June 2000Custom, or glamour, finishes were first applied to wagons and carriages as decoration. These early means of transportation were a symbol of status and took on the individuality of the owner, much as the color selection of a vehicle does today. During the evolution of the automobile and the tremendous addition of steel to the construction of the "tin lizzy," paint assumed a new role--that of protection. The paint color was limited primarily to black with a few other colors as trim. For nearly 25 years, the automobile was a rather plain, ordinary item. To overcome this cloned, mass-produced look, customers sought out a quality hand finisher who could customize cars to their liking.Years passed, and the industrial revolution made strides in not only the type of finish material but also in the pigment chemistry, leading to a wide selection of color. Still, customers wanted to individualize their cars, and custom painters accommodated their wishes. Many of the custom finish styles we know today were refinishing flukes, such as shading, scallops, patterns, cobwebbing and highlighting. Painters also began experimenting with various pigments, some of which they borrowed from artists. These included early forms of metallic-like bronzing dust that were used to repair gold leaf on picture frames. When added to a transparent color or clear, the finish reflected an effect--the true form of metallic.Car manufacturers began producing new vehicles in a wide variety of colors, some of which were early forms of metallic. These were very popular, even though the colors did not endure prolonged exposure to sunlight. Only after Alcoa developed aluminum flake for automotive finishes in the 1950s, along with new transparent acrylic resins, did the metallic become popular. Probably the largest flake used in a production finish was the Cadillac "Firemist," an absolute bear to repair.Custom finishers did not stand still, either. As new paint and additive technology progressed, so did painters' imaginations. Today, glamour finishes are limited only by a lack of visualization.MetallicsAlthough metallics are one of the oldest products used in custom and factory finishes, they remain the toughest to repair and to achieve a quality color match with. This is due to the lack of understanding of the metallic itself. This little flake has very unusual characteristics that a technician must understand in order to complete an acceptable repair.When using a metallic, you are no longer painting a color but are applying a color effect. This effect is shown by the various shades that are seen when viewed by the human eye. This broad spectrum of color is the result of "reflective action"--metallic flakes do nothing more than reflect a light beam that has penetrated the finish.The following factors contribute to the varying look of metallics:Stratification or the layering depth of these flakes determines the amount of transparent color the light travels through, on the way in and on the way out. Colors appear darker when the flake is closer to the bottom and lighter when the flakes are near the top.Flake size determines the quality and volume of light reflected. Larger flake sizes reflect greater intensity of light--though not at the volume of smaller flakes--and small flake sizes lighten the color. Large flakes provide a glitter effect, but they don't always lighten the color.Density of color plays an important factor in the reparability of metallic finishes. While some mixing base pigments are so strong that they encapsulate the metallic and eliminate all reflective action, others are so weak that they have little color-changing effect. Never stray outside the mixing formula when tinting a color for match.The custom finisher has a broad choice of materials that include colored flakes of both metal and plastic, sizes that are larger and smaller than the factory flakes, ink- and dye-based mixing colors, prism flakes, and color change pigments.The biggest misunderstanding with metallic colors is what's called "the edge effect." Metallic flake is made from a sheet of aluminum that has been polished on both sides, and the pieces are generally of the same thickness. Flake size is determined by the diameter of the polished side. These sheets are then broken into specific grades or sizes based on the dimension of the polished side. A small flake then could have more surface area that is unpolished--the broken edge--than that of the polished sides, resulting in a flake that will turn a color more to the gray side than a reflective finish. As the flakes get larger, the ratio of unpolished to polished area favors the reflective side. Ultimately, a very large glamour flake will be mostly reflective, with only a small percentage of unpolished edge. These flakes tend to lay flat, which enhances the reflective action.It's important for the technician to know the action of each metallic he or she uses. Create a metallic panel that has all the sizes used in your mixing system. Leave one half plain, and clearcoat the other half. Always follow the manufacturer's formula when mixing and tinting--never use a metallic that is not in the formula. If the formula has more than one metallic, adjustments must be made in proportion to the formula.Applying MetallicsSuccessful application of any metallic finish is the result of many things coming together. But most importantly, painters must have a mind-set for these finishes that is different from their approach for