Fills pores for an even shine. Pore ​​fillers. Preparing wood for finishing Criteria for choosing a filler

Wood is a “delicate” material that requires special treatment not only during operation, but also during its preparation. To wooden interior parts served for a long time and did not lose their beautiful appearance, they need to be covered by special means. One of these products is foam filler.

Wood is an organic material, and upon closer inspection you will notice that it is far from solid, but covered with many small pores. If the pores are not filled, the varnish may lie unevenly, or even sag completely. It is in order to get rid of this feature, to make the material even and smooth, that a filler is needed.

Porosity filler is mixture of thick consistency with water or oil based, usually consisting of a filler (for example, silica) and a pigment substance. High quality filler It will be easy to rub on wood and will not delaminate or undergo severe shrinkage when drying or during application. Not to be confused filler and primer! Of course, the soil mixture is also important for wooden products, but it performs a completely different function - it protects the wood from rot and the appearance of harmful bacteria or bugs in it, and also improves adhesion.

Color palette pore fillers is very wide. Using a filler of one shade or another, you can visually age the wood, make its pattern more contrasting, or, conversely, hide it. But it is important that the pigment of the filler does not dissolve in the varnish, which will subsequently cover the product. This, firstly, will look unaesthetic, and secondly, it may indicate the low quality of the purchased foam filler.

Criteria for choosing a filler

One of the most important factors that are necessary take into account when choosing a filler for wood, this is the adhesion (ability to adhere to the surface) of the selected mixture. This adhesion does not relate to the wood itself, but rather to the filler. After drying, some mixtures may simply begin to “clip” from the wood. As soon as you lightly push the wood or otherwise influence it, the mixture will begin to pour out of the pores. In addition, wood, with an increase or decrease in humidity in the room, tends to slightly change its volume, and this should also be provided for by the filler manufacturer. That is, the mixture should retain slight elasticity even after drying. Poor-quality pore filler, due to changes in the volume of wood, can simply settle inside the pores, peel off or deform the material.

And the most basic rule. If the filler is really high quality, it will be compatible with subsequent coatings applied to the wood (varnish or paint). A bad mixture can cause unpleasant clouding on the surface of the wood, or even peeling of the varnish!

Remember that even the highest quality filler can ruin your repair if you do not use it according to the instructions.

How to prepare large-vessel wood for finishing? Craftsmen have chosen red oak for their finest products time and time again, and we did the same for our round dining table. This wood is affordable, durable, easy to work with and has an attractive appearance. However, an oak tabletop with only stain and a couple of coats of clear varnish lacks the silky smoothness you want to feel when you touch the surface with your fingertips. The pores of oak may appear tiny, but the tip of a pen or pencil can catch on them when you write on paper; Dirt or food particles may accumulate in them. In addition, the smallest irregularities do not allow you to obtain an even, pleasant shine, which is easy to achieve with a truly smooth surface.

You can even out the surface using several layers of clear coat, but we recommend filling the pores first. This saves the consumption of paint and varnish material and allows you to get a glass-smooth surface when applying the first layer of varnish. The difference between oak with unfilled and filled pores can be seen in the picture below. To achieve the greatest effect and make the process manageable, use this technique only on large flat and horizontal surfaces. The finishing techniques described below are quite applicable to other species with large pores, such as ash, mahogany and walnut.

The sample on the left was stained and one coat of varnish, leaving the pores open. The silky-smooth right-hand sample is covered with stain, a paste filler colored with the same stain, and a layer of varnish.

If you cut a tree trunk, you will see that the wood contains countless hollow tubes - vessels that conduct nutrients and water. When a log is cut into planks at a sawmill, some of the vessels are cut and open pores in the form of holes and tiny grooves are left on the surface. Sanding does not remove these pores. A film-forming coating can cover them, but such a layer is fragile and breaks down over time. The foam filler creates an even and solid foundation. To prepare your next project for finishing, learn about two methods for filling pores.

Suspension

This method is the number one choice due to the low cost and availability of the materials used. All you need is 320 grit dry/wet sandpaper and a varnish/oil mixture. You can purchase a ready-made oil-varnish mixture consisting of linseed oil or tung oil, varnish resin and solvent. For example, Minwax Antique Oil Finish, which preserves natural color wood, and Watco Danish Oil, which has several shades.

Unfortunately, the label doesn't always tell you exactly whether you're buying an oil-varnish mixture or a pad-apply polish, which is nothing more than regular varnish thinned with mineral spirits. Test the product you have.

Wanting to determine what exactly you have in front of you, an oil-varnish mixture or a varnish polish, pour a little product onto the glass to form a small puddle. Let the sample dry overnight. The oil/varnish mixture will look wrinkled, like the one on the left, while the polish will remain smooth, like the one on the right.

You can also make your own mixture. To preserve the natural color of wood, mix one part white spirit, one part varnish or polyurethane and one part linseed oil. If you intend to tint the wood at the same time as applying the filler, add a compatible dye or stain.

Sand the wood sandpaper grain size up to 180 units and apply a layer of oil-varnish mixture with a swab or brush. Immediately begin sanding the surface with 320-grit waterproof sandpaper so that the dust generated during sanding mixes with the liquid to form a paste. Do not remove excess suspension, but leave it overnight. Sand the wood again with 320 grit sandpaper, but do not add any liquid. At this stage, the oil-varnish mixture should still be slightly damp, and further increasing the amount of sanding dust in the suspension will further fill the pores. This time remove the excess and let the surface dry.

Evaluate the result by shining the light at a slight angle to the surface. If you still see scratches and dots, reapply the oil/varnish mixture to the surface and repeat the sanding process. Inspect the surface again. When the pores are filled enough to match the surrounding wood, dry the product for two to three days.

The pores of the red oak board on the left were filled using a sanding slurry method using a colorless oil-varnish mixture. As a result, the sample has light color and slight textural contrast. To polish the sample on the right, we used oil colored dark walnut. You can see that the board has not only acquired a darker overall tone, but also an impressive textural contrast.

If you need to give the texture more contrast, you can sand it surface layer wood, leaving the filled pores colored. If you want the product to be tinted evenly, lightly sand it with 320 grit sandpaper, being careful not to rub off the painted layer. Compare samples for evaluation possible results using the grinding method to form a suspension. Finally, apply upper layer film-forming coating such as polyurethane, oil-based or nitrocellulose varnish.

You can use paste

Commercial paste fillers, which are a mixture of solvent and particles of quartz or similar material, are somewhat expensive and quite messy to work with. Despite this, many experienced woodworkers prefer them because they produce excellent results and require less sanding time than the slurry method. There are water-based and oil-based fillers; We recommend oil-based products - they are easier to use and suitable for most cases. You can purchase foam fillers in specialized stores or order by mail using catalogs of companies offering products for carpenters.

