.com/.../Color_Theory_Color_Mixing_and_the_Color_Wheel.htm
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09-06-00, 11:26 PM
I would like to adjust the color of 2 gallons of paint I already own. Can I purchase the actual tints thatthe paint stores use? What should I ask for at the art store, assuming that Home Depot doesn't sell thetint itself? I would prefer to take the time to try tinting it myself rather than have the paint store do it.
Also, does anyone know how much, for example, "3/16 of Yellow Oxide" or "1/16 or Red" actuallytranslates into? Is there a way to calculate tint amounts into ounces or teaspoons?
Thank you very much.
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Can I purchase the actual tints that the paint stores use? In some cases. Ask! (It's best to take smallclean jars with you).
What should I ask for at the art store, assuming that Home Depot doesn't sell the tint itself? Universaltinting colors may be used most of the time, but ask if the paint is compatible with universal tintingcolors first. (If they don't know: when the tint tends to streak through the mixture it's not compatible).(If the tint floats on the surface either too much tint has been used for the base or it's incompatible).
Also, does anyone know how much, for example, "3/16 of Yellow Oxide" or "1/16 or Red" actuallytranslates into? Is there a way to calculate tint amounts into ounces or teaspoons?
3/16 and 1/16 refer to Ounces. The translation is doable (the easiest is via Minims) but someexplanation may prove helpful.
Minims are an Apothecaries Unit. Many U.S. borne paint tinting machines are based on Minims.Volumetric conversion to Cubic Inches is almost exclusive to the U.S. Metric conversion is the norm forcalibration and most of the World. Minims are the reason behind 1/48 markings on most U.S. bornetinting machines. (1/96 on some machines).
1 Ounce Apothecaries' fluid measure = 480 Minims.Thus 1/48 Ounce = 10 Minims and 1/16 Ounce = 30 Minims.Also: 60 minims = 1 Fluid Dram AND 8 Fluid Drams = 1 Fluid Ounce.
Note that 48 is divisible by many prime numbers. Rarely will you find a paint formula where tintingpigments are specified as 1/5, 1/7 or 1/9. 1/4 +3 means 1/4 Ounce plus 3 drops.
Although it's possible to convert Ounces to teaspoons directly, it's advisable to convert to Minims first,(as a formula check), then to teaspoons or drops if necessary. Why: First, it's easier. And the nearer tostandard assumptions used, the easier it will be to match the color later on. Anything less than 1/48 ishard to duplicate on the second try.
Before beginning write down the base used and/or color then record each addition. Always add tintslowly, mix, then add more if necessary. Tint base and usually plain white will hold up to 4 oz. pergallon. The less tint used, the better. If you're playing with Deep, Ultra Deep, or Accent, it's best to letsomeone else do this.
Basics:231 Cu. In. per Gal @ 128 Fl. Oz. per Gal..1 Oz. = 2 Tablespoons AND 2 Tbsp. = 6 Teaspoons.
Minims /Oz. ---- Conversion480 Min. --------------- 2 Tbsp.480 Min. / 2 |240 Min. = 1 Tbsp.
480 Min. / 6 | 80 Min. = 1 Tsp.480 Min. /12 | 40 Min. = 1/2 Tsp.480 Min. /24 | 20 Min. = 1/4 Tsp.480 Min. /48 | 10 Min. = 1/8 Tsp.480 Min. /96 | 5 Min. = 1/16 Tsp.
Your sample:3/16 Yellow Oxide = 480/16 * 3 = 90 Min. = 1 1/8 Tsp.1/16 Red Oxide = 480/16 * 1 = 30 Min. = 1/4 + 1/8 Tsp.
If either result could not be obtained from the table above, reduce, then convert the remainder to drops.There are about 20 drops per teaspoon. Working in drops is not fun. For minute divisions it's sometimeshelpful to place a drop on a lid then use a wooded tooth pick to divide it.
If you like numbers, do the ounce conversion math.
231 /128 = 1.8046875 Cu. In. per Ounce (Unity).:: 1.8046875 / 6 = .30078125 Cu. In. per Tsp..
3 / 16 = .1875
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Not all colorants are available in all sizes. Please contact Falcon Technologies to find out the availability details in your area.
Samples: A sample kit is available containing one (1) 250 ml metal container of each ColourFal colourant.
HEALTH AND SAFETYMaterial Safety Data Sheets are available upon request,. It is also our practice to always send the appropriate MSDS’s with each shipment of ColourFal, including sample shipments.
*ISO 11890-2000(E)
ColourFal Code: SPECIFIC GRAVITY
PIGMENT SOLIDS TOTAL SOLIDS VOC g/l
% BY WT. % BY VOL. % BY WT. % BY VOL.AXX - Organic Yellow 1.36 49.80 33.97 54.32 34.08 375B - Lamp Black 1.33 32.40 17.16 50.84 21.02 410C - Yellow Oxide 1.82 58.60 27.14 65.21 31.48 342D - Phthalo Green 1.45 45.30 25.42 56.21 39.07 422E - Phthalo Blue 1.34 40.60 22.89 50.81 24.72 417F - Red Oxide 2.12 63.80 28.16 70.88 36.32 415I - Brown Oxide 1.79 56.06 26.46 65.23 35.88 424KX - Titanium White 1.95 63.00 32.62 67.16 40.44 479L - Raw Umber 1.54 46.20 23.23 57.04 34.85 382R - Organic Red 1.30 41.10 26.20 46.60 28.35 381T - Medium Yellow 1.28 51.80 41.28 57.52 43.00 365V - Magenta 1.34 38.20 16.04 47.25 20.84 456
DISCLAIMERThe information given and the recommendations made herein are based on our research and are believed to be accurate but no guarantee of their accuracy is made. In every case, we urge and recommend purchasers, before using any product in full-scale production, to make their own tests to determine to their own satisfaction whether the product is of acceptable quality and is suitable for their particular purposes under their own operating conditions. The products discussed herein are sold without any warranty as to merchantability or fitness for a particular purpose or any other warranty, expressed or implied. No representative of ours has any authority to waive or change the foregoing. Nothing contained herein shall be construed to imply the non-existence of any relevant patents or to constitute a permission, inducement or recommendation to practice any invention covered by any patent, without authority from the owner of the patent.
SYSTEM COLOURANTS
Pastel PastelTint TintDeep DeepAccent Accent
