Dulux Paint Problem Solver & Advice

PAINT PROBLEM SOLVER & ADVICE 1

INDEX OF COMMON PROBLEMS:

HOW TO USE PROBLEM SOLVER Even the most professional painters can run into problems, but there are solutions for almost all of them. Browse the front blades of this fandeck to find a photo that most closely represents your paint issue to discover the most common causes and solutions.

PAINT ADVICE From preparation to application, the painting guides on the back of this fandeck will help you complete your next project.

Disclaimer: The advice provided in this fandeck is generic and may not be applicable in every situation. It is recommended that a small area be tested to establish suitability of the rectification options.

Disclaimer: The advice provided in this fandeck is generic and may not be applicable in every situation. It is recommended that a small area be tested to establish suitability of the rectification options.

Blistering

3

Nailhead Rusting

13

Blocking

4

Patchiness

14

Brush/Roller Marks

5

Peeling, Flaking and Cracking

15

Chalking

6

Picture Framing

16

Efflorescence

7

Poor Opacity

17

Fading

8

Poor Washability

18

Foaming

9

Sagging

19

Marring/ Burnishing

10

Surfactant Leaching

20

Mould

11

Tannin Bleed

21

Mud Cracking

12

Yellowing of Enamels

22

PAINTING ADVICE: How Much Paint Do I Need?

23

Glancing Light

30

Preparation

24

Water Based vs Oil Based Enamel Paints

31

How To Use a Paint Brush

25

Paint Touch Ups

32

How To Use a Paint Roller

26

Paint Clean Up and Disposal

33

How To Paint Doors

28

Glossary

34

How To Paint Windows and Trim

29

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BLISTERING BLISTERING The formation of “bubbles” in the paint film, resulting from localised adhesion loss.

POSSIBLE CAUSES • Presence of excess moisture in the substrate.

• Painting over a contaminated or unsound substrate.

• Painting over an excessively hot substrate or in direct sunlight.

• Poor conditions during the application or drying period (eg. high humidity, condensation, rain or dew). *Tip: Break the blister and inspect the underside of the flake. If timber is present, the issue is likely moisture related.

SOLUTIONS • The extent and causes of the problem need to be clearly identified, the causes removed and the old paint stripped back to a sound substrate (some substrates maybe beyond repair and will need to be replaced) before any new painting commences.

3

BLOCKING BLOCKING The sticking together of two freshly painted surfaces when pressed against each other (e.g. a window sticking to the frame).

POSSIBLE CAUSES • Closing doors or windows without providing sufficient dry time for the coating.

• Poor conditions during the application or drying period (eg. low temperatures, high humidity, condensation, rain or dew).

SOLUTIONS • Sand back affected areas to a smooth and sound substrate and recoat.

• Ensure correct drying periods are observed, as per label recommendations.

• Ensure application and drying conditions conform to manufacturer’s recommendations.

4

BRUSH/ROLLER MARKS BRUSH/ROLLER MARKS The unintentional textured pattern left in the paint by a brush or roller.

POSSIBLE CAUSES • Painting with low quality/incorrect application tools.

• Poor application technique (eg. applying paint too quickly or excessively).

• Re-brushing or re-rolling partially dried painted areas.

• Poor conditions during the application or drying period (eg. hot substrates and/or high air temperatures).

SOLUTIONS • Lightly sand the affected areas to a smooth finish and repaint.

• Ensure paint is applied using a consistent application technique (eg. applying even roller pressure from top to bottom), whilst maintaining a wet edge.

• Ensure high quality and recommended application equipment is used.

• Ensure application and drying conditions conform to manufacturer’s recommendations.

• Under hot or very windy conditions, the recommended level of thinning agent may be added for improved application.

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CHALKING CHALKING The appearance of a fine powder on the surface of a paint film, arising from the degradation of the coating binder.

POSSIBLE CAUSES • Painting surfaces exposed to UV radiation with interior grade paint.