Some pastes are ready to use straight out of the jar, while others require dilution. The paste should have the same fluidity as heavy cream. If the paste in the jar turns out to be thicker, put the required amount in a small container and dilute with white spirit.

As with the slurry sanding method, the color of the filler affects the final appearance wood As a rule, it is better to use aggregate of a suitable color tone. You can purchase already colored pastes, however, in order to rationally manage the contents of the jar, it is better to buy colorless paste and pour required amount into a separate container and add dye. This will allow you to get exactly the shade you need. To paint clear oil-based filler, proceed as shown in the picture below.

Pore-O-Pac, a paste-type pore filler, can be used lightly diluted or undiluted. Just add coloring and the paste is ready to go. The sample shown shows the color created by adding burnt sienna artist oil paint. We mixed Japanese burnt umber paint (it mixes easier with filler). Make sure there is enough colored filler prepared to completely cover the surface.

If you want the pores to not differ in color from the surrounding wood, you can use the same oil stain that you plan to use on the entire product. Instead, any dye that is compatible with the filler can be used. For oil-based fillers, artist paints, Japanese paints, oil-soluble dyes or universal pigments are suitable. The listed dyes can be purchased in specialized stores, art salons or from catalogs.

Left. The red oak was finished with a Salem Maple stain followed by a thin coat of shellac. Then we painted the pore filler with the same stain and filled the pores with it. On right. The same sequence: stain, shellac, filler, but now the contrast has been enhanced by painting the filler with brown Japanese paint from Van Dyke.

As with the slurry method, first sand the surface with 180-grit sandpaper. If you plan to stain the wood, the finishing process should begin by applying a layer of stain of the selected tone. When the stain is completely dry, prime the surface with a thin layer of cleaned shellac or the product you chose for final finishing products. (If applying stain is not part of your plans, apply a thin layer of primer immediately, then follow further instructions.) Let the shellac dry and then sand the surface with 320 grit sandpaper. The point of this stage is to tint areas of wood that do not have pores and prevent the resulting color from changing during the following procedures, when you fill the pores with paste. Now you can start filling the pores, as shown in the picture below.

Pour the filler onto the wood and spread it over the surface with a plastic spatula or rubber scraper, while rubbing it into the pores. When the pores are filled flush with the surface, remove excess compound by holding the spatula at a 45° angle to the wood fibers. After this, a thin layer of filler still remains on the surface. After a few minutes, when the solvent has evaporated, the surface will no longer look wet. When it becomes dull, wipe it across the grain with burlap or other coarse cloth. If the filler begins to set too early, making removal difficult, lightly moisten the surface with white spirit.

Check out samples 3 and 4 to get an idea of ​​two of the many possibilities available. Allow the filler to dry for two to three days. Then lightly sand the surface with 320-grit sandpaper to remove any traces of filler without disturbing the primer. A single application of foam filler may not result in perfect smoothness, so you can repeat this process again. However, in most cases, a single application of filler should make the existing depressions shallow enough so that when applying the top layers of coating, the surface is completely leveled.

As we remember, we took a photo or painting frame as an example. More precisely, using the example of manufacturing such a frame, we began to consider the stages of processing a wooden blank.

So, after bleaching, the master decided to sand the workpieces again. This will not make the wood any worse, but lint will appear on its surface, which will interfere with the application of paint and varnish. Raising the pile can be “provoked” by wiping the workpiece with a damp sponge, after which the product should be dried and sanded.

The next step wood processing is to apply a primer to its surface.

First of all, you need to choose a primer that will match the intended finish (transparent or opaque). Since we decided that the frame would be "exposed" to a clear finish, the primer had to be appropriate. We spent a lot of time on the topic of “priming,” but we didn’t talk much about primers intended for use on wood. To what was said earlier, let’s add the information that the Chemical Encyclopedia “shared” with us. It says the following about wood primers: “...wood primers should fill the pores on the surface of the wood without being drawn into them when the layer dries. To clearly identify the wood texture under transparent coatings, for example, concentrated solutions or aqueous emulsions of film formers, do not containing pigments and fillers. Insulating primers for metal that do not require hot drying can be used as primers for opaque (opaque) coatings on wood. For priming wood of large-porous species, so-called pore fillers are used (for example, a concentrated suspension of highly dispersed glass powder in a mixture solution linseed oil with glycerin ether of rosin in a high-boiling solvent), which are rubbed in with a swab." To what was said in the Encyclopedia, it is worth adding that wood primers can be applied with rollers and brushes. Primers perform not only protective functions, but also characteristic colors. With the help of primers, for example , regular spruce can become indistinguishable from mahogany.Many primers have antiseptic properties that target and insects.

So, the wood is treated with a primer and, after drying, “awaits” further action home handyman. And he is so involved in the process that he wants to make his product in the best traditions. And now my hands are reaching for varnishes. Here we must say “stop” to the novice master and inform him that “the fairy tale will soon be told, but the deed will not be done soon.” And things must be done in accordance with unwritten (and these days, written) rules. If during the priming process primers were used that do not completely fill the pores of the wood, that is, not special primers, it is necessary to use a composition called “pore filler”. It is these compositions that must be present on the surface of the wood before it is treated with paints and varnishes. When purchasing these compounds, the master should pay Special attention whether the filler is colorless or has any color. This is important for the simple reason that, intending to preserve the “pristine” color and structure of the wood, a novice craftsman may “miss” and cover the workpiece with a colored filler, which, in turn, will prevent him from completing his plan.

After the filler is applied to the product, you need to wait until it dries. Now you can proceed to the next stage of processing (either varnishing or polishing). The difference between varnishing and polishing lies in what exactly the surface will be treated with: varnishes (for the first case) or polishing liquids (including polish).

If we talk about processing with varnishes, then it should be noted that in the home craftsman’s workshop, in addition to the varnishes themselves, there should be solvents 646 and 647, which were discussed in articles devoted to paints and varnishes. These solvents are necessary to add them to the thickened varnish. If a novice craftsman wants to see a frame made (and we remember that we are talking about wood processing(for example, a photo frame) is varnished and shiny, then you should ask whether this coating will really give shine. The fact is that there are matte varnishes. They form a film on the surface of the wood, but do not have a characteristic shine. As for varnishes that add shine to the surface, their use does not guarantee that the surface will actually become shiny. And the point here is not the varnish, but the amount of solvent these varnishes were diluted with. The more solvent is added, the greater the likelihood of the coating becoming dull. In addition, applying varnish in thick layers will also not add shine to the surface, but, on the contrary, will make it matte.

