**Почему кипит краска? Кувшинов VS Доктор наук — Transcript & Summary | SozAI**
Source: https://sozai.app/transcript/why-paint-boils-kuvshinov-vs-doctor/

Ivan Kuvshinov explains the causes of paint boiling during airless spraying of water-based interior materials and debunks common myths.

## Key Takeaways

- Paint boiling is caused primarily by air escaping from the substrate or paint film, not by heat-induced boiling.
- A stepwise reduction in substrate absorbency is crucial to prevent air from escaping through the paint.
- Water-based interior materials require specific handling and knowledge distinct from solvent-based coatings.
- High spraying pressure can increase the risk of paint boiling by forcing air through the paint film.
- Proper surface preparation and understanding of material properties are essential to avoid defects.

## What the video covers

- Ivan Kuvshinov discusses the rare but problematic phenomenon of paint boiling during airless spraying.
- The video focuses exclusively on water-based dispersion interior and facade materials, not solvent-based or industrial coatings.
- Paint boiling is mainly caused by air escaping from the substrate or trapped air in the paint film, not by classic boiling.
- Proper substrate preparation and a gradual reduction in absorbency of each layer prevent paint boiling.
- Kuvshinov critiques misinformation spread by some industry figures and aims to provide a comprehensive, practical explanation.
- He demonstrates the effects of different pressures and materials on paint boiling with practical examples.
- The video covers the importance of understanding multi-layered systems and the role of porosity and capillary effects.
- Kuvshinov emphasizes the need for professional knowledge and careful application to avoid paint boiling.
- He invites viewers to share the video to improve industry knowledge and reduce common painting errors.
- The video includes a detailed critique of a live stream by another expert to highlight common misconceptions.

## Chapters

1. 00:00 Introduction to Paint Boiling and Airless Spraying
2. 05:22 Importance of Sharing Knowledge and Industry Growth
3. 11:57 Air Escape Mechanisms and Substrate Absorbency
4. 17:45 Examples of Paint Boiling in Different Materials
5. 29:55 Pressure Effects on Paint Boiling
6. 35:53 Critique of Industry Misinformation and Live Stream Analysis
7. 67:13 Understanding Multi-layer Systems and Porosity
8. 79:13 Technical Details on Spray Equipment and Paint Flow
9. 81:03 Practical Advice on Substrate Re-preparation and Pressure Adjustment
10. 105:15 Conclusion and Final Recommendations

Answers

## Questions about this video

What causes paint boiling during airless spraying?

Paint boiling is mainly caused by air escaping from the substrate or trapped air within the paint film, rather than the paint reaching a boiling temperature.

How can paint boiling be prevented?

Preventing paint boiling involves proper surface preparation with a gradual reduction in absorbency of each layer and controlling spray pressure to avoid forcing air through the paint.

Does this video cover solvent-based paints?

No, the video focuses exclusively on water-based dispersion interior and facade materials and does not address solvent-based or industrial coatings.

## Full Transcript — Download SRT & Markdown

00:00

Speaker A

The air has nowhere to go. It's pushing through. It's popping, popping, popping, popping, popping. It’s popping in a clean, straight line along the joint. It was going pop-pop-pop-pop-pop everywhere.

00:14

Speaker A

Look at the contact patch side-by-side to see the difference between low and high pressure. I think that speaks louder than a thousand words. For example, I've never had this problem because I’ve worked this way my entire career. Here's what it was.

00:31

Speaker A

The photo on the left. I’d say the issue here is more about the surface.

00:35

Speaker A

Why aren't they boiling? Why don't they boil? Manufactured on April 18th, and it's good until April of '21. The bristles have dried out. Here's low pressure, here's high pressure. To make our situation even worse, we're using a specialized heating system. Let's watch.

00:57

Speaker A

First, let's look at the base temperature. Hello, dear friends. I'm Ivan Kuvshinov. Today we're talking about mechanized painting work. Or, to be more precise, airless spraying. To be even more precise, the causes of paint boiling during airless spraying.

01:16

Speaker A

This is when bubbles appear out of nowhere on a freshly applied surface, in the wet film. In reality, this phenomenon is extremely irregular and rare, but when it does occur, it can really hurt your morale and mental state, because once boiling happens,

01:35

Speaker A

it's incredibly difficult to fix. Correcting a surface that has started boiling en masse is a huge problem, especially if it happens on complex decorative elements. On a flat surface, it's more or less okay. But on decor, especially 3D panels, it’s an

01:53

Speaker A

absolute nightmare. As a practitioner, I should know that. Although, by the way, my 3D panels have never boiled.

02:00

Speaker A

Well, because I more or less understand where the boiling comes from. I wasn't even planning on making a video about this because it seemed like everyone understood. The people I talk to, my colleagues, are usually quite serious professionals. They've been in the

02:14

Speaker A

industry for years, handling huge volumes, much more than I do. They also seem to have a pretty good handle on the boiling issue. Their knowledge and understanding are enough to make this phenomenon predictable in practice. And if the phenomenon is predictable, we

02:30

Speaker A

can prevent it at the root before painting even begins. So I thought it was all clear to everyone and didn't need to be filmed. But that turned out not to be the case. That's one thing.

02:40

Speaker A

Secondly, it seems like a topic that a lot of people are really interested in, because many newcomers are entering the painting industry now, and they have no idea about how things work or where to start. And regarding this topic, the

02:52

Speaker A

topic of boiling, there is a lot of misinformation and fantasy out there, often coming from people who, let's say, hold titles. I got the idea to film a video on this subject when I recently stumbled across—well, a few weeks ago

03:07

Speaker A

—a live stream by some, um, supposedly respected people. At any rate, they are advertising themselves widely right now, and in my opinion, they said some incredibly incompetent things, so incompetent that I just about lost my mind. I’m not joking. I

03:26

Speaker A

was spinning around the workshop like a maniac listening to it, I almost started stuttering. Everyone was in shock. The next morning, I swear to God, I’m not kidding, I swear to God. I woke up and thought I had dreamt the

03:38

Speaker A

whole thing, that people couldn’t possibly have said such nonsense. It turned out they could. I want to warn you right away that the video will be long. I’d say over an hour, probably closer to an hour and a half, because I

03:49

Speaker A

won’t just be explaining where boiling comes from, but demonstrating it as well. I will tell you everything I know about boiling. Of course, it’s not absolutely all the knowledge that exists on the subject, but believe me, it will likely be the most

04:04

Speaker A

comprehensive on the market right now, as it is supported by both theory and thousands of hours of practice.

04:10

Speaker A

That’s one thing. And, in principle, I don’t even see much point in debating this topic. What I’m going to say today, in my view, can only be supplemented, clarified, or deepened if there is a strong desire to do so.

04:23

Speaker A

There. After that, we will watch that live stream together, and once you are armed with the knowledge I’m going to give you, you’ll understand why I was so triggered. So, why does paint boil?

04:36

Speaker A

The first thing I ask you to pay close attention to is that I will be talking exclusively about water-based dispersion interior materials. Well, facade materials too, but also water-based, yes. And accordingly, about interior work and interior substrates: fillers, mineral surfaces,

04:54

Speaker A

paintable wallpaper, polyurethane panels, moldings, and so on. I am not talking about industrial coatings, materials based on organic solvents, and so on. I don’t know anything about those. When it comes to organs, I'm slightly better than zero. Where I

05:08

Speaker A

don't know my stuff, I don't get involved. Just to avoid talking nonsense. But where I am an expert, I'll share it with you today. After you finish watching this content, if you find it useful—and I’m almost certain you’ll find it very

05:22

Speaker A

interesting and useful—please share it as much as possible; send it to your friends, colleagues, or anyone at all who might benefit from this material.

05:34

Speaker A

Send it to chemists or technicians if you happen to know any. This material will be very, very useful for them too, so that our paint and coating industry continues to grow by leaps and bounds.

05:48

Speaker A

Next, paint boiling. What is it exactly? It is not a classic physical process where a liquid starts bubbling and releasing gases upon reaching a certain temperature. No, no, no, no, no. Mostly, it’s almost always air escaping

06:03

Speaker A

from the substrate through the fresh paint film. That is, the air literally pierces through the paint film to see the light of day. There is a second case, when air escapes not from the substrate we coated, but from the body

06:18

Speaker A

of the paint film itself, also while fresh. This occurs due to forced or incidental aeration of the material during application. We will talk about this as well, but it is not nearly as common as air escaping from the

06:32

Speaker A

substrate. So, I have prepared a few slides to help you understand why air might escape from a substrate. Because there is a belief that the substrate is porous, we applied the paint, and the air comes out of it. Or conversely,

06:47

Speaker A

that the paint evaporates while the substrate is completely non-absorbent. And so the vapor has nowhere to go, and it also comes out of the paint. Both of these are absolutely incorrect. Let's move on to the slides. Look, for

07:01

Speaker A

everything to be in order, we need a gradual reduction in the absorbency of each layer. Here is a conventional classic breakdown of surface preparation and painting on-site. I draw your attention to these numbers: 5,000, 3,000, 2,000—these are purely

07:18

Speaker A

arbitrary units. I put them in a table so that these bars would differ in size. What do we see? Plaster absorbs very strongly. Acrylic filler, well, it absorbs a bit less. Then comes the treatment of the filler with a

07:30

Speaker A

deep-penetrating primer in one coat. Absorbency decreases further, then comes the primer-paint, it decreases again, and then the paint. The paint won't necessarily absorb less than the primer-paint, but here it is strictly stepwise: less, less, less, less. If we

07:43

Speaker A

have a picture like this, then boiling simply cannot happen. Well, it simply cannot be because of air escaping from the substrate. Why? Where does the absorption capacity of a material come from and what does it depend on? First,

08:00

Speaker A

any finishing material we are talking about, such as putties of various densities or even paints, are inherently inhomogeneous. That is, there are still pores in them. Every material is porous to some degree, and what can penetrate these pores?

08:17

Speaker A

Obviously, liquid. And second, besides pores, there is of course the capillary effect, which you can all observe when using a paintbrush, right? When we dip a paintbrush into paint, the paint starts to be sucked right into the bristl

08:35

Speaker A

happens due to the wetting capacity of the material, or more precisely, the component contained within that material. The higher the wetting capacity of a material, the higher the capillary effect, and consequently, the more moisture the material will absorb.