• Painting surfaces that are completely exposed to high levels of sunlight over an extended period and/or elevated salt levels (eg. coastal locations).

• Painting with darker coloured paints which absorb more energy (heat and UV radiation) from sunlight than lighter colours.

• Applying paint at lower than recommended film thicknesses.

SOLUTIONS • Clean the affected areas thoroughly to remove all surface contaminants and chalking, then repaint with an approved UV resistant coating system.

• Ensure paint is applied at the recommended coverage rate.

• To minimise chalking, establish a maintenance program from the start to ensure that the painted surfaces are washed and repainted within a predetermined time period.

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EFFLORESCENCE EFFLORESCENCE The migration of salts to the surface of a porous masonry substrate (eg. concrete, render, brick or mortar) resulting in the formation of crusty white deposits.

POSSIBLE CAUSES • Excess moisture in the substrate.

• Painting over an insufficiently cured substrate.

SOLUTIONS • Use a stiff bristled brush to remove the deposit, followed by cleaning the surface with a mild solution of white vinegar (Acetic Acid) in water.

In severe cases a stronger acidic solution should be applied by an experienced contractor, to remove the mineral salts then allow to dry.

• Determine and eliminate the source of moisture and repaint once the surface is sound, clean, dry and free from mould and algae. The use of an alkali-resistant sealer and appropriate topcoat is recommended.

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FADING FADING Excessive loss of colour of a paint coating.

POSSIBLE CAUSES • Painting surfaces exposed to UV radiation with interior grade paint.

• Painting surfaces exposed to environments with elevated salt levels (eg. coastal locations).

• Some colours like bright blues, yellows and reds are particularly vulnerable to UV radiation.

• Adding tinter above recommended tinting levels.

• Applying paint at lower than recommended film thicknesses.

SOLUTIONS • Clean the affected areas thoroughly to remove all surface contaminants and then repaint.

• Apply paint products and coating systems that are acknowledged by the manufacturer to be UV resistant.

• Select lighter colours as they tend to absorb less heat and UV radiation.

• Ensure paint is applied at the recommended coverage rate.

• To minimise fading, establish a maintenance program from the start to ensure that the painted surfaces are washed and repainted within a predetermined time period.

8

FOAMING FOAMING The formation of bubbles during application and the resulting craters when the bubbles break in a paint film.

POSSIBLE CAUSES • Painting with incorrect application tools (eg. roller nap length and/or material type).

• Poor application technique (eg. applying paint too quickly or excessively).

• Over agitating the product prior to application.

• Paint with old and/or inappropriately stored paint.

SOLUTIONS • Ensure the correct application equipment and technique are used.

If excessive foaming is noticed in the can, allow the paint to settle prior to use.

• To rectify foaming in the dry paint film, lightly sand the affected areas to a smooth finish and repaint. In some instances, foaming in the wet film may be rectified by laying off lightly with a brush.

9

MARRING/BURNISHING MARRING/BURNISHING Shiny patches or polished areas that become evident when painted surfaces have been subjected to abrasion or impact.

POSSIBLE CAUSES • Use of heavily tinted (dark or vibrant) colours in conjunction with low sheen, matt and flat paints, especially in high traffic areas.

• Frequent washing and/or spot cleaning, particularly with abrasive cleaning agentsor tools (scourers).

• Unintentional impact to a painted surface (eg. furniture rubbing against the coating).

• Critical or low angle lighting may highlight the appearance of any marring/burnishing that may be present.

SOLUTIONS • Repaint with a higher sheen paint or a lighter colour.

• In some instances, a durable clear coat may be recommended.

10

MOULD MOULD Black, gray or brown spots or areas on the painted surface.

POSSIBLE CAUSES • Presence of moisture (e.g. within the substrate, condensation on the surface or high humidity).