Varnishes, regardless of whether they are shiny or matte, are applied to the surface of the wood with a swab, brush, or using a sprayer. Speaking about specific types paint and varnish materials, note that shellac varnish is used most often. It has a brownish-yellow tint and has a sheen when applied to a surface. True, there are also “cloudy” shellac varnishes, which contain shellac wax. The coating is applied with a tampon, and experts recommend not dipping the tampon into a container of varnish, but pouring the varnish onto the tampon. The varnish is applied along the wood fibers with fairly quick movements. Each stroke should overlap the boundaries of the previous stroke.

We will talk in more detail about shellac varnish, which includes shellac varnish, as well as other varnish coatings in the next part of the article.

Alexey Kaverau

The article uses photographs of the sites: belabraziv, kolorit-rt, auto43, krovli100, armada-skit

After sanding, or other stages of the preparatory process, to obtain a smooth, flat surface Pore ​​fillers are used. However, the resulting effect directly depends on the type of surface, type of wood, and what result you want to achieve.

It is advisable to pre-treat surfaces pre-treated with stains with a sealer (liquid filler or primer) in order to prevent the release of oils from the pores. No other processing is required. Unpainted surfaces must be primed (with special primers or varnish diluted with a solvent). If you plan to use it in the future polyurethane varnish, make sure that the components of the filler and primer do not conflict with each other. This will prevent the putty from falling out of the pores. Let the primed product dry and sand the surface with fine-grained sandpaper. Remove dust from the surface and start working with the filler.

In order to use a paste filler, add a solvent to it (according to the instructions), bringing it to a consistency reminiscent of butter in viscosity. Remember that wood with deep open pores requires a less viscous composition than wood with small open pores. Apply the filler with a clean brush, working first along the fibers of the workpiece and then crosswise.

Allow your putty to set on the surface, let it dry and settle a little. According to most instructions, this period is about 15-20 minutes. Then, the remaining filler is removed using a coarse cloth. At this stage, work is carried out against the wood fibers, perpendicular to their direction. Remember - you are removing material from the surface, but you must leave it in the pores. Next, the wood is carefully wiped with a clean and dry cloth, and the putty is allowed to gain strength within 24 hours.

Post-processing.

Your treated wood should look clean. If you notice a light, hazy residue remaining on the surface, you should know that this is small particles Pore ​​filler. This deposit can be easily removed by sanding with fine-grain paper. Be careful not to remove the filler from the pores or damage the stain.

PROTECTIVE AND DECORATIVE MATERIALS

The creation of protective and decorative coatings on the surface of wood and wood materials in order to improve the appearance and protect against environmental influences is called finishing of products. For protective and decorative coatings of wood and wood materials, paints, films and plastics are used.

Depending on the materials used, the finish can be transparent or opaque. Artificial reproduction of the texture and color of wood or various patterns on the surface being finished is called imitation finishing. Applying varnish to the surface of parts or products is called varnishing, and pigmented paints and varnishes are called painting.

Preparing the surface for finishing includes cleaning and sanding. Preparation of the wood surface for a transparent finish includes deresining, bleaching, surface painting, priming, filling, intermediate drying and sanding; for an opaque finish - deresining, priming, puttying (local), intermediate drying and sanding.

The creation of protective and decorative coatings with a transparent finish includes the application of varnishes, intermediate drying and sanding, with an opaque finish - puttying, painting, intermediate drying and sanding.

When refining paint and varnish coatings with a transparent finish, sanding, leveling, polishing, glossing, matting is required; for an opaque finish, grinding, polishing, and glossing are required.

Finishing is the final process in furniture manufacturing; in terms of labor intensity, it accounts for 40% of the entire processing cycle, and the quality and appearance of the products mainly depends on the materials used. According to their purpose, paints and varnishes are divided into three main groups:

materials for preparing the wood surface for finishing (primers, putties, fillers);

materials that create the main paint layer (varnishes, enamels, paints, finishing pastes);

materials for refining paint and varnish coatings (leveling liquids, polishing pastes and polishes, grinding pastes, surface refreshing compositions).

Paints and varnishes are compositions consisting of a number of initial substances - components that play different roles in the paint and varnish material and the coating it creates. These components are divided into groups:

film-forming substances and binders - synthetic and natural resins, waxes, adhesives, drying oils, colloxylin, etc., which, as a result of physical and chemical processes, form a hard film that adheres well to the product material;

Drying agents are components that speed up the drying time of coatings.

Materials for preparing the surface for finishing include grinding pastes and powders, primers, fillers, putties, putties.

Grinding pastes

Grinding pastes are abrasive powders ground on a soft, easily grindable binder. To prepare grinding pastes, abrasive powders of tripoli, pumice, electrocorundum, and silicon carbide are used.

The binding materials can be non-drying fats and oils, wax and paraffin, technical petroleum jelly, etc. The solvents are turpentine, white spirit, kerosene, gasoline, and the thinner is water.

Binding materials ensure uniform distribution of abrasive powder in the paste, hold the abrasive on the surface being sanded, and remove the heat generated during grinding.

Depending on the ratio of components and the type of binding materials, pastes are liquid, ointment-like and solid.

Liquid pastes are used to a greater extent for manual grinding and to a lesser extent for mechanized grinding on machines. During mechanized grinding, liquid pastes are quickly sprayed by working mechanisms (disks) moving at high speed. ribbons).

Ointment-like pastes are used when sanding varnish coatings with mechanized tools (disc, vibrating, etc.) with electric or pneumatic drive. The most widely used are grinding paste No. 289 and cement paste.

Solid pastes are used when working on machines and automatic lines. For grinding polyester coatings, VAZ-1 grinding paste is used. It uses aluminum oxide (alumina) as an abrasive material. The binder consists of an emulsion, mineral and vegetable oils and solvents in water.

Sanding powders

Grinding powders are dry abrasive grains not bound by binders. Pumice and tripoli powders are used for sanding paint and varnish coatings. The most common! is grinding with powder with the addition of wetting liquids - kerosene, oil, water and turpentine.

Primers

Primers are suspensions of pigment or mixtures of pigments with fillers in a binder, which after drying form an opaque, uniform film with good adhesion to the substrate and coating layers. The purpose of primers is to saturate the surface layer of wood, make it hard and dense, fill wood pores without significant shrinkage, and ensure high adhesion to the base and subsequent varnish coatings

Primers are solutions of resins, nitrocellulose and plasticizers in a mixture of solvents. The composition should be easily applied to the surface of wood using conventional methods (spraying, pouring, swab, brush), dry quickly after application to wood, be easy to sand, and not dissolve when liquid varnishes are applied to it.

Primers are divided into carpentry and painting primers. Carpentry primers are primer compositions applied to the surface under transparent paint and varnish coatings that do not veil the wood texture.

