Oil varnishes. simple recipes

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FACTORY TECHNOLOGIES AT HOME - SIMPLE RECIPES
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Oil varnishes. Simple recipes and tips

Factory technologies - simple recipes

Directory / Factory technology at home - simple recipes

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Oil varnishes are solutions of resins in drying oils. Since solutions of resins in oil are mostly very thick and difficult to apply with a brush on the surface to be painted, some volatile solvent is almost always added to them, such as turpentine, gasoline, etc. By changing the ratio between oil and resin, you can get varnishes with different hardness, gloss and durability. Properly prepared varnish should, when mixed with linseed oil or drying oil, remain completely transparent and, when standing, should not precipitate.

In the manufacture of these varnishes, mainly the hardest resins are used (copals, amber, sandarak, processed rosin). For complete dissolution of resins in oils, it is necessary to first remove some of the volatile substances from the resins, the presence of which sometimes causes their insolubility in oils. This operation, which in practice mows down the wrong name "melting", essentially consists in the partial dry distillation of resins. Oil varnish

This distillation, the so-called “smelting,” must be done by heating the resins in clean enameled cauldrons, which must be thoroughly washed with turpentine after each smelting. The boiler must be equipped with a lid and a tube for removing dry distillation products: gases, water vapor, acids, essential oils and other volatile substances. Some resins sometimes have to be heated above 360°C.

Particular attention should be paid to "melting" during the manufacture of copal varnishes, since with insufficient distillation of volatile products from copal resin, the addition of linseed oil and other thinning substances causes the appearance of clots or lumps that are unacceptable in the production of varnishes. To eliminate this phenomenon, rosin can serve, but adding it in large quantities worsens the quality of the varnish.

It should be pointed out that the "melting" of copal should be carried out according to grades, breaking them into equal pieces from 0,5 to 2 cm, depending on the hardness of the copal, with the harder varieties of copal crushed into smaller pieces. Crushed copal must be screened out from fine dust. Since each batch of copals differs in their properties, it is necessary to first make a trial melting to determine the temperature at which the copal correctly combines with the oil.

After "melting" they begin to dissolve the resins in oil. The dissolution process also requires extremely careful attention and precise work. Drying oils should be added to the melted resins in small portions, and the temperature of the oil should be approximately equal to the temperature of the melted resins.

It should be noted that linseed oil used for preparing varnish must be completely clean and well-settled. Therefore, you must first carefully check whether the oil contains surrogates and whether it has settled well. Condensed linseed oil is also often used, which is prepared by prolonged heating of linseed oil to a certain high temperature (up to 370 °C).

The addition of a small portion of oil should be accompanied by thorough and strong mixing, after which a sample is taken on a glass plate and the transparency of the solution is examined. If the sample does not detect turbidity or light bands different from the total mass of the solution and gives a picture of the complete connection of the oil with the resin, then the dissolution process can be continued by further adding another small portion of the drying oil, following all the above procedures. Then they take a sample again, examine it again and proceed in the manner described until all the residue of the drying oil is completely dissolved. If at any stage of this work the sample is cloudy, the addition of a new portion of oil is suspended until a new sample gives an accurate indication of the complete connection of the oil with the resin. It is not superfluous to add that, although some resins dissolve perfectly in hot oil, nevertheless, if the oil is not added at the right time and incorrectly when dissolving, the resins will not dissolve even with strong heating.

When the process of dissolving the resins in the oil is completed, and the mixture itself shows complete transparency, it is poured into a vessel for cooling, or the cauldron is removed from the heat and taken to another room where further work is carried out. The addition of substances that accelerate drying (driers) is done in different ways: sometimes driers are added to the oil in advance, sometimes driers are added to the finished product; Usually, the addition is made after all the oil has been added and the oil has completely combined with the resin. Mineral siccatives (pyrolusite, litharge, red lead, lime) are added in a well-ground form at a temperature of 230-250 °C, linoleates and resinates - at a temperature of 200 °C.

Dryers must be completely dry and free of moisture, otherwise, if moisture gets into the hot varnish, the mass may spill out of the boiler. After adding the drier, allow the varnish to cool slightly and add some solvent as a thinning agent. If turpentine is used, it is added at a temperature of 160-170 °C. In general, the temperature at which the solvent is added should be slightly lower than the boiling point of the solvent. There should be no fire in the room where the solvent is added. The amount of solvent depends on the type of resin, the amount of oil depends on the type of solvent, etc. When the varnish is prepared, it is filtered through a sieve to separate it from debris, coal, dirt and other foreign impurities.