• Painting over a mould infested substrate. *Tip: Test for mould by applying a few drops of household bleach to the discoloured area; if it disappears, it is likely to be mould.

SOLUTIONS • To eliminate mould, scrub the surface with a diluted household bleach solution (one part bleach, three parts water), while wearing rubber gloves and eye protection. Rinse thoroughly.

• To protect against mould, apply paint which has anti-mould properties.

11

MUD CRACKING MUD CRACKING Deep, irregular cracks in the dry paint film.

POSSIBLE CAUSES • Applying too much paint, causing the surface of the film to dry at a faster rate than the rest of the coating (most common in areas where paint can overlap, such as corners).

• Poor conditions during the application or drying period (eg. cold substrates and/or low air temperatures).

SOLUTIONS • Sand the surface smooth before repainting at the recommended coverage rate.

• In some instances, a suitable oil based primer or high build product may be required.

• Ensure application and drying conditions conform to manufacturer’s recommendations.

12

NAILHEAD RUSTING NAILHEAD RUSTING Red/brown rust stains on the paint surface.

POSSIBLE CAUSES • Painting over non-galvanized iron nails, which have a tendency to rust in the presenceof moisture.

• Painting over galvanized nailheads which have begun to rust due to sanding or excessive weathering.

SOLUTIONS • Wash off the rust stains, sand the nailheads, then follow the same surface preparation procedures as for new construction. * When painting new exterior construction where non-galvanized nails have been used, it is advisable to first countersink the nailheads, then caulk them with a top quality exterior acrylic caulk. * Each nailhead area should be spot primed (preferably with stain blocking primer), then painted with a quality top coat.

13

PATCHINESS PATCHINESS Poor sheen or colour uniformity, especially recognisable when looking at the surface at an angle.

POSSIBLE CAUSES • Painting over surfaces with variable texture and porosity (eg. joins between plasterboard).

• Failure to properly prime or undercoat a substrate.

• Inconsistent application technique.

• Poor conditions during the application or drying period (eg. high temperatures and/or high humidity).

SOLUTIONS • New substrates should be primed/sealed before applying the top coat to ensure a substrate that is uniform in porosity.

• Ensure paint is applied using a consistent application technique (eg.applying even roller pressure from top to bottom) whilst maintaining a wet edge.

• Ensure application and drying conditions conform to manufacturer’s recommendations.

14

PEELING, FLAKING AND CRACKING

PEELING, FLAKING AND CRACKING The formation of defined breaks in the paint film, localised loss of adhesion between the paint film and the substrate or the complete detachment of the paint film from the underlying surface or substrate.

POSSIBLE CAUSES • Painting over an unsound substrate (e.g. weathered timber, weak or underbound concrete or plaster).

• Painting over contaminants or loose materials.

• Painting over an excessively smooth surface which is difficult to bond to.

• Prepcoat (primer, sealer or undercoat) not applied, of poor quality or incorrect type used for the substrate.

• Lack of maintenance of existing coatings.

SOLUTIONS • The extent and causes of the problem need to be clearly identified, the causes removed and the old paint stripped back to a sound substrate (some substrates may be beyond repair and will need to be replaced) before any new painting commences.

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PICTURE FRAMING PICTURE FRAMING An appearance issue, usually where the brushed areas of a paint coating appears lighter or darker than the rolled areas.

POSSIBLE CAUSES • Applying wet paint to the edge of dry or partially dry paint.

• Sheen level and/or surface texture difference due to varying application techniques between brush and roller.

• Insufficient stirring of the paint prior to application, leading to poor tinter incorporation.

• Brushing may result in lower coverage rates than rolling, producing a thicker film leading to a colour/opacity difference.

SOLUTIONS • Thoroughly stir the paint prior to use.

• Work in smaller sections of the room to maintain a wet edge and overlap the brushed areas with the roller as far as possible.

16

POOR OPACITY POOR OPACITY Failure of dried paint to mask or cover the underlying surface.