For transparent coatings, primers are made colorless and tinted. They contain resins (urea, etc.), adhesives, drying oils as film-forming agents; as fillers - pumice, kaolin, talc, tripoli, chalk, starch, glass or wood flour; as solvents and thinners - turpentine, white spirit, water, etc.; as plasticizers - petroleum jelly, glycerin; Humic and synthetic dyes are used as dyes for tinting wood tones.

In the manufacture of furniture, depending on the type of finish, the following primers are often used: polyester (PE-0155, PE-0129), nitrocellulose (NTs-48; NTs-0205; NTs-0140), based on PVA dispersion (PM-1). Nitrourea primers (NK, BNK) are widely used.

Painting primers are primer compositions applied to the surface under opaque paint and varnish coatings. They may contain components that cover the wood texture. Painting primers consist of pigments, fillers (or without them), film-forming substances and solvents. Ocher, mummy, and red lead are used as pigments. Film-forming substances include adhesives, drying oils, resins, and varnishes. Painting primers are used for oil paints and nitro enamels. Glue, casein, rosin-casein primers are less durable than oil and varnish primers.

Pore ​​fillers

Porosity fillers are compounds intended to be rubbed into the pores of wood in order to close them before applying transparent coatings, and, like primers, form the bottom layer of the paintwork. Depending on the properties, the filler is applied to a previously primed or unprimed surface. The filler layer helps reduce the consumption of paints and varnishes and reduce the subsidence of the coating into the pores during product operation.

The filler consists of a liquid part (a solution of a film-forming agent, driers and plasticizers in a mixture of volatile solvents) and a filler. It is applied to wood using flat polishing machines that have washers or tampons for rubbing the filler into the pores of the wood, and manually with a tampon or spatula.

Porosity fillers can be colorless or tinted. Porosity fillers KF-1, KF-2, PM-11, LK, TBM have found the greatest application.

Rosin filler KF-1 is a mixture consisting of finely ground tripoli powder, ether, rosin and linseed oil. After applying the filler, the surface does not need to be sanded, since the solvents it contains do not cause swelling of wood fibers. This filler is light-resistant and has good adhesion to wood and nitro varnishes. But a negative effect is possible when the texture of some types of wood is veiled.

Putties

Putties are a thick, viscous mass consisting of a mixture of pigments with fillers in a binder, designed to fill unevenness and smooth the surface to be painted.

Wood putties must be homogeneous in composition and contain highly dispersed fillers, have good adhesion both to wood and to subsequent layers of paint, be easy to apply with a spatula when sprayed, forming an even coating that is not subject to cracking and significant shrinkage, be waterproof, dry quickly and easy to sand.

Putties are divided into thick, intended for filling local depressions, cracks, depressions (local putty), and liquid, used for continuous leveling of small irregularities over the entire surface (continuous putty).

Based on the main composition of film-forming substances, putties are divided into oil, adhesive, varnish, nitrocellulose, polyester, etc. As fillers in putties, washed chalk, heavy spar, kaolin, barite, etc. are used.

Oil-based putties are waterproof, but dry slowly and have poor adhesion to wood. They are used under oil paints and enamels. Prepared at the point of consumption by mixing crushed chalk with an adhesive solution and drying oil.

Varnish, adhesive and nitrocellulose putties contain a large amount of volatile solvents and therefore shrink significantly when drying. As a result, to obtain a good surface, such putties must be applied several times.

Putties are applied to the surface with a spatula or paint sprayer. Depending on the recipe, the following brands of putty are produced:

PF-002 red-brown and KF-003 red - a mixture of pigments, fillers, pentaphthalic and oil varnishes;

ХВ-004 green and ХВ-005 gray - a mixture of pigments, fillers and a solution of polyvinyl chloride chlorinated resin in organic solvents with the addition of plasticizers; NTs-007 red-brown, NTs-008 protective, NTs-0038 gray and white - a mixture of pigments, fillers and a solution of colloxylin in organic solvents with the addition of a plasticizer and oils; MS-006 pink - a mixture of pigments, fillers and alkyd-styrene varnish; EP-0010 and EP-0020 red-brown - mixtures of putty paste with a solution of epoxy resin in organic solvents with the addition of plasticizers, with hardener No. 1, etc.

When applying putties with a paint sprayer, they are brought to working viscosity with solvents PF-002 and KF-003 - white spirit, turpentine or a mixture of white spirit and solvent in a 1:1 ratio, MS - xylene; NTs-007 and NTs-008 - solvent 645 or 646; ХВ-004, ХВ-005, EP-0010 and EP-0020 - with solvent R-4 or R-5. The surface of the putty is sanded with 4-6 grit sandpaper.

Putties are toxic and flammable materials.

Putties are thick pastes used to fill cracks and depressions on the surface of wood intended for opaque and, less often, transparent finishes. Putties are prepared at the point of consumption, using glue, drying oil, resin, and varnish as a binder and film formers; as a filler - chalk, wood flour, small sawdust, etc. Pigments or dyes are introduced into the putty, which give it the required color.

The best putties for wood are urea- and carbinol-wood, which contain, by weight, about 70 parts of urea glue and about 30 parts of wood flour or fine sawdust. These putties are cold-curing at room temperature.

Quickly hardening putty is prepared from magnesia-caustic powder mixed in 1 aqueous solution of magnesium chloride, by gradually introducing fillers into the liquid part with constant stirring until the mixture of the desired consistency is obtained.

For a transparent finish, putties are prepared using the appropriate varnish and from small sawdust of the type of wood in which the defects are to be repaired.

Components of paints and varnishes. Dyes are powdered mixtures of colored organic substances that are soluble in water, alcohol and other organic solvents and form transparent solutions that change the color of wood without darkening the natural texture. Dyeing is used to enhance the natural color of wood, to imitate low-value species as valuable ones, and to tint varnishes. For dyeing wood, dyes are usually used in the form of aqueous and less often alcohol solutions of 1-3% concentration.

Dyes

Dyes must be lightfast, have a bright color, high dispersion, not hide or darken the wood texture and be easily soluble in solvents - water, alcohol, acetone or other organic solvents.

Based on their origin, wood dyes are divided into two groups - natural and synthetic.

Of the natural dyes used in furniture production, a brown dye called walnut stain or stain is used. The coloring substances in the dye are humic acids. Humic dye dissolves well in water, colors wood in an even brown color of various shades, and has high light fastness, better than most synthetic dyes. It mixes well with synthetic dyes of direct and acid groups.

Synthetic dyes are complex organic substances obtained from coal tar. Based on their solubility in various solvents, dyes are divided into water-, alcohol- and fat-soluble, wax-soluble, etc.

In relation to textile fibrous materials, dyes are divided into acidic, nigrosin, direct, basic, mixed, etc. For dyeing wood, acid dyes and nigrosin are mainly used.