all other coatings. Follow the rules.Undercoat (sealer) color can play a major role in the hide factor and color development of a metallic. Many of the glamour colors today have a poor hide factor--some even require a base color first because they are so transparent. A good rule of thumb is to apply the same color undercoat as the factory.Reduction rate and solvent speed (temperature range) have a tremendous effect on the color match. Over reduction or too slow a solvent means that excess solvent is reaching the vehicle, resulting in poor hide or coverage. Under reduction or too fast a solvent has an adverse reaction in that the material reaches the car without the proper amount of solvent, preventing the material from flowing, leveling or stratifying. This results in excess texture, off color and low gloss.Spraygun selection, including tip size and flow rate, determines the volume of material directed toward the vehicle and the atomization and breakup of the fluid into tiny droplets. It is critical for the painter to conduct a pattern and atomization check with every new application. This check should be done on a test panel--not in the open air. With the high-volume, low-pressure (HVLP) sprayguns prevalent today, the air pressure, pattern and atomization must be balanced. These guns will vary greatly with minor pressure adjustments, as little as 2 or 3 psi.Speed and distance are also crucial factors in matching metallic. The finish must be applied with a 50 percent overlap while the gun is held perpendicular to the surface at all times. The technician must also maintain a constant, rhythmic speed.Finally, flash time has an important role in the matching process. Shorten the time between coats to darken the color. Applying the next coat sooner re-wets the previous layer, which somewhat melts together to let the metallic flakes settle more to the bottom. Extending the flash or re-coat time does the opposite--each coat becomes a finish unto itself. Excess flash time can create such problems as dull finish or off-color side tones (flop), so follow the guideline of the paint manufacturer for re-coat time.An excellent guide to good matching is to make it your goal to place the metallic flakes as close to the same position as the original finish. Using options of speed, distance, reduction rate, flash time and air pressure--singularly or in combination--the physics are: Wetter equals darker, and dryer equals lighter. Do not change solvent grades after the initial mix except to slow the evaporation rate.A second technique that has worked for years is to always use one grade slower solvent. This allows the stratification to occur, increasing color development and minimizing reactive problems later. It is much easier to lighten than to darken.Throughout the procedure, remember that you are applying an effect, and you play an important role in the effect.Pearls, Micas and Iridescent FinishesPearl is the original iridescent additive that customizes a finish. The base product comes from the interior lining of seashells (Mother of Pearl) or Guanine crystal, the derivative of sea bird and bat guano. When added to a translucent paint material, it alters the light ray within the film and bends or refracts the ray, giving off a secondary color. This action provides a completely new dimension of color--a refractive effect.The original pearls were platinum or gold in color and provided single secondary color. Later, with further synthesis of the material, various colors were added and the secondary color varied greatly. This product served the industry well for many years, even though it had some severe drawbacks. It would settle quickly when reduced, requiring agitator cups or the dropping of ball bearings into the cup. Pearl came in a heavy liquid form that settled like a paste in the jar and made measuring next to impossible. Some products were in powder form, and they didn't mix well, either. The products also had little resistance to ultraviolet (UV) light, which weakened their refraction. But the biggest problem started with the new paint chemistry in urethanes--the pearl was not as homogenous or compatible.Very few factory finishes were delivered with a pearl effect because the color variations were not predictable and because the general public was not ready for such a finish. Custom painters had a field day with the pearl and the multitude of variations they could develop. The first true tri-coat result came from this--a base color, pearl and clear. One of the drawbacks was the difficulty of repairs, again because of the unpredictability of the material. If you were lucky enough to have done the original painting and smart enough to have kept good mixing records, the chance of matching was improved.Those who say repairing these finishes is easy because there is no evaluation point should try it and see how difficult it is. The greatest difficulty with pearl is not being able to see what the finished product will look like while you're applying the coating. This is acceptable for the original applicator but not for the repairer. For example, having an off-balance spray pattern results in horrible streaks in the finish, but you can't see that until the vehicle is taken outside. When refinishing with pearl, technicians must take into account all of the standard factors that contribute to a successful application, including mixing, distance, speed, air pressure, gun selection, and spray pattern and atomization.MicaThis