The thinning agent for oil varnishes is mostly turpentine, which at the same time helps to speed up the drying process of the oil. In oil varnish, the solvent does not evaporate, but due to a number of chemical transformations, it forms a strong and weather-resistant layer with the dissolved resins. To lighten some types of oil varnishes, it is necessary to let them stand for some time. Recently, in order to reduce the settling time, filter presses are used.

Oil varnishes are usually divided into three grades depending on the amount of oils included in their composition: fatty, medium and skinny varnishes. Oily varnishes include varnishes in which the weight of linseed oil exceeds the weight of molten resin. In skinny ones, the weight of the resin exceeds the weight of the oil. medium - are intermediate between fat and skinny.

The drying time of the varnish is essential. Three periods are distinguished in the drying time of the varnish:

The varnish "tightens", but is still sticky.
The varnish is "dust-dry", i.e. the surface is so dry that dust does not stick to it.
The varnish is "quite dry" when the layer is not imprinted when a layer is sampled with a fingernail.

Below we provide recipes and methods for making various oil varnishes.

Lacquer for interior work

Copal 5 kg;
Linseed oil 5 kg;
Turpentine 7-8 kg;
Resinate or lead linoleate 120 g.

Heat copal to 320-350 °C and add linseed oil, preheated to 200-230 °C, in small portions. The oil is taken the purest, well-settled. When the entire mass has been poured in, add the drier at a temperature of 200-220 °C. Turpentine is added when the oil has cooled to 120-140 °C.

crew varnish

Copal 10 kg;
Linseed oil 25 kg;
Turpentine 2,5 kg.

Preparation - standard for oil varnishes.

Carriage varnishes are required to maintain gloss under all atmospheric conditions.

Amber varnish for furniture

Amber 4 kg;
Turpentine 22 kg;
Drying oils, well dried 5 kg;
White lead 1 kg.

Amber and drying oil are dissolved in warm turpentine, mixed and allowed to cool. When cooled, white is added. Leave to stand for several days in a warm place, then filter.

Floor varnishes

Floor varnishes are oil varnishes rubbed with some kind of paint so that they give both color and shine at the same time. For their manufacture, copal, amber or dammar lacquer is used, as well as rosin or ether lacquer (quick drying). To give this or that color, mineral paints of the best quality are used in powder form. Mixing should be done by rubbing in the ink grinder.

Here are some recipes for such varnish:

4 wt. h. light chrome yellow, 10 wt. h. copal or amber varnish;
4 wt. h. dark chrome yellow, 10 wt. h. Copal or amber varnish;
4-5 wt. hours of orange-yellow chromium and 12 wt. h. copal or amber varnish;
3-5 wt. hours of fine burnt and elutriated Siena earth and 12 wt. h. copal or amber varnish;
50 wt. hours of melted amber, 15 wt. hours of linseed oil, 1 wt. including boric acid manganese oxide and weight. hours of turpentine;
5 wt. hours of amber, 5 wt. hours of light rosin, 10 wt. hours of linseed drying oil and 20 wt. h. turpentine.

Melt amber and rosin in linseed drying oil and boil for an hour, accompanying boiling with continuous stirring. The liquid is allowed to cool, after which turpentine is added.

Black asphalt varnish
Syrian asphalt 10 kg;
Copal 5 kg;
Linen drying oil 5 kg;
Rancid linseed oil 5 kg;
Turpentine 20 kg.

Asphalt and copal are melted with drying oil and oil, allowed to cool slightly and then diluted with turpentine.

Silver oven lacquer

Copala 5 kg
Rancid linseed oil 4 kg
aluminum bronze 1,5kg

Copal is dissolved in oil when heated, bronze is added, allowed to cool slightly and turpentine is added until a varnish of the desired thickness is obtained.

Lacquer that does not break down from the action of hot water

Amber 25 kg;
Linen drying oil 36 kg;
Lead litharge 7 kg;
Lead white 7 kg;
Minium 7 kg.

Amber is melted in a small amount of linseed oil. Separately, drying oil is boiled with litharge, whitewash and red lead until the oil darkens. Next, molten amber is added. Heat for a few more minutes and pour into well-sealed bottles.

When painting wood, it must first be primed with a mixture of lamp black and turpentine, after drying it is varnished four more times. Dry and polish.

Lacquer that protects the skin from moisture

400% of bovine or mutton fat freed from skin and veins is melted together with 50 g of crushed rubber and 200 g of linseed oil are added. Then it is diluted with 600 g of oily amber varnish and the mixture is applied in a warm state with a brush on the skin.

amber lacquer can be crafted from melted amber as follows:

380 g of amber (any variety can be used for this) is crushed, melted with 30 g of sandarak and 60 g of thick turpentine in a well-glazed clay pot over low-burning coals, and then 250 g of good boiled and settled linseed oil are added and finally diluted with 200 g turpentine.

Author: Korolev V.A.

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