Acid dyes are sodium, potassium or calcium salts of organic acids. These dyes do not color cellulose fiber, but they do a good job of coloring the lignin and tannins that make up wood. They paint wood in bright and pure colors and have sufficient light resistance, dissolve well in water, and can be mixed with each other.

Table. Dyes for surface coloring of wood

The industry produces the following acid dyes for dyeing wood: yellow, dark red, brown, dark brown, reddish brown No. 1, 2, 3 and 4, light brown No. 5, 16, and 7, 16 and 17, dark brown No. 8, 9 and 15, yellowish brown No. 10, nut brown No. 11, 12, 13 and 14, orange brown No. 122, red No. 124, etc. In the table. The types of wood suitable for painting with different dyes of a certain concentration are given.

Varieties of coloring substances that color the part in the process of reaction with tannins of wood include mordants - iron sulfate, which gives a color from gray to black, copper sulfate, sodium chromium, potassium chromium, copper chloride, which color the wood in yellow-brown tones. This method of dyeing is called etching.

Pigments are finely ground powders of one color or another. Pigments cannot themselves be fixed on the surface of the product being painted and therefore are always used in a mixture with a solution of some film-forming material (glue, oil) that fixes the pigment powders on the surface of the product. Pigments are added to the binder to produce a light-resistant, opaque coating. Ready-made compositions from a mixture of pigment with a film-forming solution are called paints (glue, oil). Pigments are inorganic and organic.

After drying, the paint applied to the product forms a colored opaque film that hides the color and structure of the painted material.

Pigments are used in oil and enamel paints for opaque painting of kitchen, children's, medical furniture, cars, agricultural machinery, windows, doors and added to primer compositions under transparent coatings.

Organic volatile liquids intended for dissolving film formers (resins, ethers, cellulose, oils) and plasticizers and bringing their solutions to working viscosity are called solvents.

Solvent No. 646 is used for diluting nitro varnishes, nitro enamels and nitro putties general purpose. Store the diluent in a dry, unheated room, protecting it from direct sunlight.

Thinner RE-7V is used for diluting nitro enamels; RE-10V-for breeding oil paints, thickly grated white, thickly grated paints based on natural inorganic pigments.

Solvent R-219 consists of acetone, toluene and cyclohexane, taken in a ratio of 1:1:1. Intended for diluting polyester materials - varnishes, enamels and putties.

Solvent No. 648 is used to smooth out streaks and scratches by spraying nitro-enamel coatings after sanding.

Solvent for furniture varnishes (RML) is used for diluting nitrocellulose varnish NTs-222 and thread polish NTs-314 and bringing them to working viscosity. Substances that, when applied to a surface with a thin liquid layer (in the form of a solution or melt), under certain conditions, form a thin and durable A film that adheres well to the materials of the product is called film-forming. These include drying oils and resins, natural and synthetic.

Drying oils are products of processing vegetable oils, fats and organic products. They are used for preparing and diluting paints and priming the surface to be painted. Drying oils are divided into four subtypes: natural, compacted, synthetic pure and synthetic modified.

Natural drying oil is produced from linseed or hemp oil with the addition of drier. It is used for preparing and diluting thickly grated paints, as well as independent material for painting work.

Drying oils are prepared by heating drying oils with metal oxides (driers) or by oxidation, which involves blowing air through the oil. Natural drying oils- high-quality film-forming material that provides external coatings. The guaranteed shelf life of drying oil is 24 months.

Drying oil oxol is a solution of oxidized vegetable oil and drying agents in white spirit. Depending on the raw materials used, drying oil oxol is produced in the following grades: B - from linseed and hemp oil, intended for the preparation of oil paints used for exterior and interior works, with the exception of painting floors;

PV - from sunflower, soybean, corn, grape, camelina oils; intended for the production of oil paints used for interior painting, with the exception of painting floors.

Approximate composition of drying oil oxol (in%): oil - 50.1 drier - 3, white spirit - 47. Guaranteed shelf life of drying oil is 12 months. Drying oil oxol is

fire and explosive material. Natural dried vegetable oils for preparing drying oils are in short supply, so artificial drying oils are produced for these purposes. Such drying oils are glyphthalic and pentaphthalic, which are 50% solutions of medium-fat glyphthalic resin or fatty pentaphthalic resin in white spirit with the addition of a drier. Artificial drying oils also include shale, synthetic modified drying oil and combined drying oils: K-2, K- 3, K-4, K-5 and K-12.

Drying oil K-4 is used to dilute thickly rubbed paints intended for interior work. Drying oil consumption when diluting thickly grated paints is 20-30% of the paint weight. Drying time at a temperature of 18-22°C -24 hours. Stored in a carefully closed container, flammable.

Varnish

Varnish is a solution of film-forming substances in organic solvents or water, which after drying forms a solid, transparent, homogeneous film.

Depending on the nature of film formation, varnishes are separated into forming films only due to the evaporation of solvents (for example, alcohol, nitrocellulose), forming films due to chemical reactions of polymerization and polycondensation, as a result of which they become insoluble (for example, oil, polyester, urea-formaldehyde).

Varnish films protect products from external influences, give them a beautiful appearance, waterproof properties, etc. On the surface of the elements, a varnish layer of uniform thickness, color and gloss should be obtained, which has good adhesion to wood or underlying layers of primers, fillers and putties.

The names of varnishes are based on solvents - alcohol or film-forming substances, for example, oil, nitrocellulose, polyester, polyurethane, perchlorovinyl, etc.

Alcohol varnishes are solutions of resins in volatile solvents. The main solvent for this group is ethyl alcohol. Films of alcohol varnishes are formed when the solvent evaporates and can be dissolved in it again. Alcohol varnishes are applied with a brush or swab, resulting in a very thin and transparent film with high gloss, but not sufficiently water- and frost-resistant. Repeated application of alcohol varnishes and insufficient strength are the main reasons for their limited use.

The industry produces alcohol varnishes: shellac, rosin-shellac, rosin, and carbinol. The most widely used of these are shellac varnishes.

Oil varnishes are solutions of resins (natural or synthetic) in drying and semi-drying oils, solvents with the addition of driers. Drying oils are used as the main components - linseed, hemp, tung, and as resins - rosin, copal and glyphthalic. Solvents are turpentine and white spirit, xylene, etc.

Due to the fact that the films formed by oil varnishes dry very slowly (48 hours or more), to reduce the drying time, special substances are introduced into the varnish composition - driers in an amount of no more than 7-10% by weight of the oils. But even with the introduction of driers, the drying time for oil varnishes is several times longer than the drying time for nitro varnishes or shellac varnishes, which limits their use in finishing wood products.

Oil-based varnishes are applied with a brush, swab or spray. Films of oil varnishes have good elasticity, frost and water resistance.