08:56

Speaker A

You must understand that most finishing materials, whether paints—especially white-base ones—or highly filled putties, contain a huge volume of components with excellent oil absorption. In plain language, they are easily wetted and have an excellent capillary effect. Take titanium dioxide

09:20

Speaker A

, for example, a basic white pigment with excellent oil absorption. And microcalcite, also known as calcite or ground marble, which is used in white-base paints and putties. It also has excellent wetting capacity and huge oil absorption, which, by the way,

09:41

Speaker A

causes a lot of problems when designing white-base materials. How can this be calibrated? Of course, through the ratio of the binder, but the less binder there is, the higher this absorption capacity will be. That is why, for example, putties soak up

10:00

Speaker A

moisture like crazy, they really do. The same applies to paints. It is just called something slightly different there. There is a concept known as pigment volume concentration, the ratio of binder to filler. And again, the lower the pigment volume concentration,

10:18

Speaker A

say 20-25 percent, the lower the absorption capacity will be. Conversely , the higher it is, say around 60 percent, the more pronounced the absorption capacity will be. Actually, you don't really need this information, but I think it's useful for general

10:34

Speaker A

knowledge. And the basic mechanic is that the air in the pores present in the material is displaced by water during moisture absorption. But the air doesn't just disappear; it has to go somewhere. Next slide. Here is the putty. The putty is treated with

10:54

Speaker A

deep-penetrating primer. There, yes, that's 2,000. Then, for example, comes a primer-paint isolator. Not a classic, let's say, inexpensive primer-paint, but an insulating one that drastically reduces the surface's absorbency. And on top, we apply some cheap deep-matte paint, or for some reason—I’ve seen

11:16

Speaker A

this—we apply a regular primer-paint again, which is sandable, absorbs water well, has a high pigment volume concentration, and all that. And then we apply the topcoat paint. See, it's covered in little bubbles because it's boiling. And why does it boil? Look, we

11:34

Speaker A

apply the paint, it starts soaking into the base of the previous layer—the red one—because deep-matte paint absorbs water perfectly; it starts sucking it in. But the next base layer doesn't absorb well. And the air—well , moisture isn't getting through there

11:57

Speaker A

anymore, but the air also has to go somewhere. And then a crossroads arises . If it’s easier for the air to burst through your paint—which also takes effort, since it has to penetrate and break through the paint layer—So, if

12:15

Speaker A

it’s easier for the air to pass through your paint than to go deeper, well then, welcome to boiling. of the material. Or another option, with a deep-penetrating primer. People often confuse the purpose of materials a little bit. A deep-penetrating primer

12:34

Speaker A

actually has one primary task. The main one is to strengthen a weak base and act as a small adhesion bridge. A perfect example: polymer putty. You sanded it; the base is dusty and weak.

12:48

Speaker A

You saturate it with deep-penetrating primer, strengthen the surface, and slightly reduce the absorbency. The task of a deep-penetrating primer is not primarily to reduce absorbency, but to strengthen—to strengthen first.

12:59

Speaker A

Secondarily, to slightly reduce the absorbency. But some try to play it as a two-in-one, to both strengthen and significantly reduce absorbency. We take the putty, prime it once, dry it, prime it twice. Everything is great.

13:13

Speaker A

Absorbency has dropped significantly. We’ve strengthened it a lot. We are happy. We apply a regular primer-paint again, which is highly absorbent. And we paint again. What do we have?

13:23

Speaker A

Boiling again. Boiling again. I will show you this clearly in a moment. Following the same logic, water from the paint rapidly moves into the substrate. Below that, we have a non-absorbent base. A dilemma: this way or that way? And if the absorbency of

13:42

Speaker A

the substrate is very low relative to that red layer, the air will push through the paint again. And here we go again. We have problems again. Or another option. Here is putty, deep-penetrating primer, paint, and then comes putty. Yes, this is exactly

14:02

Speaker A

for those cases when you need to correct someone else's work, right? Meaning everything is already painted, even without hair. Man, that's brutal, just brutal. You have to do a total disassembly. The first thing that comes to mind is, well, let's just re-putty

14:17

Speaker A

right over the old paint or stick on a liner and then re-putty. And what happens? We end up with that same intermediary layer that absorbs well, while the substrate beneath is a non-absorbent base, right? So, we have old, non-absorbent paint, then a highly

14:32

Speaker A

sorbent, moisture-absorbing base, a material applied on top during the correction work. And then we try to paint again, try to paint, and it all just blows up terribly. Explodes in the worst way. And there are actually many, many variations of this. With

14:50

Speaker A

polyurethane panels or something else. I will show all of that later. But the schematic is more or less always the same, isn't it? We put something much more absorbent on top of something weakly absorbent, paint it, and get a

15:01

Speaker A

boom. Therefore, for correction and defect repair work, it is better to use wood filler. Yes. Again, I’m demonstrating the stack. Putty, deep penetrating primer, paint, right? Then we perform defect repairs with wood filler and paint. It’s important to

15:20

Speaker A

understand that the absorption capacity of the penultimate layer—which I am showing here—doesn't necessarily have to be lower than the previous ones.

15:29

Speaker A

They can be comparable. The absorption capacity of the next layer can even be slightly higher than the previous one because the air doesn't necessarily have to force its way out. Because, as I mentioned before, there will be a

15:41

Speaker A

dilemma: which way is easier, inward or outward? Because for the air to get out , it also needs to overcome, well, certain forces, right? A certain amount of energy is needed to break through the wet film. And by the way, the air

15:54

Speaker A

doesn't always escape. Sometimes it can just make the paint swell a bit, but working with wood filler is, let's say, more predictable, of course, than if we were to patch with regular polymer filler. But instead of a thousand words

16:09

Speaker A

, it's always better to show it once clearly. So, let's move on to a visual demonstration of the process of predictable paint bubbling. For this, I have prepared a very interesting sample . Let's take a look at it. What is it

16:22

Speaker A

made of? A sheet of drywall, fully skim-coated. The putty we used is Terraco Plaster. Well, that’s not really important. Then it was completely primed with one layer of deep-penetrating primer. And with a dry residue percentage of about 6-7. After

16:44

Speaker A

that, on this entire section, a pigmented high-build primer was applied . Or, in layman's terms, primer-paint.

16:53

Speaker A

With a high pigment volume concentration, it features high vapor permeability and high porosity. It is from a fairly affordable segment, high quality, and specifically formulated for airless spraying. The market price is, well, I think it’s about 11,000 –12,000 for 9 liters. I won't name

17:12

Speaker A

the brand, or anything other than the putty, so I don't praise or offend anyone. Next, over this primer paint, we have one coat of European paint, about 5–7%gloss at 85 ° after airless spraying. Here we have a small

17:30

Speaker A

section of putty applied. It’s the same Terraco. Sanded down and slightly primed. Here we have applied, uh, wood filler material. I'll name VGT here.

17:45

Speaker A

Damn, I'm just not going to talk about the paints. This is VGT wood filler.

17:50

Speaker A

One of the most common materials for corrective and patching work on previously painted surfaces. Either on the first coat of paint or the first coat of primer. Yes, patching is often done with this material. Here I have a

18:03

Speaker A

simulation of, say, some major corrective work, where we putty over a previously painted base with standard polymer putty. So, well, here it’s just paint. And the last section, the most interesting one. The most interesting. Let me explain. As I said,

18:19

Speaker A

we have one coat of deep penetrating primer everywhere. But look at the color here. Look at the color. See, it’s slightly different. Why? Because on this specific segment, we have two coats of deep penetrating primer, with drying time in between. So, I primed

18:40

Speaker A

everywhere generously and let it dry. And here, I applied another generous coat of deep penetrating primer onto the dried base. And here we also have the porous primer paint, and here an isolating primer paint, with low vapor permeability and low water absorption.

19:05

Speaker A

The porous primer paint was applied in one pass; I didn't over-spray it here. And you can notice how different the film formation is on these two sections , where we have one coat of DPP versus two. Why did I create this block? This

19:22

Speaker A

block is made to simulate situations where craftsmen—and we’ve done this too—use a porous primer paint as a base and over-prime the surface. Just to be safer, to reduce absorption, so the paint levels out better, and so on.

19:43

Speaker A

We’ve had that situation. And what will happen here? I’ll tell you. So, just putty with DPP. No bubbling. Here, again, the porous primer paint. No bubbling. Well, paint on paint, naturally there shouldn't be any bubbling. The putty is what should

20:01

Speaker A

bubble. Our wood filler shouldn't bubble, because it is a high-density, moisture-resistant filler. And here, over the over-primed surface with porous primer-paint, it will bubble, but over the isolation primer, it won't , because here the absorbency was inconsistent. Low moisture absorption,

20:28

Speaker A

high moisture absorption, porous substrate. And here we have low moisture absorption, even lower moisture absorption, low-porosity substrate. That's why it bubbles here, but not there. So, let's try it out.

20:43

Speaker A

We'll use the same paint that's on the substrate here. Ah, 120 bar. None of that ultra-low pressure stuff. Good level of atomization and spray pattern.

20:53

Speaker A

Let's watch. Everything is great. Let's go. What do we observe? Immediate bubbling on the filler. The air just rushed out, moisture from the paint is quickly escaping into the substrate.

