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Archive for the ‘Commercial Painting’ Category

Upcoming Paintshop Posts: November and December 2017

1. Paintshop Software Programs, Aids, Apps, etc.
– Including sources for information

2. Paintshop Policies and Practices: Reporting Problems

A. Problems with products and materials
B. Problems with tools and equipment
C. Problems with theft and/or property damage
D. Problems with teammates related to your job description

3. Painter’s World: How Job Descriptions Have Changed

A. New key words and phrases, and what they mean
B. What term “must be able to do other things” really means
C. Job titles used today
D. Other skills and abilities that painters are expected to have today

4. Paintshop: New Construction Materials that Affect Painter’s Job

A. Examples of new materials used in hotels, commercial buildings, etc.

1) Types of painting and finishing products these new materials require
2) Types of painting tools and equipment needed to apply them

B. Examples of new materials used in residential and commercial-residential buildings
1) Types of painting and finishing products these new materials require
2) Types of painting tools and equipment needed to apply them

5. Paintshop: Techniques and Methods that Painters Need Today to Work on Newer Construction

6. Painter’s World: Painting and Decorating for the Disabled or Handicapped Person

A. What colors work better for the disabled person’s environment
B. What textures work better – and which to avoid
C. What patterns work better – and which to avoid
D. What wallcoverings work better – and which to avoid
E. Why above recommendations or choices are better.
F. Which recommendations actually benefit disabled person – and how, and when.

Happy – and Safe – Halloween!
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Copyright 2017. Robert D. Hajtovik. All rights reserved

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Paintshop: What Hotel and Facility Painters Need to Do Their Jobs

*** A lead painter, whose hotel was damaged by Hurricane Maria’s winds, reminded me about a post that I missed submitting. Perhaps, you will find something here that can help you in 2017.

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A hotel chain’s Senior chief engineer in South Carolina emailed about team preparedness, after the October 29, 2014 post. (“Hotel Engineering Team Training: Pilot Project 2015”)

 

“We’re a small group of specialty brand inns.  Our paint applicators are all experienced in brush, roller and spray. None of them requires formal instruction on using new products, tools (and) equipment. Each painter is good at picking up on things, and running with it.

 

“Our budget is always tight. The 2015 budget can be stretched to purchase a few newer types of products, tools and equipment for each paint shop.

 

“I emailed all of our engineering directors. Each submitted a similar short list of needs. All of them requested the following:

 

1.  Samples of new formulations of basic paint products that may fit our property needs.

‘My application specialist needs to test out a product before he can decide whether to go with the newer product, or stick with the standard one.’

 

2. Small samples of products as they come on the market.

‘Our chief engineers push for their painters and maintenance techs to get to test out any new product, supply, tool, or piece of equipment before they get stuck with it.’

 

3. Free new painting and maintenance tools to try-before-we-buy.

‘Promising new tools come on the market. I want my painter, and maintenance people, to be able to try a few of them, at least. . .It makes no sense to buy a new tool for my paint shop, before we know if it will work for the painter that has to use it.’

 

4. New spray gun, or spray system pre-purchase testing

‘Each of our painters does a lot of spraying, interior and exterior. At some point, a spray gun becomes too costly to repair, or rebuild, even with thorough cleaning and careful maintenance. Replacement becomes sensible option. Some of the new spray gun systems can be expensive…’

 

Question 1: “Bob, who do we call to get small samples of products as they come on the market?”

Answer: “In your capacity, contact the product manufacturer’s testing division. Explain your interest and need in testing new products before you buy them. Tell them about the products, including theirs, that your painters have used in the past. Share a short list of pros and cons. Offer specific engineering departments and sites within your chain as “testers and test sites.”

 

Question 2: “How do we get samples of new paint/finish products that may fit our property (ies)?”

Answer: “Talk to your regular paint supplier/distributor first. If that doesn’t work, contact the paint manufacturer’s representative for each respective product line.”

TIP: “It might help to seal the arrangement if you can offer your paint applicators’ experiences with the product as ‘painting trade testimonials.’ Check in advance with a few of your painters.”

 

Question 3: “How do we get to test out new tools and equipment free? Try-before-we-buy?”

Answer: “Contact the respective tool manufacturer – “Trade/contractor services.” Talk with the director or assistant director of their “after market” research testing center. Find out what type(s) of research data they need.