relatively new product to the automotive industry has been around for years, just in a different form. Cosmetic companies have been using this organic rock for years to make lipstick, eye shadow and other facial products.Mica is taken from silica, a translucent rock in ample supply. It is ground to a specific size and coated with titanium dioxide. This coating provides a compatible surface for other paint chemicals and also creates a silver or platinum color. Generally, the thickness of the titanium dioxide determines the color of the mica, but additional sizing and coating with other dyes creates the wide variety of colors available today.The first American vehicle to use this material was the Cadillac Alante, and it was a disaster the first year with pearl white. Because the base color and clear carrier were lacquer, the mica settled differently--based on gravity--and required repairing an entire zone. Some facilities used to refinish the entire car because they were unable to produce an acceptable repair. The product changed the following year, as did the repair procedure.Harley Davidson, with the assistance of Ross Mattson and PPG Industries, began providing true OEM finishes in the early '80s that incorporated mica. The development of PPG Radiance inks and dyes came from this project. The door opened to this new glamour finish, and production vehicles began using mica in the basecoat instead of as a tri-coat.Mica has some characteristics that set it apart from metallic and pearl. Although refractive--it allows light to penetrate the particle, bounce off the top surface or any of its internal surfaces--it is also reflective, which is similar to metallic. This deviation of light rays creates the mirro' effect seen when looked at from any angle except "face up," or perpendicular.Unlike pearl, mica is quite dependable in what effect it will provide. But it is impossible to see or predict the outcome of the refinishing job during application. Because it is a more stable material and compatible with most chemicals, it is widely used today. The most important aspect and difference is that the color of a mica finish is determined by the number of coats.Repairing a vehicle with a mica finish, such as metallic, requires a few simple tasks not associated with an opaque color. It takes at least five steps, and you must verify the base color, make a letdown panel and clearcoat one side. When making the letdown panel, record the following: color code and formula number; reduction rate and solvent selection; air pressure; flash time; climatic conditions such as temperature and humidity.Spray the panel the same as you will the car, using the same panel position, speed, distance, spraygun and hose. Then allow ample time for the panel to dry before you evaluate it. When comparing it to the vehicle, check the panel against both clear and unclear surfaces, and view the finish from a variety of angles. If you have to decide between numbers of coats, always choose the lesser number of coats because it is impossible to remove excess mica. While spraying the finish either in a basecoat or midcoat, follow your basic application rules.Color-Change ColorsNew to our market are the color-change colors that have appeared in custom finishes as well as OEM applications. Ford Mustang first introduced this material with a limited number of cars, and although they were the talk of the town, the fad has not caught on for production vehicles as it has in the custom arena. The concept, though, is not totally new because Flip-Flop pearl has been around for more than 20 years.This new material is a multi-layer, finely ground, ultra-thin interference film that exhibits different colors when viewed from different angles. This technology is also used with new currency, security bonds and hologram protection on credit cards.If any of these finishes are easy for painters, this is the one, even though it is has some concerns of its own. Most importantly, the base color must achieve full hide. The material also has a somewhat tight time frame for clear--not too short or too long. Follow the manufacturer's instructions.Valspar Refinish has just recently added a new product of this type which is a multicolor, glass flake pigment. The product adds brightness and sparkle to the realm of custom finish, and it also comes with specific application instructions.There have also been true reflective finishes that used a glass bead similar to those in highway line striping. These beads reflect light back to its source, acting like an illuminated object. Coatings of this nature have been applied to safety vehicles such as fire trucks. One obstacle remains for these beads--their size prohibits them from being sprayed in a conventional manner. As this size is reduced, it is possible to expect reflective finishes on production cars not only for glamour, but also to enhance safety.Future FinishesWhat lies ahead for OEMs and refinishers? Who knows. Just as styles change for clothing, cosmetics and jewelry, so does the popularity of vehicle colors. Even though there is stability in blue, white, brown and red, there will always be a need to provide a distinct look for those on the wild side. Once certain flake types can be sprayed with quality and consistency through turbo-bell and electrostatic sprayguns and are not affected by grinding in the lines and agitator equipment at the factory, we will see more of the finishes that, today, are only applied by the customizer.