POSSIBLE CAUSES • Painting at a higher coverage rate than recommended.

• Painting with low quality/incorrect application tools.

• Use of an improper combination of tinting base and tinting colour.

• The addition of a small amount of yellow, ochre or bright red tinter to a white base will reduce the refractive index and therefore adversely affect the opacity.

SOLUTIONS • Follow manufacturer’s recommendation on coverage rate.

• Use premium quality paint for better hiding and flow.

• Use quality tools and the recommended roller nap.

• Use the correct tinting base for the specified colour.

• The selection of colours that contain black and/or blue tinters will provide excellent opacity, even if some yellow or red tinter is also present.

Some colours may require the application of more than two coats or a tinted undercoat, especially when painting over dark colours.

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POOR WASHABILITY POOR WASHABILITY Failure of dried paint to resist dirt and stains.

POSSIBLE CAUSES • Use of a coating with poor stain resistance properties.

• Painting at a higher coverage rate than recommended.

• Painting over an un-primed substrate.

SOLUTIONS • Apply paint products that are acknowledged by the manufacturer to be stain resistant.

• Ensure paint is applied at the recommended coverage rate over a suitably primed substrate. *Tip: Most common stains can be removed from a stain resistant paint using a soft wet cloth. For stubborn stains, the use of a wet cloth and a household cleaner is recommended. Some tough stains which are capable of penetrating the paint coating will need to be repainted with a suitable stain blocking primer (where required) and stain resistant topcoat.

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SAGGING SAGGING The downward ‘drooping’ movement of the paint film immediately after application.

POSSIBLE CAUSES • Applying too much paint to the surface.

• Applying paint that is too thin in viscosity.

• Poor conditions during the application or drying period (eg. cold substrate, low air temperatures and/or high humidity).

SOLUTIONS • If paint is still wet, immediately brush out or re-roll to redistribute the excess paint evenly.

• If the paint has dried, sand and reapply a new coat of paint at the recommended coverage rate.

• Do not over-thin the paint.

• Ensure application and drying conditions conform to manufacturer’s recommendations.

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SURFACTANT LEACHING SURFACTANT LEACHING Soapy, sticky, glossy spots or streaks on newly painted surfaces, usually within the first few weeks after application.

POSSIBLE CAUSES • Poor conditions during the application or drying period (eg. low air temperatures, high humidity, condensation, rain or dew).

• Adding tinter above recommended tinting levels.

SOLUTIONS • On exterior surfaces, surfactant leaching will usually disappear over a short period without the need for intervention. Rinsing with fresh water can help to wash it away.

• On interior surfaces, surfactant leaching can be easily removed (allow the paint film to fully cure and harden) by washing with a mild soapy solution and a soft cloth or sponge, followed by a thorough rinse with clean water.

• Ensure application and drying conditions conform to manufacturer’s recommendations.

20

TANNIN BLEEDING

TANNIN BLEEDING The brown or tan discoloration on a painted surface, most commonly observed over knots in certain types of timber (eg. Merbau, Western Red Cedar, Meranti).

POSSIBLE CAUSES • The use of a coating with poor stain blocking properties.

• Excess moisture in the substrate.

• Poor conditions during the application or drying period (eg. low temperatures, humid conditions, condensation, rain or dew).

SOLUTIONS • Determine and eliminate the source of moisture and repaint with a stain blocking primer or top coat once the surface is clean and sound.

• Ensure application and drying conditions conform to manufacturer’s recommendations.

21

YELLOWING OF ENAMELS YELLOWING OF ENAMELS Development of a yellow discolouration in alkyd enamel paints.

POSSIBLE CAUSES • Lack of natural light (e.g. behind picture frames, inside closets and sliding cavity doors).

• Presence of ammonia (commonly found in household paints and cleaners) during the application or curing period.

SOLUTIONS • Ensure adequate ventilation during the application and curing period.