 

“And, if you know that you can help meet their need:

“FAX a 1-2 page “Trade Testing-Based Proposal. Offer to provide “after market” tool use data. State how many “testing” locations you can provide and their location. For each, describe:

(1) approximate acreage and age of developed area, also property layout;

(2) structures: number, square footage, style, relevant substrates;

(3) paint shop job description, capabilities.

 

“For the tool, describe (1) need: current and projected; (2) use: how, where, and frequency; (3) purchasing plan: minimum quantity, initial order; approximate purchase date(s).

 

TIP: “Keep your proposal brief, and to the point! Do not offer the expertise of any specific dynamo painters under your umbrella. At this point, do not “bank on” any staff member to help pull this off.”

 

Question 4: “How can we get at least three spray systems to try out? Pre-purchase testing. Longer than one day for each system.

“Next year’s budget: I can fit in the purchase of one system for each property, after March 30. If our applicators know how to use the system, each engineering department can save sizeable funds, now going to outside contractors…”

Answer: “Spray systems for commercial and/or industrial use tend to be expensive. Phone the manufacturer’s nearest rep. Especially if you already use one or more of their spray guns and spraying systems.

 

“If you’re confident that you can provide important data not yet at the manufacturer’s fingertips:

“FAX a 1-page proposal letter. Offer to supply certifiable testimonials from both your top, and less experienced, sprayers. Include their experience in using that manufacturer’s spray systems, also their experience using any comparable system made by a top competitor.

“Briefly describe how your sprayers can provide feedback that will help the manufacturer build and sustain its market base for that specific spray system.

 TIP: “Please do not offer to provide any data that you’re not certain you can supply.”

 

Some needs transfer into future situations. Some useful ideas turn into future opportunities.

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Thanks for reading “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

TORNADOES

IN 1946…

At age four, my mother watched a “swirling, dirty gray” funnel approach her at the kitchen window, then lift from the ground. A while later, her father stood outside the farm house. He followed the path that the tornado had taken after lifting.

Directly above that window, the funnel tore off over one-half of the roof shingles. It ripped out red bricks from the chimney. Inside, it popped sections of plaster from the ceilings and walls in every room. Not only behind painted but also wallpapered walls.

The tornado had just missed the family inside the house. But, the “big wind” had pushed in the walls. Then it toppled the big red barn, killing four horses.

In 1993, my grandfather told me that he never figured out where the Billy goat had hidden that day. But, he was the only larger animal spared.

IN 1971…

At age eight, I stood at my third-grade classroom’s span of huge windows, and watched. “Look, Mrs. D., a BIG gray cloud.”

Then, the school’s muffled alarm went off. My teacher shouted, “Hurry, everyone into the hall!” And, next came a deafening and strong WHOOSH! Like a real powerful vacuum cleaner.

The country school was spared, except for windows blown out of four of the classrooms that stood in the tornado’s path.

By the way, from our family’s home located a little southwest of the school, my mother saw the funnel heading for my elementary school. And she phoned the school principal.

IN THE LATE 1980s…

My father had just filled his roller with more paint. A supervisor at the Lever Brothers plant shouted, “Hit the floor, everyone!”

And total chaos hit next. Toppling cases of liquid Wisk laundry detergent. Bottles of Snuggles fabric softener flying and swaying through the air. Steel equipment ripped apart.

It took a while until our company got the call that we painters could return to finish the “safety” paint job. In fact, the project was greatly expanded, because of the major repairs and reconstruction after the tornado struck. Our paint job at the plant got extended over three months.

On September  of 2017…

Decorative painter Jonathan, a friend at Melbourne Beach, secured his one-man paintshop. He hunkered down for Category 3-4 Hurricane Irma’s arrival during the next day.

He’d lived through a number of other major hurricanes and tropical storms. He wasn’t worried. But from experience, he was cautious.

What he had never faced was a tornado.

“I’ll see that twisting and hear that locomotive the rest of my life,” he said on the phone. “My shop is in shambles. All my brushes, paints, templates, etc? Fine.” The 55-year old native of Los Angeles County sounded very shaken. A guy that grew up along the San Andreas Fault Line.

IN CERTAIN PARTS OF THE MIDWEST…

Tornadoes are common and frequent.