June 2000Custom, or glamour, finishes were first applied to wagons and carriages as decoration. These early means of transportation were a symbol of status and took on the individuality of the owner, much as the color selection of a vehicle does today. During the evolution of the automobile and the tremendous addition of steel to the construction of the "tin lizzy," paint assumed a new role--that of protection. The paint color was limited primarily to black with a few other colors as trim. For nearly 25 years, the automobile was a rather plain, ordinary item. To overcome this cloned, mass-produced look, customers sought out a quality hand finisher who could customize cars to their liking.Years passed, and the industrial revolution made strides in not only the type of finish material but also in the pigment chemistry, leading to a wide selection of color. Still, customers wanted to individualize their cars, and custom painters accommodated their wishes. Many of the custom finish styles we know today were refinishing flukes, such as shading, scallops, patterns, cobwebbing and highlighting. Painters also began experimenting with various pigments, some of which they borrowed from artists. These included early forms of metallic-like bronzing dust that were used to repair gold leaf on picture frames. When added to a transparent color or clear, the finish reflected an effect--the true form of metallic.Car manufacturers began producing new vehicles in a wide variety of colors, some of which were early forms of metallic. These were very popular, even though the colors did not endure prolonged exposure to sunlight. Only after Alcoa developed aluminum flake for automotive finishes in the 1950s, along with new transparent acrylic resins, did the metallic become popular. Probably the largest flake used in a production finish was the Cadillac "Firemist," an absolute bear to repair.Custom finishers did not stand still, either. As new paint and additive technology progressed, so did painters' imaginations. Today, glamour finishes are limited only by a lack of visualization.MetallicsAlthough metallics are one of the oldest products used in custom and factory finishes, they remain the toughest to repair and to achieve a quality color match with. This is due to the lack of understanding of the metallic itself. This little flake has very unusual characteristics that a technician must understand in order to complete an acceptable repair.When using a metallic, you are no longer painting a color but are applying a color effect. This effect is shown by the various shades that are seen when viewed by the human eye. This broad spectrum of color is the result of "reflective action"--metallic flakes do nothing more than reflect a light beam that has penetrated the finish.The following factors contribute to the varying look of metallics:Stratification or the layering depth of these flakes determines the amount of transparent color the light travels through, on the way in and on the way out. Colors appear darker when the flake is closer to the bottom and lighter when the flakes are near the top.Flake size determines the quality and volume of light reflected. Larger flake sizes reflect greater intensity of light--though not at the volume of smaller flakes--and small flake sizes lighten the color. Large flakes provide a glitter effect, but they don't always lighten the color.Density of color plays an important factor in the reparability of metallic finishes. While some mixing base pigments are so strong that they encapsulate the metallic and eliminate all reflective action, others are so weak that they have little color-changing effect. Never stray outside the mixing formula when tinting a color for match.The custom finisher has a broad choice of materials that include colored flakes of both metal and plastic, sizes that are larger and smaller than the factory flakes, ink- and dye-based mixing colors, prism flakes, and color change pigments.The biggest misunderstanding with metallic colors is what's called "the edge effect." Metallic flake is made from a sheet of aluminum that has been polished on both sides, and the pieces are generally of the same thickness. Flake size is determined by the diameter of the polished side. These sheets are then broken into specific grades or sizes based on the dimension of the polished side. A small flake then could have more surface area that is unpolished--the broken edge--than that of the polished sides, resulting in a flake that will turn a color more to the gray side than a reflective finish. As the flakes get larger, the ratio of unpolished to polished area favors the reflective side. Ultimately, a very large glamour flake will be mostly reflective, with only a small percentage of unpolished edge. These flakes tend to lay flat, which enhances the reflective action.It's important for the technician to know the action of each metallic he or she uses. Create a metallic panel that has all the sizes used in your mixing system. Leave one half plain, and clearcoat the other half. Always follow the manufacturer's formula when mixing and tinting--never use a metallic that is not in the formula. If the formula has more than one metallic, adjustments must be made in proportion to the formula.Applying MetallicsSuccessful application of any metallic finish is the result of many things coming together. But most importantly, painters must have a mind-set for these finishes that is different from their approach for