21:20

Speaker A

Next, we have a low-absorbency base, yes, the paint itself. The air has nowhere to go, it started bubbling, by the way. On the wood, it also started bubbling, but in a smaller volume. And I'm not ashamed to admit it. Obviously,

21:37

Speaker A

I applied it a bit too thick on the wood, because sometimes guys ask why it bubbles on wood too. Sometimes that's how I explain it. If we have a very low-absorbency base, and this paint is quite low-permeability, washable, even

21:51

Speaker A

if it has a low gloss level. And obviously, it happened here that, you see, the layer is uneven; it bubbles in some places and not in others. Where the layer is thicker, you can even see it in the shadows, it can even bubble

22:04

Speaker A

on the wood. By the way, a good example came out. Where it's thin, you see, everything is super. Thin layers of wood filler are fine, but where it's thick...Well, there are areas where it’s nearly a millimeter thick, yes,

22:16

Speaker A

it’s bursting too. But primarily, of course, the regular filler blew up. Let's keep going. And here is my favorite sample. Isolation primer, everything is beautiful. Ah, porous primer-paint and a double layer of deep-penetrating primer is just an explosion. Just a total explosion. This

22:40

Speaker A

is especially relevant for those guys who don't use the manufacturer's primers as primer-paint for flaw detection, but instead use either very cheap, porous primer-paints or just paint. The first time I had this situation was when we were still

22:58

Speaker A

working in St. Petersburg, and we used Tikkurila Euro Profil 2 as a substrate for flaw detection for the sake of imaginary savings. And one day, I primed one wall that had been filled, I don't remember why, twice. I mean,

23:15

Speaker A

specifically with Tikkurila primer. I primed it and we did something to it. I decided to prime it again once it was dry. And everywhere else it looked great after painting, yes, but specifically the wall where I primed twice, it just blew up like this. And

23:29

Speaker A

the wall was large, about 15 square meters. Just imagine, my entire wall was like this. So, here is a real-world production scenario where you incorrectly prepare the surface in terms of sequentially reducing the absorbency of each layer. Where we

23:46

Speaker A

follow the sequence, everything is super, you can paint as much as you want. Where the sequence is broken, we encounter a problem like this. And I want to emphasize the wood filler again . This is a good solution for defect

24:00

Speaker A

repair and adjustments, but when working with thick layers on low-absorbency substrates, like this paint here, it won't blow up on everything. Yes, I didn't expect it to tear apart with this paint myself, but when working on low-absorbency bases in

24:17

Speaker A

thick layers, even wood filler can develop bubbles, and air can escape. I didn't mind putting in the effort to make another sample, spending a few days, because I always ensure all samples are dried thoroughly, following all the necessary technological pauses

24:32

Speaker A

for shrinkage, settling, polymerization , and so on. I made one more sample. What for? First, to take another look at this specific wood filler and this base paint. Whether it boils or not.

24:43

Speaker A

Well, it turned out interesting, because regular wood filler doesn't boil even in thick layers. And second, to use a different paint for the finish layer, because someone might say, "Well , that paint is on a white base, it's

24:56

Speaker A

low-flow. That's why it blew up. Why don't you take a more high-flow paint, or one on a clear base, that's designed for airless spraying?" I will use such a paint—well, I already have—I won't mention the brand so I don't

25:11

Speaker A

favor or offend anyone, but this paint is regulated by the manufacturer. that it is perfectly designed for airless spraying. Plus, it's on a clear base, it's high-flow, and maybe, just maybe, it will boil less or not boil at all.

25:26

Speaker A

Let's find this out. This is just putty with one layer of deep-penetration primer. 6%solids content. Absorbent primer-paint, isolate—that is, insulating adhesion primer—and, accordingly, the paint, yes, the finish one, 5-7%with a very low degree of moisture absorption. Next, a classic

25:51

Speaker A

production scenario; here I have applied putty. So, we get putty on putty through a primer, putty on a primer-paint. And here it is a thin layer, significantly less than a millimeter. On absorbent primer-paint, on insulating primer-paint, on paint.

26:08

Speaker A

Here is the wood filler. Also a fairly thin layer, but not too thin, not like in defect repair, probably somewhere in between. Accordingly, onto the filler, onto the absorbent primer, onto the sealer, onto the paint. A thick layer

26:22

Speaker A

of wood filler under a millimeter onto the filler, onto the primer, onto the sealer, onto the paint, and a thick layer of putty. Yes. So, this putty simulates, for example, some correction and defect repair work at various stages. At the putty stage, primer

26:37

Speaker A

stage, and paint stage. Here, I wanted to demonstrate what we encountered last time. And, by the way, to check for myself how the volume of air in the intermediate substrate actually affects things. So, the wood filler acts as an

26:52

Speaker A

intermediate substrate. Here it is conditionally thin, conditionally thin —on defect repair it's usually less, and here it is conditionally large. And we will see where it boils and where it does not. Plus, I also applied an absorbent primer on top, so we have

27:06

Speaker A

absorbent primer on the filler, on the wood, on the thick wood, and on the putty. My predictions are that, look, uh, most likely—again, it’s about probabilities—it most likely won't boil there, won't boil, but there is a chance of boiling, a chance of boiling.

27:28

Speaker A

It won't boil, so here it's, uh, that’s clear. So, most likely it won't boil. And it won't boil, most likely, right? It shouldn't boil here either. It shouldn't boil here either.

27:44

Speaker A

Here, too, it most likely won't boil anywhere, because the absorbency is either equal to or lower than the substrate. This is more interesting.

27:53

Speaker A

Almost one hundred percent boiling. Most likely, it won't boil. Almost one hundred percent boiling. We already figured this out last time, because the layer of wood filler is too thick, and this base has low absorbency. And, accordingly, it will also boil here.

28:07

Speaker A

The situation here is, in principle, equivalent, but the probability that it will boil here on the thin wood is higher than here, because the absorbency of this substrate is even lower than that of the sealer. Practice has shown that the absorbency here is

28:23

Speaker A

even lower, so most likely it will boil everywhere, but it's possible there won't be any boiling here. I am using paint on a transparent base, yes, highly mobile. Well, the pressure is 130 bar. FFP 514, that is, a good

28:37

Speaker A

degree of atomization, no plowing at low pressure. Let's go. Oh, I'm out of paint. So, let's get started. Watching, watching, watching, watching. So, what are we observing? Ah, I completely forgot to mention. Also, right here, I had a strip that was over-primed with

29:03

Speaker A

two layers of deep-penetration primer. So, look here, where it’s over-primed , see? It’s exploding, exploding.

29:10

Speaker A

Exploding, exploding, exploding in a clean line, it’s exploding in a clean line. So, guys, you need to be more careful with deep-penetration primers, really very careful. Very careful.

29:21

Speaker A

Further on, where we have the over-priming, see, even on a thick layer of filler, it’s exploding.

29:29

Speaker A

Where are we having the over-priming? It’s exploding on the thin wood. What am I leading to here? I’m leading to the fact that, well, see, the wood also absorbs. So, it went through the wood, yes, through the absorbent primer-paint

29:44

Speaker A

, reached the over-primed base, and the air pushed back out. It’s okay here for now, but there’s a large volume of material here. It’s also okay here for now, but there’s a large volume of material here. Let’s look below.

29:55

Speaker A

Here, with the absorbent primer-paint and filler, everything is perfect. But with the isolating primer-paint and filler, problems have started. On the wood, everything is fine. On the wood here, everything is also fine. Here, on the regular filler, everything is okay

30:12

Speaker A

for now, but it might still come through. We’ll see. Below, on the filler. Well, where we have the paint, further down on the filler, there are problems. On the wood, remember I said that it likely wouldn't boil here? And

30:29

Speaker A

it likely wouldn't boil here either, but the probability of it boiling here is higher than there. And so it turned out, see, on the wood, through the paint, it still pushed through a little bit. And on the thicker layer of wood,

30:43

Speaker A

by the way, everything is fine so far, but there is a thin layer of paint here , see, the paint ran out above. On the filler, predictably, there is also a problem. There they are, there they are pushing through. And this is taking

30:55

Speaker A

into account that we have a high-mobility material, see, it even ran a little. So, the paint is highly mobile, it stretches easily, collapses easily, and air passes through it easily. So, if this were something like a low-mobility material, as a rule, on

31:10

Speaker A

a white base, all this would be even more pronounced. As you can see, most of the problems and cases where something might boil can, in principle, be predicted if you have at least a basic understanding of the processes

31:25

Speaker A

and how certain materials work. And accordingly, if they can be predicted, they can be avoided. What conclusions can we draw? That, well, probably, yes, with high-mobility paints, which especially have low viscosity in static conditions, the boiling dynamics might

31:44

Speaker A

be a bit lower. But in a situation where boiling will be 100%, yes, it’s clearly visible on an over-primed base, when working with regular polymer filler on a non-absorbent base, it will still explode. It will blow up terribly

31:57

Speaker A

, with no exceptions whatsoever. And it will even pop on wood over a very low-absorbency base. But, um, on putty, as you might have noticed, it still boiled rather irregularly, especially on the wood. Why is that? The thing is,

32:14

Speaker A

when we work with absolutely uniform materials, like paints, primers, and so on, it's all much more predictable because the materials are uniform, but putties, no matter how you look at it, aren't as uniform after drying. And it’s not because the material itself

32:29

Speaker A

in the can is inconsistent, but because there's still the factor of application —how many layers, how many times we went over it with a spatula, how much we compacted it, and so on. That’s why even on putty, boiling can occur,

32:42

Speaker A

well, locally. If you see it on paint, if there’s an over-primed area, it’s clear, like marker dots— pop-pop-pop-pop—all in little bubbles , but on putty, it’s always in local zones. Why? Because after application, the putty is still non-uniform; its

32:59

Speaker A

porosity is inconsistent. If we work in several layers, depending on how many times we ran the spatula over it, we’re still creating some additional non-uniformity. But that doesn't mean we're protected from the risks. I mean, any work with any putty on any painted

33:16

Speaker A

base, or an over-primed base, or an absorbent base, is always a risk. And this is also, by the way, an answer to the question from those guys who ask: " Why is it that when we apply a second

33:32

Speaker A

finish coat, the putty blows up?" One of the reasons is exactly that we primed it too heavily. Sometimes you don't even need to prime heavily, just prime it well once, really thoroughly, like you're doing it for yourself, right? Apply a thin layer of putty, let

33:50

Speaker A

it dry, then start applying another finish coat on top, right, an additional one, work in two layers, and it might blow up. This can also happen on the base coat—for example, if you glued down fiberglass, sprayed it with

34:02

Speaker A

paint primer, primed it again, or something else. Well, when we have this inconsistency in absorbency, the putty will also boil beautifully. I’ll tell you even more. When I was puttying these strips on paint, I applied a layer of putty over the paint, let it

34:18

Speaker A

dry, and everything was fine. But it sagged from the guides. I was puttying along the guides to build up the thickness. Well, I used masking tape for markers. There. And I start applying the second coat. And it just

34:30

Speaker A

starts bubbling up, pop-pop-pop, puff-puff, popping everywhere. So, the logic and the mechanics of the process are exactly the same. And here is another classic production scenario that can occur if you don't account for absorbency. One of our projects is a

34:49

Speaker A

cottage. The preparation, molding installation, and final prep for painting weren't done by us. Moreover, the molding installation wasn't exactly neat. They took all those gaps that were visible and filled them with regular polymer filler, even though it was a finish grade. And, accordingly,

35:06

Speaker A

everywhere they applied it generously. Every single seam started popping, just bubbles everywhere. These are the kinds of things that happen when filling moldings. If you are doing airless spraying and don't want to take risks, I highly recommend not using regular

35:23

Speaker A

finish polymer filler, or generally any ready-to-use polymer filler we use for walls. For that, you should use either specialized materials or wood filler.

