40 PWC DECEMBER 2009

s painting professionals, we should give every project our best effort. But old and his-toric buildings seem deserving of even more. These timeless sentries past require specialcare and impose demands for authenticity that more modern buildings do not.

It’s quite a challenge. Painting and painting removal practices and technologies havechanged dramatically since the horse-and-buggy days. The builders of these grand oldstructures could not have envisioned the products or problems of today.

The task for painters, then, is to adapt the best of today in prepping and paint-ing the structures of yesteryear. The fact is, painting historic structures requires

both art and science.

Goodbye, graceful agingLong ago, my father taught me the two purposes of painting: appearance and perform-

ance. It’s ironic that painting is supposed to protect the wood, yet now sometimes endsup damaging it.How did that happen? Call it the unintended consequences of progress.

Making HistoryRepainting old and historic buildings is complex.Here are some considerations.

By John Leeke

A

Paint JARPaint JAR, of Chicago, stripped this entire home (including chimney) from 1900 withMulti-Strip and a power stripping tool. Water-damaged wood work, siding and deckingwere all replaced and the porch restored. Sherwin-Williams and Benjamin Moore top-coats on the home and Cabot decking stain completed the project.

For three centuries, wooden exteriorswere protected with oil-based paint,usually made with linseed-oil binderand lead-oxide pigment, with pig-ments added for color. These oldpaints failed gracefully byweatheringaway; maintenance required just aquick recoating.

Through the latter 20th century,however, paint formulas changed tooil-based alkyd-resin and water-borne latex or acrylics. This was amixed blessing. The new paintswere safer and more weather resist-ant, but they also caused heavybuildup that became vulnerable tocracking and alligatoring. Thosecracks, in turn, let water into thewood substrate and trapped itthere, causing additional peeling

and wood decay.Adding another full coat just com-

pounded the problem, trapping moremoisture and accelerating the peeling.Throw in modern problems like vehi-cle exhaust, and it’s not hard to see howa paint job that once lasted 15 yearsnow barely survives two.And yet, a large segment of the paint

industry ignores this problem andkeeps slapping on one coat after an-other.That might work in a few cases, but

our company relies more on two otherrepaint options: spot maintenanceand/or complete removal.

Spot maintenanceSpot maintenance goes

with the flow: Paint is al-lowed to peel off mostly atits own rate. The final fin-ish will be variable but isnot usually consideredshabby.With spot maintenance,

loose paint is knocked offevery three to five years,the surface is cleaned, and

pensive ($5 to $11 per square foot, inmy experience), but it must be re-peated every few years as long as thepeeling continues. In fact, the long-term cost of this approach might behigher than a complete redo.

Removal and recoatingComplete removal, as the name

says, takes off all the paint down tobare wood. The process variesslightly with each project, but it’s ba-sically this:• Remove all paint, typically withdamp scraping or steam removal.• Perform a wet abrasive scrub (seesidebar for details).• Pre-treat bare wood (describedbelow).• Prime with oil-based primer.• Apply two topcoats of water-borneacrylic or higher-performance acrylicelastomeric.Removal is a costly, labor-intensive

process, but it is done onlyonce. And because it re-moves the problem paintbuildup, maintenance ismuch less expensive.To minimize the lead risk,

I usually use wet methodslike steam paint removalor, occasionally, chemicalstripping. Grinding withsanders or shavers createslarge volumes of lead dust,and dry-heat removalmethods may present a firerisk.Our philosophy is always

to use the least aggressivemethod first, trying moreaggressive methods only ifthe first one doesn’t work.Steam paint removal soft-

ens the paint film, so it canbe easily scraped away. Itworks well with the heavy

WWW.PAINTSTORE.COM PWC 41

See HISTORIC on next page

the bare patches of wood are primedand painted. Well-bonded paint is leftin place.Recently, we have started using spe-

cial hollow-handled scrapers attachedto a HEPA vacuum for these jobs. Wedo not try to sand and feather the thickedge of the paint buildup, since thepeeling is caused by the buildup, notby moisture seeping in at the edge.Eliminating sanding also saves timeand significantly reduces the lead-health risk.Recoating typically uses relatively

weak oil-based primers and paints.Matching the color and sheen of thesurrounding paint is important. Colormatching is done by taking paint chipsfrom the wall for electronic colormatching at a paint shop. Sheen ismatched by mixing flat and satin orgloss paint to arrive at the correct levelof surface reflection.Spot maintenance is relatively inex-

www.LouisvillePainter.comWith pressure washing of oldpaint and two topcoats ofSherwin-Williams DurationPaint, Mr. Mike’s ProfessionalPainting transformed this oldKentucky home.

42 PWC DECEMBER 2009

paint buildup commonly found onwood exteriors. It can also be used oninterior paint and on windows.The portable steam generator is sim-

ilar to wallpaper steamers. A hoseguides the steam to a hollow head thatis held on the paint surface. Thiskeeps the steam against the paint.When the paint film has cracks or al-ligatoring, the steam penetrates toloosen its bond with the wood.This approach typically costs me $18

to $30 per square foot. This includes re-moval, pretreatment, primer, topcoatsand other direct production costs. Itdoes not include the cost of access, ad-ditional lead-safe requirements, or dis-posal of lead paint waste, which canvary greatly for each project.In fact, disposal of lead paint has be-

come so expensive and time-consum-ing that complete paint removal hasbecome a choice of last resort. We usu-ally limit it to areas where access is dif-ficult or appearance is especiallyimportant.