all other coatings. Follow the rules.Undercoat (sealer) color can play a major role in the hide factor and color development of a metallic. Many of the glamour colors today have a poor hide factor--some even require a base color first because they are so transparent. A good rule of thumb is to apply the same color undercoat as the factory.Reduction rate and solvent speed (temperature range) have a tremendous effect on the color match. Over reduction or too slow a solvent means that excess solvent is reaching the vehicle, resulting in poor hide or coverage. Under reduction or too fast a solvent has an adverse reaction in that the material reaches the car without the proper amount of solvent, preventing the material from flowing, leveling or stratifying. This results in excess texture, off color and low gloss.Spraygun selection, including tip size and flow rate, determines the volume of material directed toward the vehicle and the atomization and breakup of the fluid into tiny droplets. It is critical for the painter to conduct a pattern and atomization check with every new application. This check should be done on a test panel--not in the open air. With the high-volume, low-pressure (HVLP) sprayguns prevalent today, the air pressure, pattern and atomization must be balanced. These guns will vary greatly with minor pressure adjustments, as little as 2 or 3 psi.Speed and distance are also crucial factors in matching metallic. The finish must be applied with a 50 percent overlap while the gun is held perpendicular to the surface at all times. The technician must also maintain a constant, rhythmic speed.Finally, flash time has an important role in the matching process. Shorten the time between coats to darken the color. Applying the next coat sooner re-wets the previous layer, which somewhat melts together to let the metallic flakes settle more to the bottom. Extending the flash or re-coat time does the opposite--each coat becomes a finish unto itself. Excess flash time can create such problems as dull finish or off-color side tones (flop), so follow the guideline of the paint manufacturer for re-coat time.An excellent guide to good matching is to make it your goal to place the metallic flakes as close to the same position as the original finish. Using options of speed, distance, reduction rate, flash time and air pressure--singularly or in combination--the physics are: Wetter equals darker, and dryer equals lighter. Do not change solvent grades after the initial mix except to slow the evaporation rate.A second technique that has worked for years is to always use one grade slower solvent. This allows the stratification to occur, increasing color development and minimizing reactive problems later. It is much easier to lighten than to darken.Throughout the procedure, remember that you are applying an effect, and you play an important role in the effect.Pearls, Micas and Iridescent FinishesPearl is the original iridescent additive that customizes a finish. The base product comes from the interior lining of seashells (Mother of Pearl) or Guanine crystal, the derivative of sea bird and bat guano. When added to a translucent paint material, it alters the light ray within the film and bends or refracts the ray, giving off a secondary color. This action provides a completely new dimension of color--a refractive effect.The original pearls were platinum or gold in color and provided single secondary color. Later, with further synthesis of the material, various colors were added and the secondary color varied greatly. This product served the industry well for many years, even though it had some severe drawbacks. It would settle quickly when reduced, requiring agitator cups or the dropping of ball bearings into the cup. Pearl came in a heavy liquid form that settled like a paste in the jar and made measuring next to impossible. Some products were in powder form, and they didn't mix well, either. The products also had little resistance to ultraviolet (UV) light, which weakened their refraction. But the biggest problem started with the new paint chemistry in urethanes--the pearl was not as homogenous or compatible.Very few factory finishes were delivered with a pearl effect because the color variations were not predictable and because the general public was not ready for such a finish. Custom painters had a field day with the pearl and the multitude of variations they could develop. The first true tri-coat result came from this--a base color, pearl and clear. One of the drawbacks was the difficulty of repairs, again because of the unpredictability of the material. If you were lucky enough to have done the original painting and smart enough to have kept good mixing records, the chance of matching was improved.Those who say repairing these finishes is easy because there is no evaluation point should try it and see how difficult it is. The greatest difficulty with pearl is not being able to see what the finished product will look like while you're applying the coating. This is acceptable for the original applicator but not for the repairer. For example, having an off-balance spray pattern results in horrible streaks in the finish, but you can't see that until the vehicle is taken outside. When refinishing with pearl, technicians must take into account all of the standard factors that contribute to a successful application, including mixing, distance, speed, air pressure, gun selection, and spray pattern and atomization.MicaThis