35:33

Speaker A

It works great for these local repairs, even in thick layers. And another production situation that can seriously fray your nerves and cause you a lot of trouble. This is, of course, working on combined substrates —combined in terms of absorbency. For

35:53

Speaker A

example, the well-known polyurethane decorative moldings. 3D panels, wall moldings, ceiling moldings, baseboards. And so on. What does "combined" mean?

36:05

Speaker A

It’s like when we have a wall, a mineral substrate, acrylic filler, and on it, there are moldings, or baseboards, or a ceiling, etc.;the wall absorbs moisture well, but the moldings don't. And if we work with a continuous coat of some primer—pigmented,

36:23

Speaker A

high-solids, but one that absorbs moisture well—it will look super-duper on the wall, but on the decorative elements, you might face very serious problems. Let's take a look. In front of us is a polyurethane 3D panel. Orac Decor W121 model. It's

36:45

Speaker A

made in Europe, which is why boiling often occurs on the panel. Of course, some people try to correct and finish these 3D panels with regular wall polymer filler. You shouldn't do that.

36:58

Speaker A

I think you understand that it will bubble up. You already understand why. But then again, the polyurethane 3D panel does not absorb moisture. So, there are nuances when working with different priming materials. If we use a porous, moisture-absorbing primer on

37:19

Speaker A

3D panels again, we get an inconsistent reduction in absorbency. What about this sample? Half is porous primer, half is an adhesive primer that also acts as a sealer. Well, virtually all adhesive primers have a low degree of moisture absorption. What will happen

37:41

Speaker A

here? Here it will bubble up. Here it won't. Right. Let's wait a bit and see what happens. And again, this is a good primer, a mid-range product, the same one we used on the large sample. It's not cheap, but it's not a 5,000-ruble

38:22

Speaker A

high-end product either. It’s just not suitable for these types of tasks. And we are witnessing absolute hell. If this were to happen on a job site, I wouldn't envy you. And for dessert, another real-world scenario that can be

38:43

Speaker A

a real headache. That is, of course, working on ceilings. Primarily, this concerns inexpensive ceiling paints with a high pigment volume concentration. In short, where the sheen is achieved not through clever modifications, let's call it that.

39:03

Speaker A

Because high-end ceiling paints don't have a very high PVC; they can be washable, perform really well, have low absorbency, and still maintain a sheen of just two to three units. But with the cheap stuff, things are usually simpler: less binder, more matting

39:21

Speaker A

filler, and you're good to go. And, accordingly, the absorbency is just brutal. Just absolutely brutal. To make sure the paint lays down well over a large area, what do masters resort to?

39:32

Speaker A

Either a sealer or, if the budget is a bit low, then obviously some heavy-duty priming, really intense priming. Reduce the absorbency more, and it will lay down better. In principle, it’s a viable scenario if you are guaranteed to finish in one coat. But it happens

39:50

Speaker A

that you have a large ceiling, you've done everything, touched it up, laid it on thick. And well, the "stone flower" didn't turn out right for the master craftsman. Yes, there are problems, there are problems. We dry it as much

40:04

Speaker A

as possible and think, "Okay, now we'll repaint it." We start repainting. And you already understand the mechanics, right? Non-absorbent substrate, absorbent material. We apply it, and boom. Everything, absolutely everything blew up to hell. Just completely ruined . And cracking might even occur. Well,

40:23

Speaker A

the subject of cracking is a separate conversation. Let's not drag out the runtime any further. So, this point must also be taken into account. Very low substrate absorbency is far from always a good thing. Far from always a

40:38

Speaker A

good thing. And the second main case, of boiling so to speak, yes, is, as I already said, when air does not come out from under the substrate and pierce through the paint film, but comes out of the material itself. Actually, I

40:53

Speaker A

have almost never experienced that. And on jobs, it never happened at all, only in the workshop. It happened in the workshop, where we’ve been testing a whole lot, honestly, a ton over the last 2 years. That’s low pressure.

41:04

Speaker A

Low pressure, guys, the notorious low pressure. For some reason, everyone likes it so much. Why, though? They can't explain why, but for some reason, many people just worship it. I’ve never had that because I’ve never— basically, I’ve worked the whole time

41:16

Speaker A

within the range of 160 to 240 bar. I swear: 160 to 240, and the finishing nozzles—bam, bam, bam. No issues with forced or, let's say, parasitic aeration of the material during application. The only time it happened was when working with thick layers,

41:32

Speaker A

from a turbine, yes, that happened— wait, scratch that, airless. And, accordingly, in the workshop, especially when I started studying other people's technical sheets or experimenting with low pressure, I saw that there were indeed bubbles.

41:45

Speaker A

Moreover, the substrate might not be absorbent at all, like synthetic paper, which has zero absorbency. And boom, even on the first coat, there are tiny bubbles, there are pores, very pronounced pores, because, in principle , all paints are porous. Take a

42:04

Speaker A

microscope, zoom in, even on some super-stretching materials, and under a microscope, you’ll be shocked at how many tiny holes there are. But I believe that if you see pores under a microscope, it’s completely normal.

42:18

Speaker A

If pores are visible under macro photography, for example, on a phone, yes, in macro mode, that’s also generally fine. 90%of paints have that.

42:28

Speaker A

So. But if the pores are visible to the naked eye from 30 cm away, that’s very, very bad. That should not happen.

42:34

Speaker A

Such pores—scratch that, we don’t want those. But they do arise at low pressure. Why? What is the direct consequence of low pressure? The direct , primary consequence of low pressure is a low degree of atomization and, consequently, a large droplet size. You

42:51

Speaker A

can see it right here. I have it set to about 60 bar right now. This material I have loaded here opens up perfectly— well, not perfectly, but it opens up at 60 bar. We don’t have tails, stripes, and so on. Yes, but at the same time, I

43:09

Speaker A

can't say the fan is fully open because I don't have decent atomization of the material, a sufficiently fine droplet.

43:15

Speaker A

Although some people manage to paint that way. Look here. So, it's a large droplet, almost like from a turbine, specifically from a turbine at low pressure, meaning it's really fat. What happens to us at low pressure? Besides the layer growth, for example, due to

43:36

Speaker A

the large droplet, we are de facto bombarding our freshly applied paint coating from above with that same large droplet and, de facto, plowing through the material, literally forcing aeration. Not in the hoses, not with dissolved gases, but simply by applying

43:57

Speaker A

it with a large droplet, we are aerating the material. Demonstrating visually. And look, just look. Do you see what it looks like? How a large droplet hits the layer. And now we are demonstrating the pressure at which this material atomizes well. The same

44:21

Speaker A

Graco FFP 514 nozzle, but already at 135-140 bar. Let's watch. And I can even spray from above. We aren't plowing up the surface either. Yes. The droplet bombards the base. But with this large-droplet plowing, like a peasant with a plow in a field, we are

44:55

Speaker A

not plowing up the material. Moreover, this whole issue of forced material aeration via large droplets at low pressure is especially relevant for highly thixotropic and low-mobility materials because it's much more noticeable there and can truly lead to quite serious cratering. This effect of

45:17

Speaker A

plowing the paint film is especially visible in slow motion. And look side-by-side at how much the contact pattern differs at low pressure versus high. I think this, as they say, is worth a thousand words. So, a practical experiment on parasitic material

45:40

Speaker A

aeration via low pressure. Right now, we have our material. It fans out at 65 bar. Well, many consider this to be " fanning out." Let's take a look. Well, there are no tails. Everything seems fine. Even the atomization seems pretty

45:57

Speaker A

decent. Well, let's see. I will apply it to a solid surface, not just a board , as if I'm painting a wall. Let's go.

46:09

Speaker A

There. I'm painting a wall, laying it down thick. That’s it, laid it down thick. Let's see how it dries. I specifically marked the board with tape so we don't mix them up. Okay, and the second spray on the same board with the

46:26

Speaker A

same primer-paint. The material is the same. The same FFP 514 nozzle, but the pressure is no longer 65 bar. But like the grown-ups do, 140. Let's watch.

46:38

Speaker A

Whoa, now that’s what I call a good level of atomization and so on. Let's go. I'll also lay a fat layer so no one says it's just a thin layer, which is why there's no difference. But I won't

46:55

Speaker A

lay it any thicker, because a high degree of atomization allows for finer work. That's it, leaving it until tomorrow to perform the analysis. Well, our samples have dried, about 24 hours have passed. Here. Our test plate, where I marked the rebound, with low

47:15

Speaker A

pressure, where we applied about 65, well, 70 bar. The spray fan widened, as you remember, everything was not bad.

47:22

Speaker A

Now, let's look at the quality of the film itself. Now we will brush off any potential dust. I have a brush here. So , hop. It's hard to capture this on camera, but with my naked eye. At about

47:39

Speaker A

, maybe, 40-50 cm. I can perfectly see the pores. There they are, there they are, there they are. Can you see them too, right now? Yes, let's do it like this. Hop. Let me peel it off the plate

47:52

Speaker A

. That will be better. You see, I haven't even peeled it yet so I don't mix anything up. Oh my goodness. So, now we will remove the backing. Here is our little plate. So, what are we observing? Do you see the pores? These

48:12

Speaker A

black dots, right? These are the pores. I will attach some macro shots taken separately. Right across the entire surface one can observe them. That is not dust. There they are, do you see?

48:30

Speaker A

There's one, two. I am moving them toward the center. See, they are bubbles, right, little craters. And they are very characteristic, meaning it is not a porous substrate, where the pore is in the base, that has a different crater character. But here it

48:47

Speaker A

is air escaping; you see, the edges are slightly raised, air bubbles were coming out. This is because of, yes, this is due to forced aeration from the large droplets. So, you saw the contact patch, rough application at low

49:01

Speaker A

pressure. And this is the result. Let's look now, right away, at the high-pressure sample. The same material , where we applied roughly 140-150 bar.