“We batten down the hatches,” said aeronautical inventor and industrialist George Manis in July of 1960. He’d arrived home minutes before a set of tornadoes whipped across Lake Wawasee.
But too late to help his wife, Mary, and my mother secure the boats tied up at the piers, and move the heavy wrought iron patio furniture.

“Those lakefront homes were all well-built,” my mother said last week. “They were made to withstand tornadoes, as well as the brutal winter snow and ice storms.”

IN THE SOUTHEAST…

Tornadoes are often spawned from tropical storms or hurricanes. Sometimes by electrically-charged lightning storms.

Wherever they occur with some regularity, the residents have learned to heed the warnings. They pay attention. They try to secure outdoor furniture, vehicles, boats, etc. They pack up. They move near a sturdy inside wall.

SPEAKING FROM EXPERIENCE WITH TORNADOES…

My mother noted that, like those homes hit in Indiana years ago, the ones heavily damaged this month in Central Florida will require major repairs inside and out. “Some reconstruction and restoration.”

Agreed! Many of the Florida properties will also require toxic mold remediation before any repairs can be made. Before any reconstruction and restoration can take place. Before any painter can take a brush, roller or spray gun and apply a beautiful new finish to any surface.

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Both tornadoes and hurricanes can leave behind irreparable damages,
irreplaceable losses, and unforgettable memories.
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Stay storm safe and smart. And, thanks for visiting “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

The Pianist, The Painter, The Singer, The Statesman

Periodically, my mother’s interior design class toured Chicago area properties.

On one, day-long tour, they visited three luxury homes that set on Evanston’s high bluffs overlooking Lake Michigan.

One home featured fine examples of classic contemporary design: simple lines, solid colors, smooth finishes, subtle textures, geometric patterns, and sleek woods, tiles, glass, and chrome.

From its trimly landscaped and broadly sweeping circle driveway, to the double set of solid red lacquer front doors, to the nine-foot main hallway that trailed through the house, to the four glass doors at the rear, that overlooked the lake.

The sprawling, one-story structure suited its owners: a concert pianist and conductor, and his wife, an artist and author.

The music room stood out. Its two most striking amenities: the magnificent black lacquer Steinway concert piano and the 12-inch square, black and white marble tiles that covered the floor.

Features also included the following:

1. dome ceiling with a huge globular skylight;
2. solid black marble fireplace;
3. two walls lined with white-enameled bookcases, stuffed with books, bound volumes of sheet music, also wood and ivory artifacts;
4. couches and easy chairs upholstered in matching white-on-white striped damask.

All of the other sixteen rooms featured equally elegant, yet comfortable appointments. It was a home that clearly represented the personalities of the owners, and met their needs perfectly.

Shortly before the design school students’ visit, the owners had decided to retire in that house. And, they’d put their South Florida home up for sale.

Nearly twenty years after touring that home, my mother was led into the luxury apartment of a former opera star, Adeline Arrigo. Interestingly, she had performed with the concert pianist on philharmonic stages throughout the United States, Canada and Europe.

Madame Arrigo resided on the second story of a red brick, three-story walk-up built in the early 1900s by her husband’s Sicilian family. The South Racine Avenue building, located on the southeast side of Chicago, set across the street from University of Illinois’s Chicago campus. And, the three-story building had five large apartments – all occupied by “Arrigos.”

The focal points of the two bedroom apartment were the portraits of Adeline and her husband, the late Victor Arrigo. On every wall, every shelf and every table top were representations of the owners famous lives. Adeline, the opera star. Victor, the Illinois statesman that drafted, then championed the Federal Fair Credit and Collection Act. (Note: A stronger version of the law is in effect today.)

The traditional apartment also featured:

1. 12-foot high, white-sponged stucco ceilings;
2. white plaster, also deep red painted, walls;
3. tall wood-paned windows in each of the eight rooms;
4. white marble, wood-burning fireplaces in three rooms;
5. crystal chandeliers;
6. lustrous hardwood floors; and,
7. large oriental area rugs depicting eighteenth century country scenes.

The apartment was appointed with elegant, yet comfortable seating in every room. In the living room: deep red velvet-upholstered sofas, and black leather fireside chairs. In the bedrooms: European-designed settees and chairs, covered in deeper pink or soft rose moiré. Plush velvet upholstery covered the dining room chairs. And hand-sewn satin, moiré, and crushed velvet pillows set on every piece of seating.