• Allow as much natural light as possible into the painting area both during and after application.

• To minimise the “yellowing” effect during the drying process, all conventional water based prepcoats and topcoats should be applied first and allowed to cure for up to two weeks (longer if cold) prior to the commencement of the enamel work (or vice-versa).

• Use a premium quality water based paint in place of solvent based paint.

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HOW MUCH PAINT DO I NEED? INSTRUCTIONS ON HOW TO CALCULATE HOW MUCH PAINT YOU WILL NEED Measure all areas that need to be painted and use the simple equation below to calculate how much paint you will need.

Equation

Example Total Surface Area

m2

30m2

÷ Coverage rate per litre

16m2/L

x

Number of coats

2

= Total paint required

3.75 Litres

3.75 litres will be required to paint the bedroom so a 4 litre tin will be enough to do the job and leave some paint for touch ups. *TIP: You’ll find the coverage rate of products on the back of the tin.

It may be labelled “spreading rate.”

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PREPARATION PREPARATION Correct preparation before painting is key to achieving a great finish.

FILLING 1. Choose a filler designed for the surface you’re painting.

2. Apply a layer of filler over the area ensuring to completely cover any holes, cracks or patches.

3. Spread the filler across the area in multiple directions then a single downward stroke to remove any excess product.

4. Once dry, use a fine sandpaper to give it a light sand for a smooth, consistent surface.

5. Wipe down to remove sanding dust from surface.

CLEANING 6. Take down any curtains, mirrors and pictures, move furniture out of the room and cover larger items with drop cloths.

7. Brush or vacuum up any dust and thoroughly wash the surface with sugar soap to remove grease and dirt.

MASKING 8. Use a good quality masking tape along any edges you don’t want to paint.

9. Push the edges of the tape down firmly to ensure straight edges. Remove the masking tape at a 45° angle before the paint dries completely.

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HOW TO USE A PAINT BRUSH

HOW TO USE A PAINT BRUSH 1. Before use, flick the bristles back and forth to remove dust.

2. Moisten the brush in water if you are about to use a water based paint, or turps if you are about to use an oil based paint. Remove any excess liquid.

3. Fill the brush by dipping in up to half the length of the bristles.

4. Tap it gently against the side of the can. Don’t wipe the brush hard against the lip.

5. Start at the top and work down, painting with light even strokes, working back into the wet edge.

6. If you are painting a large area by brush, apply paint to an area about 50cm X 50cm, then brush the paint in horizontal strokes to even the paint out and finish off with light vertical strokes all in one direction.

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HOW TO USE A PAINT ROLLER

HOW TO USE A PAINT ROLLER 1. De-fuzz new roller sleeves prior to use by washing them in water.

2. Fit the roller to the frame.

3. Pour paint into the reservoir at the end of the roller tray.

4. Dip the roller lightly into the paint, then roll it backwards and forwards on the ramp of the tray to evenly distribute the paint on the roller cover.

5. Begin by working in sections, rolling in a large W pattern at first, then filling in the blanks of your W pattern with some extra zigzagging strokes. Start by working from one side of the wall to the other, never start in the middle of your wall.

6. Level the finish by laying-off with long, parallel strokes before the paint has commenced drying.

7. Wrap the roller and tray in foil when you take a short break, and make sure to clean it completely after use.

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HOW TO PAINT CEILINGS HOW TO PAINT CEILINGS 1. Follow the preparation guide on blade 24.

2. Clear your area and lay down a drop sheet.

3. Tape around cornices, edges and any down lights.

4. Begin by cutting-in where the roller won’t reach with a brush.

5. Using a roller and extension pole apply the paint with elbows below your shoulders and from left to right (never from front to back), in a W shape.

6. Paint in sections, to keep your finish even. When you’re done with a section, give it a light roll from left to right to make sure the paint settles evenly.