49:16

Speaker A

Actually, it's closer to 150 even. So, let's peel it off the plate too. This blue plate, remember? Hop. Showing you everything in real-time, no editing.

49:30

Speaker A

Although, again, if you think I'm lying , well, believe what you want. So, let's look here. Looking here. Well, I already looked, as you understand. Well , here I haven't seen a single large pore visible to the naked eye. That's

49:50

Speaker A

just a speck of dust. So the character and quality of the film is completely different. Completely different. Now we can even try to look like this against the light. Here we don't see anything.

50:07

Speaker A

Here we see, I don't know if the camera picks it up. Well, even right there, yes, there are the pores. So, a high degree of atomization. In fact, the film is different. Here there is a more pronounced orange peel texture. Well,

50:23

Speaker A

again, it's only visible under oblique lighting. Here it is smoother, even though the base is the same, same primer, same MDF. Everything is exactly the same. And for the sake of fairness.

50:34

Speaker A

I knew this would happen with this paint because we had already run tests and it happened. Meaning this effect at ultra-low pressure won't happen every time. Firstly, few materials allow, let's say, application with full atomization, without tails, at

50:51

Speaker A

ultra-low pressure. But I mean ultra-low. I define it as below 90. So, if you're around 100 to 90, that's just low, or even 110 to 90, but if we drop below 90, that is in my opinion ultra-low, like 80 or 70, god forbid.

51:09

Speaker A

And these kinds of issues actually occurred even at 80 bar. Initially, I noticed this forced, well, parasitic aeration precisely at 80 bar. I just showed it to you at around 60 for even greater clarity. Because many are like,

51:26

Speaker A

"Oh, the material atomizes at 70 bar, cool." Why it's cool, they can't explain. "Well, it's just cool, let's apply it." Well, with certain materials , by the way, this is quite common; you can run into this picture, right? That

51:38

Speaker A

your cool, supposedly cool application ends in parasitic aeration, and we get a low-quality film. That's why you shouldn't chase low pressure. I will film a separate video on the topic of low pressure, as the subject is quite deep and interesting. And I, for

51:59

Speaker A

example, have never had this problem because I've worked my entire career, the whole way, from 160, effectively.

52:06

Speaker A

Well, practically, now it's sometimes lower, but still 120 plus always. I would even say 135 plus, so around 140-150 is my main working range now, although sometimes I blast at 200 too.

52:20

Speaker A

I have absolutely no problems with that ; quite the contrary. Precisely and quickly, we cover large volumes with good, decent quality. That's how it is, dear friends. And, of course, these are not the only factors that can lead to

52:34

Speaker A

gas release from the paint. But these two scenarios, these two mechanics, are what you encounter in 99%of cases on job sites when you run into such problems. Everything else, like explosive decompression or whatever, although we will discuss that later,

52:56

Speaker A

well, if it happens, it's very rare. I have told you about the real mechanics most frequently encountered on job sites and the most common production scenarios. And now, with all this knowledge in hand, let’s watch this live stream together, and you’ll see

53:15

Speaker A

why I was so triggered. Plus, there are a few interesting points in there that we will also directly check and debunk in our wonderful workshop. Well then, folks, let’s get started. But first, a small disclaimer. I’m not going to

53:31

Speaker A

react to the whole video. I already filmed it. It ended up being two hours long because there’s quite a bit to discuss. I’ll stick to the main points and keep it relatively short, hopefully within an hour, because there

53:43

Speaker A

is still a lot to cover. So, who are our main characters here? Oleg Nikolaevich Shishilov, a Doctor of Chemical Sciences and former employee of the German BASF company. In short, his credentials are quite epic. And the second fellow is a former "future"

54:01

Speaker A

actor. Well, at any rate, that’s how he introduces himself. Let’s establish who exactly Oleg Nikolaevich Shishilov is. His biography goes like this. Well, here it’s all pretty classic. Mendeleev University. Defended his candidate thesis in '09. Then in '22, he received his doctorate. His

54:22

Speaker A

primary specialties are inorganic chemistry and physical chemistry. Regarding the inorganic side, it would have been better for him to work in organic chemistry, because even in water-based paints, everything revolves around carbon compounds. For instance, the well-known polyvinyl acetate, or

54:38

Speaker A

PVA, is an organic polymer compound. As for physical chemistry, that’s a bit better, because I assume Oleg Nikolaevich should know his way around colloids, and colloid chemistry, in particular, studies dispersed systems —and paints are exactly those. But, of course, they are far from being just

54:58

Speaker A

paints. Continuing, up until 2013, he was a researcher at the Kurnakov Institute of General and Inorganic Chemistry, and from 2014 to 2018, the Director of Science and Innovation at OS Innovatsiya LLC. I tried to find out what this firm actually did. I didn't

55:14

Speaker A

find much right away. Things seem a bit strange there. I won't judge, but he was supposedly doing something there— innovations. Next on the list. From 2018 to 2022, he was the head of technical support for the BASF dispersions business unit in Russia.

55:29

Speaker A

From what we can conclude based on his job title, the man was a raw materials supplier; and, in principle, BASF deals with the production of various component bases. Not just for paints, far from only for paints. It’s a

55:41

Speaker A

massive chemical conglomerate with tons of divisions; chemicals are needed for paints, fertilizers—well, everywhere. Just everywhere. And perhaps for raw materials, specific types, again, of raw materials, right, we don't know exactly what he was responsible for or what he was actually doing, do we? A

55:56

Speaker A

person could be knowledgeable about raw materials, but just because someone knows parts doesn't mean they're a car expert, or truly a comprehensive, specialized professional in that field.

56:09

Speaker A

Since 2023, he has been the Head of Research and Development at Forbo Eurocol LLC. If we look at what Forbo does, it’s tile adhesives, adhesives for flexible floor coverings, self-leveling floors, and so on. I didn't really notice any paints among

56:25

Speaker A

their products. From what I've read about Oleg Nikolayevich, I can conclude that the man has been doing theoretical work his whole career and had no connection to actual production of coatings, especially water-based materials, nor did he work as a

56:40

Speaker A

technical specialist or developer. And regarding the Doctor of Sciences degree . A Doctor of Sciences title isn't just handed out because you're very smart or highly knowledgeable. It is, first and foremost, a status. Furthermore, it's a very serious status within the

56:57

Speaker A

scientific community that grants certain preferences in both your life and your career. And a doctorate isn't given. You can only take it, one might even say, fight for it. To become a Doctor of Sciences, you need four main

57:12

Speaker A

components. These are connections, connections, money, and connections. Let me explain how it works. First, you need connections at the institute where you’ll be writing your dissertation, because you can't just walk in anywhere and say, "Can I scribble a dissertation

57:26

Speaker A

on the edge of your desk?" Of course not. You must have connections at that level. Then you need vertical connections at the level where you will be submitting it. Then money wouldn't hurt either. Now, I'm sure Oleg Nikolayevich did nothing of the sort,

57:38

Speaker A

but in principle, money doesn't hurt. Just to make your mark and demonstrate that you are a worthy gentleman. And that, in principle, your intentions are quite serious. And, of course, the fourth, you need connections at the level where you will be submitting and

57:53

Speaker A

defending your dissertation. And then, yes, the work you've been writing for so long, you polish it, defend it, verify it, publish it, and so on—all that is understood. That's the process, but without these four components, you could be a genius, but you likely won't

58:14

Speaker A

even get a Candidate's degree. And again, I emphasize, they don't just give them away. Meaning these are scientific degrees that you work toward and earn for yourself. Meaning, you have to be able to navigate and push through administrative and bureaucratic

58:32

Speaker A

barriers. Well, only within the scientific community. Now let's break it down. Oleg Nikolayevich, in general, regarding the material.

58:40

Speaker A

The photos you attached to the announcement post, well, it's clearly visible here that, actually, in these photos—I don't know their backstory, but it seems that these photos show boiling caused by various reasons. And the left photo. I would say the problem

59:07

Speaker A

here is more with the surface. You can immediately conclude the person isn't well-versed, because I think it’s obvious to almost anyone who has done painting work that the leftmost photo is clearly a putty compound. This is perfectly clear from both the

59:24

Speaker A

general texture and the characteristic marks left by the putty knife. Furthermore, I’d like to point out that Oleg Nikolayevich prepared this presentation. So, these are not photos he’s seeing for the first time.

59:35

Speaker A

Clearly, someone sent them to him. He inserted them into his presentation. So , he looked at them for a long time, yet he still thought the leftmost photo was paint. Next, regarding the topic of paint boiling, Oleg Nikolayevich

59:50

Speaker A

identifies four main factors. They are the substrate, the material, the equipment, and the hands. These four categories, yes, they do generally exist. Uh, the first is the substrate.

60:04

Speaker A

The first, although perhaps not the most common, but, so to speak, if we go from the surface being painted to the person, then the first one is the surface.

60:14

Speaker A

The person immediately thinks that the substrate is not the most common or important reason for the boiling of water-dispersion compounds. But we have already concluded that, in our line of work, in our specialty, this is the primary reason, the base cause of

60:33

Speaker A

material boiling. Next is the material itself that we are applying. Uh, moving on, as I already said, if the material is poorly suited, then under certain conditions, problems will inevitably arise. So, the very best and most correct path is, of

60:52

Speaker A

course, to find a good material, but unfortunately, that’s not always possible and it isn't always right at hand.

60:59

Speaker A

I also want to note that a recurring narrative throughout Oleg Nikolayevich's entire live stream is the idea that everything revolves around the material. Meaning, what kind of material it is, how fresh it is, how it was developed, how it was designed,

61:15

Speaker A

what kind of defoamers were used, what the pigment volume concentration is, and so on. In other words, he doesn't think comprehensively, but strictly within the confines of the paint product itself. By and large, a good, proper material intended for or adapted

61:32

Speaker A

, let's say, for application by automatic means, primarily airless spraying, should generally not behave this way, even if there are certain surface issues. This is a huge misconception, because we concluded that the material can boil due to the

61:54

Speaker A

substrate, and boil quite seriously, because as we concluded earlier, it is mainly the substrate. And no matter what you do to the material, water will still soak into the substrate and, accordingly, air will come out through the paint under certain conditions. The

62:11

Speaker A

only thing you can do with the product is reduce the consequences of this boiling, right? That is, to make the craters after the air escapes as inconspicuous as possible. But in terms of the product or material, we cannot

62:23

Speaker A

do anything about the actual process of moisture absorption into the substrate and the air escaping.