The two distinctive period homes – the sprawling contemporary house of the 1960s-1970s, and the large traditional apartment of the 1940s-1950s – provided a very similar peak into elegant yet understated living. In their respective spaces, the owners and residents had created environments that supported their need for creative thought, good taste, peace and contentment. All had surrounded themselves with meaningful symbols of who they were as persons. And, what they represented.

The Chicago area featured many architectural and design masterpieces. I never had the privilege to visit the residences described above. Yet, I have had the opportunity to work on many similar homes. In doing so, the greatest pleasure has been in meeting the unique persons that have lived there.

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Fine design deserves to be preserved with the hand of a fine painter-craftsperson.
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Thank you for visiting “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

Painter’s View: Painter Apprentices at Work

Most painter apprentices start out by doing grunt work – in the paintshop, and on site.

 

THINGS A PAINTER APPRENTICE MAY HAVE TO DO

 

  1. Basic surface preparation: sanding, washing, caulking, puttying, degreasing, masking, dusting, patching walls/ceilings, scraping off loose paint.
  2. Studying job site blueprints and specifications for scheduled paint/finishing product.
  3. Learning to prepare various surfaces for specific types of coatings and finishing products.
  4. Driving company supply/equipment truck to and from job sites.
  5. Loading and unloading paint products and equipment.
  6. Picking up, delivering and packing up, storing supplies, tools, work tables, etc. used by the journey painters.
  7. Moving or removing furniture, large fixtures, area rugs, etc.
  8. Spreading out dropcloths; covering furniture, fixtures, built-ins, flooring, that can’t be removed.
  9. Organizing and setting up, then taking down work areas.
  10. Removing, then replacing fixtures, electric outlet covers, window shades/blinds/treatments.
  11. Mixing and pouring paint, filling paint pots and trays.
  12. Setting up masking/tape dispensers and machines, and other supplies, tools, equipment.
  13. Opening, unwrapping, unrolling boxes of plastic sheeting, masking/film papers, wallcoverings.
  14. Holding or stabilizing ladders, scaffolding sections, planking systems.
  15. Assisting journey painters.
  16. Stripping wood and metal surfaces.
  17. Repairing metal with polyester patch.
  18. Rough sanding and scraping of chipped, alligatored and worn paint and finishes.
  19. Basic drywall finishing and sanding; also prepping if that job was left to painters.
  20. Applying prime and finish paint products, when all other work is caught up.
  21. Stacking wood moldings, trims, frames, etc.
  22. Moving doors, framing; shutters, thresholds, railings, etc.
  23. Removing masking and taping materials, dropcloths, sheeting, etc.
  24. Cleaning all overspray from unpainted surfaces.
  25. Folding up dropcloths, sheeting, etc.; loading them onto supply truck..
  26. Cleaning up, picking up, sweeping, and clearing out work areas at end of each day.
  27. Soaking, cleaning and restoring paintbrushes, roller covers and frames; extension rods, etc.
  28. Flushing or washing out paint spray systems: spray guns, spray pots, hoses, compressors.
  29. Cleaning out buckets, paint trays, filters, racks, soaking carriers.
  30. Properly closing and sealing all product containers, boxes, tubes, wrappings, crates, etc.
  31. Disposing all chemical and hazardous products and supplies according to EPA, HazMat, and manufacturer instructions.
  32. Keeping paintshop storage and work areas organized, picked up, cleaned up, cleared out.

 

Actually, the list is endless. Too, it can be extended at any time, and by different persons, too.

 

Working as a painter apprentice can seem like a very dead-end and thankless job. And, most apprentices can’t wait to get handed that first paintbrush and a gallon of paint, and be ordered to paint a surface.

 

However, the smart apprentices will take advantage of every minute that they must spend doing that grunt work. They will literally see what it takes to run a job. Every physical aspect of it.

 

And, they will UP their learning curve every day that they’re on the job. From check-in time till check-out. (Actually, off the job, too.) Observing more. Listening more. Seeing more. Smelling more. Touching more. Learning more. Soaking in all that they can. Like a top grade Greek sea sponge.

 

SPECIAL BONUSES THAT PAINTER APPRENTICES MAY GET

 

Many painter apprentices have the opportunity to go onto different job sites. They are able to meet many people: experienced craftspersons and bosses in various construction trades. They get to be around architects, engineers and designers (in various fields); suppliers and manufacturers’ representatives; government inspectors; customers and clients; even investors.