The industry produces oil varnishes for general consumption and special ones. For finishing wood products, the most commonly used varnishes for general use are light 4C, 5C and 7C and dark varnishes 4T, 5T and 7T. Drying time for varnishes 4C, 4T - 36 hours, 5C, | 5T - 48 hours, 7C, 7T - 24 hours.

Special oil varnishes include varnish No. 350 - for covering floors, No. 74 - for preparing putties, No. 331 “Frost” - for interior decorative works. Nitrocellulose varnishes (nitrovarnishes) are solutions of varnish colloxy

on various grades, resins and plasticizers in a mixture of volatile organic solvents. They are widely used in finishing various joinery products.

Coatings formed by nitro varnishes dry quickly as a result of the evaporation of solvents, forming fairly hard, durable and elastic films that can be polished. Volatilization of solvents occurs at a temperature of 18-20°C and is significantly accelerated during chamber drying at a temperature of 35-50°C.

Nitrovarnishes can be divided into the following

way: transparent - cold and hot application; matting; acid curing - transparent and matte. Transparent cold-applied nitro varnishes NTs-218, NTs-221, NTs-222, NTs-224, NTs-228, NTs-243; NTs-218 varnish can be applied to the surface of wood with a swab. All varnishes, without exception, are applied by spraying, and varnishes NTs-222, NTs-224 and NTs-218, except for the indicated methods, are applied by pouring. These varnishes are brought to working viscosity with solvent No. 646, with the exception of NTs-223 varnish, for which RML-315 solvent is used. Hot applied nitro varnishes include NTs-223 varnish. The varnish heating temperature is 70°C.

Alkyd-urea varnish MCH-26 is used for covering floors; it is applied with a brush or spray; drying time 3 hours

Polishes

Polishes are solutions of low concentration solid polishing resins, colloxylin and plasticizers in a mixture of volatile organic solvents. The dry residue in polishes is 8-15%.

Polishes are used to create an even, mirror-shiny transparent coating that reveals and deepens the natural texture of wood.

There are two main types of polishing with polishes: polishing with wood polishes (carpentry polishing); polishing with polishes. shellac or nitro varnish coating.

There are alcohol polishes and nitro polishes.

Alcohol polishes containing shellac in solution are called shellac. Shellac polishes are often prepared at the point of consumption by dissolving shellac in ethyl alcohol, then settling and filtering the solution.

The chemical industry produces the following alcohol-shellac polishes: No. 13 (light brown), No. 14 (dark brown), No. 15 (red-crimson), No. 16 (black-blue). These polishes are used for polishing shellac, nitrocellulose and oil films.

Nitropolitans form a more durable coating than alcohol ones. They are used for polishing nitro-varnish coatings after leveling or sanding. The first stage of polishing is carried out with nitro polish diluted with RML solvent in a ratio of 1:10

Nitropolitans are nitroshell and nitron cellulose. They are used for final polishing of nitro-varnish films. At the point of consumption, nitroshell polish is prepared by mixing nitroshell polish NTs-314, shellac polish and RML solvent in a ratio of 1:1:1.

Paints are suspensions of pigment and mixtures of pigments with fillers in drying oil, emulsion, latex, forming an opaque homogeneous film after drying. Depending on the type of film-forming substances, paints are divided into adhesive, oil, emulsion, enamel, etc.

When pigments are introduced into solutions of film-forming substances, coatings are given opacity and a color that depends on the color of the pigments. Pigments also change other properties of coatings.

As a rule, the protective properties of paints are significantly higher than the protective properties of the corresponding pure film-forming films (varnishes). Increased protective properties of paints are obtained through the introduction of inorganic pigments.

Paints and the coatings they form must meet a number of requirements. Except general requirements Regarding good filling, quick drying, good adhesion and resistance to external influences, they must have a certain color, degree of dispersion of solid particles (pigment and filler), high hiding power and shelf life.

Oil paints are mixtures of pigments in dried oils. Some people call it drying out vegetable oils(flax, hemp, tung) capable of forming hard and elastic films as a result of oxidation by atmospheric oxygen. Drying oil is the most widely used for prepared paints.

Oil paints take a long time to dry. Typically, the drying period for coatings at a temperature of 20°C lasts at least 24 hours. Therefore, oil paints have limited use in finishing wood products. To speed up drying, driers are added to the composition of the drying oil during its preparation.

The chemical industry produces thickly grated oil paints, which are a paste-like mass of pigments rubbed into drying oil, as well as ready-to-use paints, diluted to a working consistency with the same drying oil, turpentine and white spirit; used primarily in construction.

The group of oil-based thick-ground paints for general use includes white lead, zinc and lithopone, lead and zinc greens, artificial cinnabar, red lead, mummy, ocher, etc. The degree of grinding of the pigment is indicated by numbers. The lower the number, the finer the grind and the more covering the paint. Depending on the composition of the dry matter, paints are divided into brands (grades).

Thickly ground oil paints are diluted with drying oil to reach working viscosity. The amount of drying oil required for this depends on the type of fineness of the pigment ground and ranges from 0.25 to 0.4 kg per 1 kg of thickly ground paint.

To speed up drying, add 5 to 10% drier to diluted paints. To increase pourability, turpentine or white spirit can be added to oil paints, but this reduces the viscosity, strength of the coating and its gloss. Some oil paints (litoponic white, red lead, ocher, mummy) are produced ready for use.

Most oil paints can be mixed with each other to obtain additional colors, but lead paints should not be mixed with paints containing sulfur compounds, for example, ultramarine, lithopone, cinnabar.

Water-based paints intended for indoor work on wood, plaster and others porous materials, come in 10 different colors. Paints are not recommended for rooms with high humidity. They are applied to the surface by pneumatic spraying, brush or roller

Depending on the composition of the paint, the following brands are produced: E-VA-27, E-VA-27A - based on polyvinyl acetate dispersion; E-KCh-26, E-KCh-26A - based on butadiene latex. For E-VA-27A and E-KCh-26A paints, titanium dioxide is used as the main pigment; for E-VA-27 and E-KCh-26 paints, lithopone is used.

Water-based paints used for painting buildings on brick, concrete, plaster, wood and other porous surfaces are available in 17 colors. They retain their properties in temperate climates for at least 5 years. Paints are applied with a spray gun, roller or brush at a temperature not lower than +8°C.

The following brands of paint are produced: E-AK-111 - based on copolymer acrylate dispersion; E-VA-17 - based on polyvinyl acetate dispersion; E-VS-17 - based on a copolymer of vinyl acetate with dibutyl maleate; E-VS-114 - based on a copolymer of vinyl acetate with ethylene; E-KCh-112 - based on styrene-butadiene latex.