7. If your ceiling requires two coats, simply wait 2 hours for your first coat to dry then repeat steps 4-6.

8. Clean up using responsible paint disposal methods (blade 24) and enjoy your handy work. Well done!

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HOW TO PAINTS DOORS

HOW TO PAINT DOORS 1. Follow the preparation guide on blade 24.

2. Remove the door from its hinge and lay it on a flat surface.

Remove all the hardware from the door or tape it off with painter’s tape.

3. Cut in the edges with an even finish.

4. Roll or brush on the inside of the door, with smooth vertical strokes.

5. Once a section is applied, using a 75mm brush, lightly stroke down the door to create a smoothed finish. Don’t brush it too much – a few strokes should be enough to smooth the surface.

6. Allow to dry and lightly sand any imperfections, then repeat steps 3-5.

7. Clean up using responsible paint disposal methods (blade 24) and enjoy your handy work. Well done! *Tip: For moulded doors, always paint the inner recess and moulding first, then move to the outside to finish.

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HOW TO PAINT WINDOWS AND TRIM

HOW TO PAINT WINDOWS AND TRIM 1. Follow the preparation guide on blade 24.

2. Tape around the window or trim with painter’s tape.

3. Start by cutting in at the top and bottom of theedges of the trim, then finish off the middle.

4. Apply paint to the trim using short, horizontal brush strokes.

Repeat the motion for about a metre.

5. Smooth over the painted section with long brush strokes. Ensure not to add more paint to the brush when you do this. Don’t brush it too much – a few strokes should be enough to smooth the surface.

6. Repeat this process until complete. Allow to dry, then give the surface a light sand, then repeat steps 3-5.

7. Clean up using responsible paint disposal methods (blade 24) and enjoy your handy work. Well done! *Tip: Paint the inner window sections first then move to the outer trim.

Always keep windows open as they dry and ensure to move them constantly to prevent them from sticking together.

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GLANCING LIGHT GLANCING LIGHT Critical lighting condition can accentuate any uneven variations in the plasterboard, especially the appearance of joints. It can highlight other surface irregularities, such as variations in sheen, texture or surface uniformity, that may still be present after walls and ceilings have been painted.

Glancing Light conditions are most commonly found in the following situations: • Brightly lit rooms • Windows directly adjacent to walls and at the end of long corridors • Wall lighting (especially upward facing) • Downlights located close to walls New homes before blinds or curtains have been installed To avoid glancing light issues, it is recommended that visual inspections of finished surfaces be carried out in normal daylight conditions, between the hours of 10am and 2pm. No torches or artificial light to be used.

The inspection of a particular surface should be carried out at a distance of 1.5 to 1.8 metres and viewing angles should be 90° and 30°. Viewing at more acute angles or under strong illumination is not an endorsed method or standard therefore should not be imposed.

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WATER BASED VS OIL BASED ENAMEL PAINTS

GENERAL PROPERTIES, APPLICATION AND PERFORMANCE WATER BASED ENAMELS

OIL BASED ENAMELS

Non flammable

Contains flammable solvents

Lower Volatile Organic Compounds (VOC) and odour

High level of Volatile Organic Compounds (VOC) and strong odour

Clean up with water

Clean up with mineral turps

Generally re-coatable in 2 hours

Generally re-coatable in 6-8 hours

Available in Gloss, Semi Gloss and Low Sheen

Available in Full Gloss and Semi Gloss

Non yellowing

Prone to yellowing in absence of UV

Better resistance against chalking and colour fade in exterior applications

Prone to chalking and colour fade in exterior applications

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PAINT TOUCH UPS

RECOMMENDED PAINT TOUCH UP TECHNIQUE: • Use the same paint that was used originally to minimise any colour difference.

Pastel colours are more forgiving than deeper colours.

• Minimise gloss and opacity variations by applying only enough paint to cover the damaged area.

• Minimise surface texture differences by using the same type of roller sleeve when touching-up as was used for the original paintwork, especially the same nap length.