62:29

Speaker A

Second. Next is the machine. Problems with the operation of the machine itself. Most often, they are related to the fact that some amount of air gets in along with the material during intake. This can be caused by poor

62:47

Speaker A

material intake from the container, as well as by some flaws in the pump's operation. Regarding the aeration of material due to the incorrect operation of an airless pump. Well, if a person has worked with airless equipment even a couple of times, or has taken it

63:06

Speaker A

apart even once, or has at least seen how it works instead of just seeing it in a picture, they should understand that forced aeration due to incorrect operation is, to put it mildly, highly unlikely. If we are talking about the

63:22

Speaker A

suction system, it is hard to imagine a scenario where, for example, with piston pumps using a flexible suction hose, there could be a leak so bad that it causes critical aeration of the material. Especially if we consider the

63:40

Speaker A

fact that the material, as a rule, already has fairly large bubbles after mixing. And plus, if the machine were to suck in a lot of air, the airless machine itself would not work correctly ; it would not build pressure. I think

63:55

Speaker A

you’ve all seen this, right? When our paint is running out, the machine starts to draw in air bit by bit and that’s it, it doesn’t hold pressure , it starts to choke. For an airless unit to work correctly, it must be

64:10

Speaker A

completely airtight. Completely airtight. If we are talking about the correct operation of the pump itself, because again, the thesis is that it could be in the suction system, or it could just be the incorrect operation of the pump. The key principle of

64:27

Speaker A

stable operation for an airless pump, let's say a piston one, is its absolute airtightness, both in terms of the metal structure—meaning the inner sleeve, the outer casing, and so on— and the sealing elements inside, like the balls, and so forth. Everything

64:47

Speaker A

there must be tight and perfectly sealed. As soon as any seal is compromised, it simply stops working.

64:54

Speaker A

And this applies not only to piston units but also to diaphragm pumps. Any breach in the pump's seal—well, it's hard for me to imagine how one would even break its seal—automatically leads to the device malfunctioning.

65:09

Speaker A

There is simply no question of any forced aeration or foreign matter getting into the material during operation. Simply no question. One could only assume such a thing if they have no idea how airless painting equipment works.

65:26

Speaker A

Well, first, as I already mentioned, the surface. The surface can be, strictly speaking, some kind of mineral base, like a concrete wall, which is usually primed. There might also be a layer of another material on it, or a

65:48

Speaker A

layer of the same one. Often, this bubbling occurs not in the first coat, but in the second or third, for example .

65:55

Speaker A

Uh-huh. But the point is that this base may contain pores, right? And if we are talking about, say , another layer of material, we need to discuss bubbling in the second or third coat, and how paint materials are

66:18

Speaker A

structured, as well as the characteristics that technicians look at when discussing these coatings. Regarding the base, Oleg Nikolayevich's main point is that the substrate can have pores, both in the original mineral base and in the previous layer of paint. So, it could be previous

66:45

Speaker A

paint, primer, it doesn't matter. And, accordingly, we paint, and the air comes out. But when you start applying the second coat, the air contained in the pores of the first coat starts to escape. And it will naturally pass through the film of

67:02

Speaker A

the material you are applying on top. And you will see this boiling effect. One immediately wants to ask: putty has far more pores, or gypsum plaster, a fundamentally huge number of pores. Why don't they boil? Why don't they boil?

67:19

Speaker A

Oleg Nikolayevich thinks exclusively in terms of the base or primary substrate, not the system or the entire stack. And a multi-layered system is a fairly complex story. And there, as I have already demonstrated, all sorts of interesting things can happen, and a

67:36

Speaker A

highly porous base, yes, takes paint perfectly. I think you have painted like that many times yourselves. Just a basic filler, yes, you sanded it down, wiped it off, paint as much as you want , there won't be any pores, nothing

67:48

Speaker A

will bubble, with very rare exceptions. And it will naturally come out through the film of the material you are applying on top.

67:56

Speaker A

Why must the air necessarily come out through the film that we apply on top?

68:01

Speaker A

It is absolutely unclear to me. It is just completely unclear where such a conclusion comes from. Plus, this broadcast makes craftsmen, especially beginners, think in completely the wrong direction. That is, to ponder pigment volume concentration, defoamers , deaerators, and so on. In real work,

68:23

Speaker A

this is absolutely unnecessary. Absolutely unnecessary. You can study this at your leisure, later, when you grow and grow and grow. But for now, cluttering your head with this is the last thing you should do. As the next reason for bubbling, Oleg Nikolaevich

68:40

Speaker A

names micro-foam, specifically that the cause of this micro-foam is the release of dissolved gases from the paint itself during an effect of explosive decompression, let's call it that.

68:52

Speaker A

But where does this micro-foam actually come from? This picture that I am showing you, remember I told you at the beginning that divers have the same problems. This picture is actually taken from materials dedicated to deep-sea diving. And this picture

69:15

Speaker A

illustrates how gases behave in relation to a liquid, in this case water, and how their solubility changes depending on pressure. And what do we see here? Well, the data here is provided for nitrogen. This is the pressure in megapascals; 1 megapascal

69:37

Speaker A

is approximately 10 bar. Therefore, a pressure of 20 megapascals is approximately 200 atmospheres, or 200 bar. We are probably less interested in this part. Such pressures are not usually reached in airless spray equipment. Although, if we take something like a Graco Extreme 90, it

69:59

Speaker A

actually puts out up to 600 bar at the outlet. But then again, such pressures are usually used only for applying things like anti-corrosion reservoir coatings. Well, we usually work somewhere in the 100-200 bar range. - which is this area. And in this area,

70:19

Speaker A

we can see that even at 100 bars, the solubility of nitrogen, which air is mainly composed of—the figures for oxygen are close—reaches approximately one cubic centimeter per gram. Given that the density of paint is usually slightly above one, this

70:43

Speaker A

means that at such pressure, we can actually force about one to two volumes of gas into the material. So, at this pressure, another 20 liters of gas would dissolve in a ten-liter bucket of paint.

70:59

Speaker A

Regarding what I've heard, there is a lot here to discuss. First, decompression sickness and gas solubility. What is the issue with decompression sickness? I've been a bit interested in this topic because I’m planning to get a license, so I know a

71:13

Speaker A

little bit about it. Overall, it’s quite simple. As ambient pressure increases, gas solubility increases as well. This means the air we breathe, specifically the nitrogen in it, begins to dissolve in our blood. And the higher the pressure, the more air we

71:30

Speaker A

absorb, and the more time we spend under this high pressure, the more we saturate our blood with nitrogen. This is one reason why, for example, freedivers, who often dive to comparable depths, either don't suffer from decompression sickness or suffer

71:47

Speaker A

from it very rarely, because although they are at the same significant depth, first, they only have the air they took with them. Because scuba divers breathe from their tanks constantly. That’s one thing. And second, the deeper you go, the higher the pressure of the

72:04

Speaker A

breathing mixture supplied, right? So, the amount of air increases as you dive deeper with scuba gear. Freedivers don’t have that. And, of course, there is time. Freedivers stay at depth for a much shorter time. So we can conclude that the gasification of blood

72:23

Speaker A

depends on several parameters: pressure , the amount of air, and the time we spend under high pressure. And Oleg Nikolaevich is trying to apply this theory to airless spraying, because paint material can also be non-uniform after mixing or logistics. It may

72:43

Speaker A

contain air bubbles. And by pumping the material under high pressure, a gas dissolution process occurs in the hose.

72:53

Speaker A

But when we spray the material, it returns to ambient pressure, decompression occurs, and gases begin to release from the paint. Why? I believe that if this happens at all—I think it does happen a little bit—it does not affect paint boiling, as I

73:14

Speaker A

said earlier: pressure, amount of air, and time. First of all, there really have to be quite a lot of these air bubbles in the paint. That’s one. So, for this to have an effect. A large volume of gas must be released from the

73:33

Speaker A

paint film. The second factor is the time spent under high pressure. If we take an average system volume, like a 15-meter hose, its volume is about 420- something milliliters. Plus some couplings and whatnot. Let's say, 500-600 milliliters at most. My own

73:53

Speaker A

system capacity with a 15-meter, 1/4- inch or DN6 metric hose is about 500 ml at the membrane. The paint flow rate, when using, say, a 514 nozzle, is about 1.1 to 1.2 liters per minute. So, you can calculate that the paint is under

74:15

Speaker A

high pressure in the system for, well, maybe 30-40 seconds tops. Thirty to forty seconds at the very most. And I highly doubt that any significant, incredible amount of gas can actually dissolve into the paint in just 30-40 seconds. And again, that amount of gas

74:33

Speaker A

would have to be present in the material to begin with. Also, Oleg Nikolayevich stated one point that really confused me and made me doubt his expertise regarding water-based coatings even more. Given that paint density is usually a bit higher than

74:52

Speaker A

one—it's a well-known fact, it's basic—the density of interior water-based materials is between 1.3, 1.4, 1.45, well, it can reach up to 1.5 , but on average it's somewhere around 1.3 to 1.44. That is not "a little bit more than one.""A little bit more than

75:12

Speaker A

one" would be 1.05, 1.07, or 1.1, but not 1.3. So what would be significantly more than one? 1.8, 1.9. By the way, a density of 1.8 might occur in alkyds, I should note, but not in interior paints .

75:26

Speaker A

So. Meaning, at that pressure, another 20 liters of gas would dissolve in a ten-liter bucket of paint.

75:32

Speaker A

In 10 liters of paint, you could dissolve 20 liters of gas at a certain pressure. In the paint, in 10 liters— not 10 liters of water, not 10 liters of liquid. Well, very roughly. Like, well, maybe five or six. Just painting

75:46

Speaker A

with a broad brush. Accordingly, in five or six liters you could dissolve, yes, multiply by two, a double coefficient, so, like, 10-12. And again , we are talking about these 10-12 liters actually being gas. All of this must be in a single system under high

76:06

Speaker A

pressure for a specific amount of time. Fortunately, I conducted a clear practical experiment. We will conduct a test regarding decompression and, uh, the increased gas solubility properties of the material under high pressure.