Enamels are suspensions of pigment or mixtures of pigments with fillers in varnish, which after drying form an opaque hard film with varying gloss and surface texture. The purpose of enamels is opaque finishing of wood products, including furniture, windows, and doors.

Enamels must have high hiding power due to fine grinding of pigments, good flow on the surface, good adhesion to wood or primer, sufficient hardness, elasticity, light and water resistance

Depending on the composition of the main film-forming substances, enamels are divided into oil, alcohol, nitrocellulose, pentaphthalic, alkyd-styrene, alkyd-urea, polyester, perchlorovinyl, and polyurethane.

Oil enamels are mixtures of pigments with oil varnishes. The following enamels of this group are used for finishing wood products: oil-glyphthalic, pentaphthalic, moiré, fixol and emulsion.

Oil-glyphthalic enamels of various colors are used for finishing products used indoors. The coatings formed by these enamels are not smooth enough; The drying period for them at a temperature of 20°C is 48-72 hours.

Pentaphthalic enamels of the PF brand are produced on thick pentaphthalic varnishes. They form smooth and elastic coatings and are weather-resistant. At a temperature of 20°C, the coating dries in 48 hours.

Moiré enamels form a complex pattern after drying. Intended for decorative finishing products simple designs. The enamel is brought to working viscosity with white spirit or xylene. Drying time for coatings at a temperature of 80°C is 12-14 hours.

Fixol enamels are made on a fatty oil varnish containing at least 40% tung or linseed oil. Coatings formed by fixol have high weather resistance and a semi-mirror shine. The enamel is diluted to working viscosity with a composition consisting of 33% turpentine and 67% fixol varnish. Drying time at 20°C is 24 hours.

Emulsion enamels are a suspension of pigments and an emulsion consisting of a base oil and water with the addition of organic solvents and driers. Used for interior decoration premises for plaster and wood. The drying time for coatings at a temperature of 20°C is 24 hours.

Nitrocellulose enamels are a suspension of pigments in nitro varnish. These enamels dry quickly, have good flow, sufficient coverage, and form shiny, durable coatings that can be sanded and polished well.

Nitroenamel NTs-25 is available in 19 colors. It is used for coloring wooden surfaces, used indoors. Enamels are applied to a previously primed surface by spraying or pouring. The enamels are diluted to working viscosity with solvents No. 645, 646. The drying time of the enamel at a temperature of 18-20°C is 1 hour.

Glyphthalic enamel NTs-132 is used for painting primed wooden parts and products used in atmospheric conditions and indoors. NTs-132 enamel is produced in white, yellow, blue, red, black and other colors. Complete drying time at a temperature of 18-22°C is 3 hours. Dilute to working viscosity with solvent No. 649.

Enamels NTs-11 and NTs-PA in 52 colors are intended for painting pre-primed or putty surfaces of products used in atmospheric conditions and indoors.

NTs-11 enamels are diluted to working viscosity with solvents No. 646, 647, 648. Enamel coatings have the ability to be ground and polished to form a high-gloss surface. The guaranteed shelf life of enamels is 6 months from the date of manufacture. The enamel is applied to the surface by pneumatic spraying in up to five layers. Application by brush is allowed. The drying time of the enamel at a temperature of 20±2°C is at least 10 minutes for each layer, the last - at least 1 hour. To impart a mirror shine, the film is treated with polishing paste type No. 291, VAZ-2, polishing compound type VAZ-03.

Beet and sheet finishing materials based on impregnated papers. Facing film and sheet materials are divided into transparent and opaque, having their own adhesion to the substrate - wood material - and not having it, requiring subsequent finishing after gluing and not requiring it.

One of the promising types of finishing of furniture products made from wood materials is pressing film materials based on papers (lamination). With this method, the protective and decorative coating is in most cases created using films impregnated with synthetic resins.

The modes for pressing films depend on the material on which the film is glued, as well as on the resins with which the papers are impregnated. These films are glued by melting the resin in them and do not require prior application of glue to the elements. Films based on papers impregnated with urea-formaldehyde resins can be pigmented, non-pigmented and decorative with imitation of the texture of various types of wood or other patterns. The use of such films provides a replacement for planed and peeled veneer. Films based on imitation papers with a wood texture are usually called synthetic veneer.

Single-color films, pigmented and non-pigmented, are intended for gluing to wood materials as a primer layer under enamel. After gluing, the films are sanded and finished with enamels. As a result of their use, the consumption of putties and primers is reduced, and the number of enamel layers is also reduced.

The method of cladding panels with material from a roll (laminated method) has become widespread due to the fact that it provides a high-quality decorative coating. After varnishing, textured paper with a pattern applied (simulating the type of wood) is more similar to valuable wood and does not require finishing. A mixture of urea-formaldehyde resin and polyester emulsion, etc. is used as an impregnation solution.

For the production of films, special paper is used: textured roll paper, decorative paper with a printed pattern, paper - the basis of synthetic veneer.

Materials with partial polycondensation of resins are produced in two types: facing films and sublayer films. After impregnation, the films are dried to a stage where the resin completely loses its stickiness, but can melt under the influence of heat and pressure and then polycondense. Therefore, when covering the films, they are glued without glue. Resin

During film production, it is not cured, but dried. The facing film is used for cladding chipboard (lamination) and for the production of decorative laminated paper. For the production of furniture, furniture parts made from particle boards lined with films based on thermosetting polymers - laminated parts - are widely used. The thickness of the parts is 13-22 mm with gradations of 1 mm.

Sheet facing materials based on impregnated papers with a deep degree of resin curing are divided into types A, B, C, D.

Type A films are finished with nitrocellulose, polyester varnishes and enamels. They are used to trim all layers of panel parts. Resinization - 50%.

Type B films are used to cover the entire surface of panel parts. They are finished with polyester varnishes. Film resinization is 62%.

Films of type C are used to cover the internal surfaces of products and are finished with nitro varnishes and enamels. Resinization - 50%.

Films B and D in kitchen furniture do not use. Films of type C are used to cover the internal surfaces of products and are finished with nitro varnishes and enamels.

The dimensions of film sheets are determined by agreement with the consumer.

Films with a deep degree of resin curing are distinguished by the fact that during manufacture, after impregnation, they are subjected to prolonged drying at high temperature, causing the impregnating resins to almost completely cure. To glue the films, you must use glue.

Rolled materials with deep curing resins have become widely used in recent years. Roll facing material is produced in the following types: RP, RPL, RPT, RPE, RPLE, RPTE, RPKhP.

Film type RP does not have a paint coating, RPL - with a paint coating, RPT - with an embossed pore pattern; films with the letter E are characterized by increased elasticity. In the production of RPKhP type film, relief pores of the wood pattern are obtained without the use of an embossing calender machine as a result of the chemical interaction of brilliant paint with the film.