• Use combined application methods, such as brushing to apply paint to the affected area followed immediately by laying-off with a dampened, but unloaded roller to provide a match to the texture of the surrounding area.

Note: It is not recommended using a can of paint purchased after the original paint work was completed, as small batch-to-batch variations can occur and the colour may be marginally different yet still within specification tolerances.

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PAINT CLEAN UP AND DISPOSAL It’s important that all paint is disposed of in an environmentally friendly manner. Follow these tips to make clean up a breeze: • If you are planning to continue your painting project the next day, keep the paint, brush and/or roller in the paint tray and cover with foil or cling wrap.

The next morning, run the brush or roller over a newspaper a few times and it will be ready to use.

• After the job is complete, wash the rollers, brushes and paint tray with water for water based paints or mineral turps for solvent based paints.

• Wrap the clean brushes and rollers with newspaper and secure with a rubber band. Store the brushes flat or hang them on hooks. Excess paint can be stored in the can.

• Water based paints can be treated with Dulux Envirosolutions® Waste Paint Hardener. This product turns the liquid paint into a solid mass, which can then be disposed of responsibly. Unwanted solvent based paints can be disposed of by pouring the excess onto an absorbent material such as kitty litter, cardboard or shredded paper. Allow to dry before disposing. The can, once emptied, can be placed in household recycling bins. Never dispose of unwanted paint by pouring it down household or storm water drains.

For more information on responsible paint disposal please visit paintback.com.au or dulux.co.nz 33

GLOSSARY Acrylic Paint

A coating based on a water based acrylic resin.

Can be cleaned up or thinned with water.

Adhesion

The degree of attachment between the film of a coating material and the substrate with which it is in contact.

Alkyd

A synthetic resin generally used in solvent based paints. Made by reacting a drying oil with a hard, synthetic material.

Architrave

Moulded frame around a doorway or window.

Binder

The portion of a coating material that binds the pigment particles together and the film as a whole to its substrate.

Coverage Rate

The coverage or spreading rate (expressed in square metres per litre) that is expected when a paint is applied according to the directions.

Cutting in

The process of painting an edge (such as the ceiling line) in preparation for rolling larger areas.

Caulking

Sealing the gaps around or between building materials using a flexible filler.

Cornice

The profiled plaster moulding between the ceiling and wall.

Enamel Paint

Paint that produces a hard and smooth finish, most commonly used on doors and trims.

Eave

Projecting overhang of a roof.

Filler

A product used to fill imperfections in a substrate before the application of a primer or finish coats.

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Film Thickness

The thickness of one or more coats of paint.

Gloss Level

The level of shine of a paint coating, once dry.

Laying Off

The final very light stokes of a semi-dry brush or roller to create a uniform finish.

Nap

The length of fibres on a paint roller.

Opacity

The ability of a paint film to obliterate the colour of the substrate.

Sanding

The levelling of a surface or substrate and the removal of imperfections by rubbing with sandpaper prior to the application of paint.

Skirting

Trim, usually timber, in between the bottom of a wall and the floor.

Substrate

The surface on which a coat of paint is to be applied.

Touch Up

Recoating of small localised areas of a painted surface, in order to conceal repairs or to cover up small surface defects.

Wet Edge

Maintaining the coating in a wet state long enough to smoothly blend in adjoining areas into the previously painted areas.

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Contact Help & Advice For more information on any of our products, or for expert help on your project, contact our Help and Advice team on 13 25 25 for Australian customers and 0800 800 424 for New Zealand customers, or use our LiveChat. dulux.com.au | dulux.co.nz | trainingacademy.com.au Disclaimer: The advice provided in this fandeck is generic and may not be applicable in every situation.

It is recommended that a small area be tested to establish suitability of the rectification options.

Dulux, Worth doing worth Dulux and Envirosolutions are registered trademarks of DuluxGroup Australia (Pty) Ltd.

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