76:22

Speaker A

What am I going to do now? I will forcibly aerate the product using a mixer. I'll run it all in a loop, meaning I'll circulate the paint and maximize aeration of the product so that it’s inside the hose. After this

76:40

Speaker A

, I'll pump the machine to maximum pressure and leave it overnight, so it's at over 200 bar, letting the material sit in the hose under high pressure with these bubbles I'm about to create for a long time. And after

76:54

Speaker A

that, we'll see by morning if there's any effect of explosive decompression or increased gas formation in the paint layer. Now maybe over here. It’s clearly visible. Bubbles. Okay, stop.

77:50

Speaker A

Now over here. And we set it to maximum pressure. That's it, shutting it off.

78:08

Speaker A

So, dear friends, it's the next morning , 9:30 AM, meaning the system has been under pressure for a little over 12 hours. I think that's more than enough to achieve some sort of significant gas dissolution directly into the paint.

78:26

Speaker A

The pressure dropped a little, now it’s at 200 bar. I will definitely not vent anything. That would ruin our experiment. I'll just turn it on, it will pump up to about 240, and we will spray immediately. What will we be

78:43

Speaker A

spraying onto? I prepared a double substrate over the old paint. But just in case of any runs, which can happen.

78:50

Speaker A

The gases have definitely formed, but they might have been absorbed by the substrate, so we'll apply it to a combined substrate. Here I have some synthetic paper, which is completely non-absorbent. So we'll apply it here and there, and see what the effect is.

79:03

Speaker A

Our nozzle is an FFP 514. There it is. Let’s go. Pumping up the pressure.

79:11

Speaker A

Wow, it jumped even higher. Well, the system capacity is small, so even one pump cycle can cause a significant pressure spike. Let’s go. Whoa. Look at that. We're looking, nothing to see here. How about this? Well, besides a

79:47

Speaker A

couple of specks of dust, the synthetic surface is spotless; I took it straight from the pack, it’s clean. I lightly sanded the paint, so there were some splatters and dust left on it. But the synthetic is absolutely clean, right?

80:07

Speaker A

And here, too, well, yeah, you see, that’s a tiny speck, where is it? There. Not the slightest hint of any foaming or gas formation. I don’t see it; on the contrary, it leveled out perfectly, absolutely perfect. High pressure works wonders.

80:31

Speaker A

After covering the main reasons for paint boiling, naturally, Oleg Nikolayevich suggests solutions. Now that we've talked a bit about where this all comes from, let's say a few words about what to do about it. Well, at least, what the existing options are

80:46

Speaker A

. Well, if the issue is still the substrate, yes, if we go back to the factor where something is wrong with the substrate, it's highly porous and air starts escaping from it, then, uh, it's clear that we need to try to

81:03

Speaker A

re-prepare the substrate somehow. You can try. Well, for example, if it wasn't primed well, you can re-prime it , try to re-prepare the substrate somehow. How? Well, never mind, forget that point. The person isn't a specialist in painting work. Try to

81:20

Speaker A

prime it even more. Well, we already discussed what over-priming a substrate can lead to later on.

81:28

Speaker A

The second thing you can do is change the material. No joke. I mean, if a material isn't really intended for airless spray application, it may turn out that no amount of fiddling will make it suitable for the task.

81:46

Speaker A

And again, everything starts revolving around the material. And so the material isn't well-suited. What does " not well-suited" mean? And how do you know if it's not well-suited?

81:56

Speaker A

What about the craftsman? He opened the can, read the instructions. Can he determine if the material is suitable or not after opening the can? How do you tell?

82:08

Speaker A

It's not that easy to tell just by looking at the paint with the naked eye . But obviously, if you see foam, especially after mixing, and especially if it doesn't go away for a long time, then it's clear that nothing good will

82:26

Speaker A

likely come from spraying it either. You could try taking some of the material after mixing, putting it on your finger, and theoretically trying to see if there are any tiny bubbles in it. Because it's those very small bubbles, especially if they are

82:45

Speaker A

throughout the volume, that will dissolve when passing through the high-pressure system and will subsequently reappear as that specific effect. I can already see painters mixing paint, rubbing it on their fingers, seeing those microbubbles, and if they don't understand what they're

83:04

Speaker A

doing, they start badgering their suppliers, foremen, and stores, bending their ears. Saying, "You know, there are microbubbles here, this paint isn't suitable for airless spraying.""And besides, I had bubbles appear on the wall.""It's all because of gas dissolution.""I saw bubbles on my

83:23

Speaker A

fingers, they dissolved.""And then they came out.""It’s not that I don’t know what I’m doing.""It’s that the gases dissolved because a doctor of science told me so on the computer." How can you play it safe, so to speak?

83:37

Speaker A

I recommend getting the most recently manufactured material possible. The thing is that defoamers actually tend to lose their effectiveness during storage. And even if the paint doesn't have a special deaerator, but contains a decent defoamer, it can still work

83:57

Speaker A

well enough when fresh to be applied with an airless sprayer. I immediately want to ask for specifics. What does " fresher material" actually mean? Is a month-old paint considered fresh or not ? Or six months, or a year, or does it

84:11

Speaker A

have to be made last week? I can already see how after this lecture, many painting beginners will start coming in and complaining. Oh, you know , could I please have some fresher paint? Sort of like milk, you know?

84:24

Speaker A

Take that one from the back shelf and give me the warmest one, fresh out of the oven. Let's try to test this theory in practice. So, we’re conducting a double experiment. We’re taking old paint. And I’ve already mixed it very

84:39

Speaker A

well, fully incorporating it into the system. I set the diaphragm pump to 240 bar, full blast, and waited about three and a half hours. Logically, any gas or air bubbles in the material should have dissolved into it as much as possible.

84:55

Speaker A

I think 4 hours plus or minus is, well, enough. It's not overnight, of course, but it’s still a decent amount of time. The material we have is Tikkurila Euro Mat 3. Not super high-end, a relatively inexpensive material. So,

85:05

Speaker A

there probably isn't much defoamer in it, or it degrades quickly. It was produced on April 4th, 2018. And it expired in April 2021, on April 3rd. So , its shelf life expired a long time ago, and it was tinted back in 2018 too

85:25

Speaker A

. So, what are we doing now? First, without dropping the pressure from 240 bar, I’ll apply it to synthetic paper in a thick coat using an FF LP 514 tip.

85:42

Speaker A

Oh. Right, let's look, look, look. Damn . No, I think that's just dirt. Well, any severe bubbling, even just something noticeable, I don't see it.

86:09

Speaker A

Is it visible on camera? It is. It’s a smooth, stretched film. Meaning, there's no actual foaming effect occurring. That's not a bubble, that's debris. Oh, wait, a bubble. Yes, indeed. Oh, hold on. Come on, let's go.

86:30

Speaker A

One. Well, it popped. But I did apply such a thick layer. So it's not a given that this is due to the defoamer. Well, it seems like, it seems like...There is a little bit. Well, very little. Here.

86:54

Speaker A

1, 2, 3. Oh, I spit, sorry. But there is no mass bubbling like in the photos.

87:04

Speaker A

Yes. Yes. There is some bubbling. And it's not a fact that it's from, um, dissolved gases specifically; it's quite possible this happened because of the very thick layer. Let's measure the layer. Well, there are no more bubbles.

87:20

Speaker A

None left. Maybe five appeared, and they were quite large ones. Not many small ones, but there were about five.

87:28

Speaker A

Ah, really, really large ones. Okay, let's check the thickness. Whoa. Oh, well, this is well over 300 microns, so it's a completely unusable layer.

87:40

Speaker A

Nobody works like this. Well, let's do it out of curiosity. I have a small piece of painted synthetic paper here.

87:47

Speaker A

Let's apply a thinner, more normal layer on it. That’s all. Let's measure it right away. Ah, well, here.

87:57

Speaker A

Ah, well, it’s around 200. 180 microns. Well, here I don't see any in particular. Well, there are a few micro ones. One, two. Well, it looks like there are a few micro pinholes here.

88:19

Speaker A

One, two, three. Three micro pinholes are there. What does this experiment tell us? That air dissolves in paint and comes out during application—100% , of course, this one-time experiment cannot confirm that for us. But yes, partially, like, yeah, it seems quite

88:39

Speaker A

possible. But keep in mind that I pushed the situation to the extreme. I didn't just take non-fresh material, but very old material, and budget material at that. This product is over seven years old. Its expiration date passed 4 years ago. Moreover, it was

88:57

Speaker A

also tinted back then. This is not a freshly tinted product. Plus, I pumped it to maximum pressure, specifically ran the paint in a loop and foamed it up so that, again, there would be a lot of air in the hose that could, well,

89:11

Speaker A

dissolve into the material. In a normal situation, this doesn't happen, as a rule. And I also waited several hours.

89:20

Speaker A

And only after that, possibly, did I get some bubbling. Now I want to repeat the experiment with high and low pressure. Let's take two prepared panels again, that is, MDF with a base layer. We will apply at 240 bar here. I

89:34

Speaker A

won't turn it down for this one. And at 100 bar, I think, this paint works.

89:40

Speaker A

We'll apply it here at 100 bar and see the difference in film formation. Oh, the power, the power, my goodness. Okay , sprayed it. Now I need to move it out of the way. Are there bubbles? Well, actually, it’s not really visible.

90:04

Speaker A

Not really visible. And now we apply the second one at about eighty bar. Oh, yeah-yeah-yeah, the droplet is spreading nicely, just how I like it.

90:18

Speaker A

Oh, by the way, it looks like there are some craters here, by the way. Well, let's not make it any thicker, let's leave it as is. Right. So, guys, these samples have dried. Here's the low pressure, and here's the high. I’ll

90:36

Speaker A

just attach the photos now and won't say a word. Draw your own conclusions about that cool, super low spraying pressure, as they say. Try not to stir it too intensely and let it settle for as long as possible after mixing.

90:56

Speaker A

You know, one of the most common reasons for claims from craftsmen using various paints and coatings is that they just don't mix the stuff properly after it's been stored for a while. The guy is directly recommending we stir it

91:08

Speaker A

as little and as gently as possible. No need to overdo it. Like, yadda, yadda, yadda. And let the product settle.

91:15

Speaker A

That’s even more interesting. The thing is, how long are you supposed to let it settle anyway? For a more or less long time. Well, how long exactly?