 

Starting at the bottom in the painting trade offers so many long-term benefits. It offers invaluable preparation work for building a successful career as a journey painter, a finishing/detail painter and decorator, a contractor, a consultant, a trainer/instructor, an construction industry expert, an U.S. government expert in construction and building, occupational health and safety, environmental protection, etc.

 

I’ve met over a dozen painters that have ended up building successful careers as product designers or inventors; others as product/materials testers and analysts. Even as speakers and authors.

 

Where grunt work can take the painter apprentice is really up to him or her. Where it leads some day may be to a quality of life, and a way of life, that he or she could have never imagined when first signing up with IUPAT, a technical school, and/or painter apprenticeship programs.

 

The door is wide open.

 

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There’s honor in beginning at the bottom. There’s honor at the top,

especially if you respect others who are just beginning. RDH

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Have a safe, rewarding week. And thanks for visiting “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

WHY PAINT?

Artist Bob Ross used to say, “Painting should not be agony.”

I agree.

Over the years, I’ve met and/ or worked with construction industry painters that fit into one of these categories:

1. Some painters loved what they were doing; and it showed in their work, and their attitude about life.

Example: “Bob, the Painter,” my father, smiled a lot on the job. And often he stopped to admire others’ workmanship… to watch a bird in a nearby tree…to double check his own work.

2. Some painters, overall, liked to paint, and seemed to be fine with the likelihood that they’d be doing it for years in the future.

Example: Jesse hummed on the job… drank, and tried to share, cantaloupe juice made by his wife… took on any task that needed to be done.

3. Some painters liked to paint and did a good job; but they wanted to do something else career-wise, and to earn a living.

Example: Larry and Wayne wanted much more independence than a foreman painter had. So both went into contracting, and demonstrated that they were okay with the added responsibility that entrepreneurship required.

4. Some painters really didn’t like to paint; but they lacked the will, nerve and resources to try anything else.

Example: “W” dreamed of doing something where he could visit more with others on the job, and get paid for it. But, he had no real support system in the U. S. to help him try something new.

5. Then there were a few painters that had an intense dislike for painting, and much associated with the trade. And, increasingly, they demonstrated their disdain and discomfort.

Example: W.R. complained about everything, it seemed. He showed up intoxicated… violated safety rules…put crew members at risk…misused products.

What each of those painters knew about their jobs was complemented, or contradicted, by their respective attitudes about painting, and their own lives.

Which painter would you like to work with on a regular basis?

Into which category do you think that others might place you?

Into which category do you believe that you really fit?

Something to think about, right?

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Whatever you do for a living, including painting, give it your 100 percent at least 85 percent of the time. The remaining 15 percent? Take a good look at how you’re doing, and why.
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Thank you for visiting “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

Painting It: An Author’s Painter – and Movie Sets

An author’s greatest reward can be seeing one of his or her novels reach the big screen.

A handful of novelists have had more than three of their works turned into a full-feature film.
Few of these novelists write the screenplay version of their novels. More of them do, these days, serve as technical consultants during the filming of their stories.

Earlier this year, one of these prolific authors of popular film stories got his house painter and decorator a job as a painter on the set of a movie.

Let’s call him “Joel.” The man mixed and matched the paints. Then he painted the movie set’s exterior buildings, store fronts and related areas; also the interiors of many sets. It was meant to be a very temporary gig.

Three-and-a-half weeks into the project, the construction crew’s lead painter was in an accident, and couldn’t work. “Joel,” the temporary set painter, who was a seasoned commercial painter and decorator, was put into the lead job.

At the end of filming, the author came along. He offered the temporary painter a full-time, steady job as a movie set painter. Particularly the sets of the author’s film projects. And, this author always tends to have one of his novels heading for or already on a movie set somewhere.

“It was a lot of fun,” my old painter friend told me while visiting in Florida in early July. “Being around all that action… some great actors… very talented, skilled craftspersons and artisans. That was great.”

The man’s eyes dropped to the paint color chips in my hand. And the two, 5-gallon buckets of paint at my feet.

“This,” he pointed around the paint store, “is me.” Then, he grabbed one of the heavy paint buckets and walked out to my ‘87 Chevy Blazer. The subject of movie-set painting closed!

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The mark of a real pro is often the little things that he does, and the big decisions he makes, along his way.
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Thanks to all readers and followers – visible and hidden – of “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

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