relatively new product to the automotive industry has been around for years, just in a different form. Cosmetic companies have been using this organic rock for years to make lipstick, eye shadow and other facial products.Mica is taken from silica, a translucent rock in ample supply. It is ground to a specific size and coated with titanium dioxide. This coating provides a compatible surface for other paint chemicals and also creates a silver or platinum color. Generally, the thickness of the titanium dioxide determines the color of the mica, but additional sizing and coating with other dyes creates the wide variety of colors available today.The first American vehicle to use this material was the Cadillac Alante, and it was a disaster the first year with pearl white. Because the base color and clear carrier were lacquer, the mica settled differently--based on gravity--and required repairing an entire zone. Some facilities used to refinish the entire car because they were unable to produce an acceptable repair. The product changed the following year, as did the repair procedure.Harley Davidson, with the assistance of Ross Mattson and PPG Industries, began providing true OEM finishes in the early '80s that incorporated mica. The development of PPG Radiance inks and dyes came from this project. The door opened to this new glamour finish, and production vehicles began using mica in the basecoat instead of as a tri-coat.Mica has some characteristics that set it apart from metallic and pearl. Although refractive--it allows light to penetrate the particle, bounce off the top surface or any of its internal surfaces--it is also reflective, which is similar to metallic. This deviation of light rays creates the mirro' effect seen when looked at from any angle except "face up," or perpendicular.Unlike pearl, mica is quite dependable in what effect it will provide. But it is impossible to see or predict the outcome of the refinishing job during application. Because it is a more stable material and compatible with most chemicals, it is widely used today. The most important aspect and difference is that the color of a mica finish is determined by the number of coats.Repairing a vehicle with a mica finish, such as metallic, requires a few simple tasks not associated with an opaque color. It takes at least five steps, and you must verify the base color, make a letdown panel and clearcoat one side. When making the letdown panel, record the following: color code and formula number; reduction rate and solvent selection; air pressure; flash time; climatic conditions such as temperature and humidity.Spray the panel the same as you will the car, using the same panel position, speed, distance, spraygun and hose. Then allow ample time for the panel to dry before you evaluate it. When comparing it to the vehicle, check the panel against both clear and unclear surfaces, and view the finish from a variety of angles. If you have to decide between numbers of coats, always choose the lesser number of coats because it is impossible to remove excess mica. While spraying the finish either in a basecoat or midcoat, follow your basic application rules.Color-Change ColorsNew to our market are the color-change colors that have appeared in custom finishes as well as OEM applications. Ford Mustang first introduced this material with a limited number of cars, and although they were the talk of the town, the fad has not caught on for production vehicles as it has in the custom arena. The concept, though, is not totally new because Flip-Flop pearl has been around for more than 20 years.This new material is a multi-layer, finely ground, ultra-thin interference film that exhibits different colors when viewed from different angles. This technology is also used with new currency, security bonds and hologram protection on credit cards.If any of these finishes are easy for painters, this is the one, even though it is has some concerns of its own. Most importantly, the base color must achieve full hide. The material also has a somewhat tight time frame for clear--not too short or too long. Follow the manufacturer's instructions.Valspar Refinish has just recently added a new product of this type which is a multicolor, glass flake pigment. The product adds brightness and sparkle to the realm of custom finish, and it also comes with specific application instructions.There have also been true reflective finishes that used a glass bead similar to those in highway line striping. These beads reflect light back to its source, acting like an illuminated object. Coatings of this nature have been applied to safety vehicles such as fire trucks. One obstacle remains for these beads--their size prohibits them from being sprayed in a conventional manner. As this size is reduced, it is possible to expect reflective finishes on production cars not only for glamour, but also to enhance safety.Future FinishesWhat lies ahead for OEMs and refinishers? Who knows. Just as styles change for clothing, cosmetics and jewelry, so does the popularity of vehicle colors. Even though there is stability in blue, white, brown and red, there will always be a need to provide a distinct look for those on the wild side. Once certain flake types can be sprayed with quality and consistency through turbo-bell and electrostatic sprayguns and are not affected by grinding in the lines and agitator equipment at the factory, we will see more of the finishes that, today, are only applied by the customizer.