91:20

Speaker A

An hour, two, a month and a half? This sounds especially interesting in the current climate, because there are a lot of domestic paint and coating products on the market right now. And for reasons I haven't quite figured out

91:33

Speaker A

yet, it happens with various factories, let's say, the dispersion systems are unstable—the material starts to come apart like a construction kit over time . And sometimes it can happen quite quickly, meaning after just two hours, the material is no longer fully

91:48

Speaker A

homogeneous and requires a good, thorough mix before use. And I think that to let the air out, especially from a high-viscosity composition, you need to wait not 10 minutes, but an hour or two. But after an hour or two,

92:00

Speaker A

the material is no longer homogeneous, so you have to stir it. And so it goes on endlessly, you know. You stir, you aerate, you let it settle, it falls apart, you stir, you aerate—the Ouroboros, round and round in circles

92:13

Speaker A

it goes. Guys, go ahead and stir it intensely, really get it perfectly homogeneous, and everything will be fine, trust me. And make sure the equipment isn't sucking in air. Well, we’ve already talked a bit about that , right? We’ve already talked about

92:28

Speaker A

this. Lower the pressure, right? Meaning, minimize the amount of gas dissolving into the system in that way.

92:45

Speaker A

Reduce dilution. Why should you reduce dilution? Even though, seemingly, the advice to dilute is a bit of a double-edged sword. Actually, if the material is very high-viscosity, this problem can also be exacerbated because the bubbles can't escape due to the

93:04

Speaker A

thickness. Uh-huh. But a slight dilution, while lowering the viscosity, can increase the open time; the lower viscosity will help air escape and the surface will level out, resulting in a more or less normal finish. But this dilution must

93:31

Speaker A

be very limited, because if you add too much solvent, or water in the case of water-based materials, then, looking at the previous slides, the defoamer is added at a specific, calculated dosage.

93:52

Speaker A

When you dilute your material, you are effectively reducing that dosage, and you end up with less defoamer. And at some point, you dilute it so much that it simply stops working properly, because—let’s go back to this image —the defoamer, shown here as orange

94:16

Speaker A

droplets. Uh-huh. There will no longer be enough defoamer for every bubble to have even a few particles helping to break it.

94:28

Speaker A

Therefore, heavy dilution actually does not help with defoaming. Especially if the defoamer in the material is already at its limit, right? Meaning, if they added the absolute minimum, and now we’ve diluted it by 20%, it is guaranteed to no longer be enough.

94:46

Speaker A

In that thesis. Though, I think many have noticed that especially when flushing the equipment, when the paint is heavily over-diluted, it can start to foam, sometimes even foam very intensely. But for paint to start foaming from over-dilution, as Oleg

95:00

Speaker A

Nikolaevich correctly said, 20%water is just the starting point, 30-40%is better. But the thing is, if we add at least 20%water to paint—well, not any paint, but almost any paint—it will simply be unsuitable for airless spraying. You won't have hold on the

95:20

Speaker A

wall; your paint will just run down. And again, 20 is the minimum. I say, 30 , 40, 50 is better. So the dilution has to be truly astronomical. But the reality is that safe dilution for interior materials is 10%at most. As a

95:35

Speaker A

rule, there are exceptions, but usually , it's up to ten. Otherwise, the range is 2, 3, 5 percent.

95:42

Speaker A

One more factor, and I’m not sure where to categorize it. Maybe partly skill, maybe the material or the surface, or anything else. It is desirable that the material and the surface be at a similar temperature and that it not be too high. Because if the

96:00

Speaker A

material, again, if the surface is significantly warmer than the material itself, um, or rather the opposite—if the surface is, for instance, colder than the material, well, that's how it turned out, when you spray it, you need to consider that the energy of this

96:26

Speaker A

spray fan...It’s actually quite significant as it is, right? I mean, if we had a very precise thermometer, we would see that the surface being coated with an airless sprayer heats up slightly. But you don't necessarily need a precise thermometer. You can

96:45

Speaker A

verify this effect with sandblasting, for example; the surface after sandblasting is warm, isn't it? Well, here it’s clear the particles aren't as large or as hard, but the effect is still present. And the paint itself is warm, while the surface is cold and

97:01

Speaker A

saturated with air. When it starts to heat up, this air will expand, and everything will naturally get worse.

97:08

Speaker A

A very interesting thesis; we are about to test it in practice. But during sandblasting, the surface heats up because we are literally bombarding it with solid particles. And there's friction, with particles flying at high energy. High friction causes heating.

97:27

Speaker A

Whereas paint is essentially just spraying a liquid, and with much lower energy. With much lower energy. Again, if we follow this logic, then with waterjet cutting, where there is crazy pressure and crazy jet energy, plus the presence of actual abrasive particles

97:45

Speaker A

—because with waterjet cutting, as the name suggests, it doesn't cut with water, it cuts with these abrasive particles present in the jet. Then the workpiece should literally be melting.

97:59

Speaker A

If it heats up with airless spray, then with waterjet, everything should melt as if from Superman’s laser eyes. Of course, that is not the case. And let's look at it in practice. I took the trouble to prepare this sample. And why

98:16

Speaker A

not some thin, small one? Well, because people could say it managed to heat up and so on. Therefore, I prepared practically an interior wall with good, let's say, cold heat capacity. Here we have a 12.5 mm drywall base, almost 20

98:36

Speaker A

mm of plaster, putty, and primer paint. And everything was done without any super effort, fairly porous. Let’s apply it to everything and see what happens when working on a cold base. I kept this sample in the refrigerator all night. We have a specialized

98:57

Speaker A

thermometer that measures both the ambient temperature and via. We can measure the surface temperature non-contact. And the room temperature is currently 25.6. The temperature of our sample is 6 degrees. Our delta, as shown here, is 20 degrees difference

99:17

Speaker A

between the ambient temperature and the sample. Actually, this whole story about painting cold walls is quite questionable, because situations where you have very cold walls and warm paint are very, very rare. But, let’s assume it happened. Moreover, to make

99:37

Speaker A

our situation even worse, we are using a specialized heating system. I want to increase the temperature delta to heat up as effectively as possible all the air bubbles that might be in the porous substrate. For this, I’ve already

99:52

Speaker A

preheated the paint a little, although there is no need for it, but just in case. So, the paint is at a minimum temperature; again, a specialized thermometer shows the paint temperature in the bucket is 33 ° C. The system

100:06

Speaker A

itself is set to 40 ° C. So, let’s move on to the application. Let’s see what happens. Well, I already know what will happen. Nothing will boil, not even close. Not here, and not here.

100:21

Speaker A

Here we just have putty with primer, right? Not here. Let’s look, first of all, let’s look at the base temperature: 7.4, 7.6. See, the paint cooled down immediately. Oh, that was me spitting, excuse me. And the paint, first of all, cooled down immediately

100:46

Speaker A

on the surface. Yes, how could it heat anything up critically here? Before this, our surface was about 6 degrees.

100:54

Speaker A

Now we have warmed it up a little bit. Well, by a degree or one and a half at most. At most, but look, let’s do it this way. Right now I am holding it.

101:08

Speaker A

Well, that’s it, our paint has already cooled down. What air could I possibly heat in the substrate using warm paint? It is absolutely unclear.

101:19

Speaker A

It is absolutely unclear, because the energy capacity of a 200-micron paint layer and a cold wall are incomparable.

101:28

Speaker A

First, the paint cools down right on the way. We will come back to this later. And secondly, it cools instantly on a cold surface. Instantly cools down . So, our paint has cooled to the baseline temperature of the surface

101:43

Speaker A

itself. Here we have another effect arising on the cold base. These are paint drips. You see, it’s being torn off. This is especially relevant when working with transparent, highly fluid bases, but that is a separate topic for discussion. I think many have

102:00

Speaker A

encountered this, that when working on cold walls, the paint can be torn off. But we won’t address that right now.

102:06

Speaker A

And we don't see any bubbles on the main surface, on the putty, or on the very porous plaster, just the craters in the plaster. And again, these aren't bubbles; the paint just flowed into the craters. We don’t see any bubbling

102:24

Speaker A

here. We don’t see any heating of the base, not even close, and we couldn't have seen it. This was clear to me from the start, but this is, again, a visual demonstration for you, right? So, if we had a very precise

102:37

Speaker A

thermometer, we would see that the surface being painted with an airless sprayer heats up slightly.

102:42

Speaker A

I'm conducting a clear demonstration. A drywall base. Let's take a look. Approximately 19 °. Starting continuous measurement. Here we go.

102:54

Speaker A

Right away, a temperature drop of a couple of degrees, even three, three at the peak. Now the paint is slowly starting to warm up to the temperature of the base. Moving lower. Temperature drop immediately. You don't even need a

103:07

Speaker A

high-precision thermometer to understand that the claim of it heating up is nonsense. It cools down instantly , instantly due to airflow, moisture evaporation, and so on. How one can even talk about heating is completely unclear. Well, you might say, perhaps

103:27

Speaker A

it's cooling on top, but the substrate is heating up. A clear demonstration. We stretched out synthetic paper and measured the temperature on the reverse side. We spray paint onto the paper, continuously measure the temperature of the substrate, and observe what? That's

103:50

Speaker A

right: a drop in substrate temperature due to the airless application of the paint material. And what's more, craftsmen, especially beginners, look at these people—neat, clean, wearing glasses, flaunting their credentials, so to speak. Taken note of, read the painting ABCs, and off they go. And

104:15

Speaker A

another group of craftsmen starts, in all seriousness, in absolute earnest, discussing whether we should introduce degassing methods like ultrasound or vacuum chambers into the production process. And that is the problem. The industry is just starting to stabilize, to come to its senses in terms of

104:37

Speaker A

production processes, work quality, and the acceptance of that very work. And this kind of content is just dragging us back into the Stone Age. But all of this is served under a sauce, a seasoning of pseudo-science and credentials. Oh, damn it, I don't even

105:00

Speaker A

have words anymore. And once again, I really ask you, if you liked this video —I put a lot of effort and nerves into it. If you find it useful, please share it as much as possible, recommend it to your friends, acquaintances,

105:15

Speaker A

colleagues, anyone at all. Write comments, hit the like button, and subscribe. As always, this was Ivan Kushinov. Hugs and best wishes. See you next time.

Topics: paint boiling airless spraying water-based paint interior painting surface preparation paint defects spray pressure coating industry Ivan Kuvshinov paint application

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