Films RPL, RPT, RPLE, RPTE are finished with acid-curing varnish ML-2111PM, nitrocellulose varnish NTs-2102.

Depending on the type finishing material and film coating qualities are divided into subgroups (A, B, C) and categories (1,2, 3).

Films are produced in widths of 1000, 1510, 1770, 1850 mm and are packaged in rolls with a diameter of 400-500 mm.

Edging materials based on papers impregnated with thermosetting resins are made with a deep degree of resin curing. The front surface has a protective and decorative coating and does not require finishing.

The following types of edge material are used in industry: strip - MKP-3, MKPPE-2; tape roll - MKR-1, MKR-2, MKR-3, MKRMF-1, MKRPE-2. The number in the film brand indicates the number of layers of material.

Depending on the surface condition, films are produced in glossy, matte, semi-matte, smooth, with embossed and printed patterns.

Edge materials are produced in widths of 14-15mm, thickness 0.27-0.5mm, length 2-3.5m, 500 and 600m.

Decorative laminated paper (DBLP) is made by hot pressing several (3-15) layers of paper impregnated with artificial thermosetting resins. These plastics can be in the form of sheets of various sizes and in the form of rolls. The facing layers of paper are impregnated with melamine-formaldehyde resin, and all others with phenol-formaldehyde. In addition, to obtain a high-gloss surface, a layer of paper impregnated with melamine resin is placed on the outer decorative sheet of paper when forming the bag. The surface of the sheets can be glossy or matte, single or multi-color

Depending on the quality of the front surface and physical and mechanical characteristics, plastic is divided into grades: A - for use in conditions requiring increased wear resistance (finishing horizontal surfaces); B - for use in less severe conditions (finishing vertical surfaces); B - for use as an ornamental material.

For the front surface of plastic, the following symbols are used: G - glossy, M - matte, O - plain, P - with a printed pattern, 3 - with a protective layer. The plastic designation may contain numbers that indicate the color and printed pattern according to the standard catalogue.

When cladding, polyvinyl acetate adhesives are used that have sufficient water resistance.

Decorative laminated paper is an excellent finishing material. High aesthetic qualities of DBSP, pure rich color, the ability to imitate any pattern, including patterns of valuable wood and stone, varied surface texture combined with great strength, resistance to scratches, hot detergents, various chemical reagents and high temperatures make it very effective in finishing kitchen, medical, children's and built-in furniture, commercial equipment, public transport interiors, in construction when cladding walls, partitions, doors, etc.

Plastic is produced in sheets 400-3000 mm long, 400-1600 mm wide with intervals between adjacent sizes of 25 mm, thickness 1; 1.3; 1.6; 2; 2.5; 3mm. Sheets with a thickness of 1 mm are produced in sizes no larger than 1500x1000 mm.

Polymer-based materials

They produce polymer materials in the form of sheets, films, non-woven materials, and artificial leather. Polyvinyl chloride decorative finishing film is produced for various industries. It is intended for finishing pre-prepared internal surfaces of walls in residential and public buildings, door panels, built-in, children's and other furniture, panels, interior elements of premises and salons in the aviation and automotive industries.

The film is produced in two types: PDO - without an adhesive layer and PDSO - with an adhesive layer on back side, protected with special paper. The film is produced in rolls of the following sizes: PDO - 150 m long, 1500-1600 mm wide, 0.15 mm thick; PDSO - 150m long, 450-500mm wide, 0.15mm thick, as well as 80m long, 900mm wide and 0.15mm thick

Surfaces covered with PDO and PDSO films can be wet cleaned with water room temperature. The use of solvents, soaps and detergents is not permitted.

PVC films have weak adhesion to wood, so they are glued with perchlorovinyl glue, aqueous dispersion adhesives, latexes, and hot melt adhesives.

Textured polyvinyl chloride self-adhesive films are also produced, on the non-front surface of which a sticky layer is applied. Such films are glued by rolling and light lapping to the wood with a roller, a block with rounded edges or a lapping hammer.

The widespread use of polymer film materials is due to their relatively low cost, good physical and mechanical properties, high decorative properties and the ability to obtain surfaces that do not require subsequent finishing.

Sheet polymer materials are almost never used for lining furniture, since printed designs are poorly applied to them and they do not adhere well. Film materials are usually considered to be polymer materials with a thickness of up to 0.25 mm and a width of more than 100 mm. The narrow material is called tapes. Thicker material with sufficient flexibility to be rolled into a roll is also classified as film.

Films come in one, two and three layers. Single-layer films can be easily printed, their surfaces are easy to finish, but when veneering, all the irregularities of the base plate appear. Therefore, a material with a thickness of at least 0.15 mm is used for cladding. In a two-layer film, the top layer is thin with a printed pattern and a finished surface. The bottom layer is thicker - it is duplicated with a thin decorative film.

Three-layer films are obtained if a thin transparent film resistant to external influences is additionally applied to the decorative film.

For cladding, porous-monolithic films are used. These films outside surface solid - monolithic, and the middle layers are porous. The surface of the films is well decorated. It can be colored, background, metallized, with any type of printed pattern, or embossed. The most relief embossing can be applied to a porous-monolithic film.

The film can be matte, glossy, smooth or with a relief pattern like leather, etc. The thickness of the films is 1.2-1.5 mm, width 600-1300 mm, length 30-150 m in the form of rolls. Frost resistance -30°C. Heat resistance of at least 100°C.

Films are used for lining panels of furniture for bedrooms, children's rooms, etc.

Polyvinyl chloride (PVC) films for cladding are produced with a smooth and embossed surface, covered with a finishing layer, glossy and matte, single-color or with a printed wood grain pattern (mahogany, walnut, ash, etc.). The thickness of such films for faces is 0.15-0.23 mm, for edges 0.3-0.4 mm, width for faces 1200-1870 mm, for edges 14-15 mm.

Films based on polyvinyl chloride resin are produced in a wide range. The composition of PVC-based compositions is as follows (mass parts): polyvinyl chloride-100, stabilizers - 0.5-5, plasticizers - 5-80, pigments and fillers - 0-10.

The physical and mechanical properties of PVC films depend on the amount and type of plasticizer. As it increases in the composition, hardness and strength decrease, but frost resistance, cracking ability, and elasticity increase. Depending on the plasticizer content, films are divided into hard (0-5% plasticizer), semi-rigid (5-15%) and soft (more than 15%). Rigid films have good wear resistance, hardness, strength and heat resistance.

PVC-ABS films have greater rigidity, heat resistance and less thermal shrinkage. The composition of the film composition is as follows (mass parts): polyvinyl chloride - 100, ABS plastic - 50, stabilizers - 4, plasticizers - 25, pigments and fillers - 10. In the furniture industry they are used for cladding facade, front, internal surfaces and edges of furniture parts.