HISTORIC from last page

See HISTORIC on page 44

Which approach is best for yourproject? Check the “MaintenanceMinder” on page 46 for guidelines.

ApplicationWith your plan set, application de-

cisions are next. With older buildings,hand brushing and other traditionalmethods often work better than spray-ing or rolling.The reason? Exterior woodwork sur-

faces are often irregular, with weather-ing and micro-checks (tiny cracks).There may be open joints betweenwooden parts. Hand-brushing worksthe oil-based primer into these irregu-

larities; rolling or spraying simply laysit on the surface.Of course, hand brushing takesmore

time and effort, and this should be fac-tored into the project. Sometimes, acombination method is possible, suchas rolling on the primer, then workingit into the surface and tipping it offwith a brush. The risk here is that acareless or hasty worker may shortcutthe brushing, compromising the fin-ish’s quality and durability.Another consideration: In some 18th-

and 19th-century interiors, the originalpaint surfaces have a “ropey” texture.

TTiippss && TTeecchhnniiqquueessFor an explanation and photos of a

wet abrasive scrub, see “Extreme

Prep,” March 2008 PWC, or visit

http://www.paintstore.com/article.ph

p?item=2464.

The WRP Recipe is detailed at

http://www.fpl.fs.fed.us/documnts/fp

lrn/fplrn124.pdf. Note: The original

recipe calls for the fungicide pen-

tachlorophenol, which is now re-

stricted in use. For an alternate

version, see

http://www.fpl.fs.fed.us/documnts/fi

nlines/willi02a.pdf.

WWoorrkkiinngg LLeeaadd SSaaffeeAs every contractor knows, old and historic buildings usually have some lead

paint. That will mean major changes for many renovation contractors in April,

when the U.S. Environmental Protection Agency fully implements its 2008 Ren-

ovation, Repair and Painting (RRP) Rule. The rule includes new certification,

training and lead-safe requirements for every contractor who disturbs a certain

amount of lead paint on a project.

Visit www.epa.gov/lead for the latest developments and requirements.

Professional PaintersProfessional Painters of LaGrange, Ill., transformed the 120-year-old Peabody House in 1,362hours this spring. Every window sill was completely restored. Historically authentic colors werechosen to cover the “circus-like” color scheme. Crews scraped, sanded and stripped the entireexterior and finished with a Benjamin Moore primer and topcoat.

42 PWC DECEMBER 2009

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44 PWC DECEMBER 2009

HISTORIC from page 42The brush marks can be felt and evenseen, especially when light reflects offthem or with a low-angle raking light.Recreating this subtle effect can be im-possible with modern methods andmaterials. Today’s interior paints areformulated to level out to a perfectlyflat surface, eliminating brush marks.To get that ropey look, you’ll need

hand-brushing and a traditional paint.Sometimes, a modern interior water-borne acrylic can leave a ropey textureif you over-pigment it at the color mix-ing machine, but you still have to usethe traditional brush.

New products, new practicesUsing 21st-century coatings on 19th-

century structures requires a defttouch and flexibility.For example, some of today’s VOC-

compliant oil-based primers are sothick that they can be difficult to brushinto the wood. Even if brushed, theymay not penetrate deeply. Therefore, I often do a penetrating

pre-treatment on exterior wood. Thisgives me more control over how thepaint system bonds. I’ve also foundthat this fine tuning can lengthen thecoating’s service life.Studies by the U.S. Department of

Agriculture’s Forest Products Labora-tory support this. They show that apaintable water-repellent preservativeeffectively increases wood protectionand dramatically extends the wood’slife.

Pre-treatment optionsThere are two pre-treatment options:

consolidating oil-resin and paintablewater-repellent preservative (WRP).Consolidating oil-resin treatment is

suitable for gray weathered wood orfor surfaces that are somewhat “soft”

See HISTORIC on page 46

Choosing the Right Coating By Deborah SlatonSelecting a paint or coating for an historic structure is a complex decision,

especially in residential and other projects without specifications.In these cases, contractors have much to consider, including: • The coating’s purpose (restoration, protection, rehabilitation or reconstruction)• The nature of any existing coatings• Whether the new coating’s composition needs to match the original• The nature and condition of the substrate• The “breathability” of existing and new sealers or coatings• The extent to which the new application will alter the substrate’s color, reflectivity or texture• Ease of application• Environmental constraints• Maintenance requirements• CostThese considerations may vary, depending on the substrate.For example, coatings for some materials must be as breathable as possi-

ble, while breathability is not necessary for others. With masonry substrates, itis important to allow moisture in the substrate to escape and evaporate, so thecoating should be breathable. In contrast, coatings for metal substrates are generally meant to serve as

impassable moisture barriers and should not be breathable.Of special interest is whether the new coating or sealer is “reversible.”

Preservation standards generally advise against treatments that cannot be re-versed without damage to the material. For example, silanes and other clear penetrating sealers do not alter the ap-

pearance of a historic structure, and are highly breathable. They are not re-versible, however, and so are often avoided on historic structures unlessneeded for preservation of the building materials.For those involved with coatings and preservation, new challenges arise at

every turn. Changes in coatings technologies present special implications forhistoric structures. For example, the advent of clear, penetrating sealers hasmade it possible to apply a protective coating that is essentially invisible. At thesame time, as noted above, a clear sealer might be considered to havechanged the historic fabric of the building facade.Fortunately, a wealth of information is available to contractors who face

these decisions. The Secretary of the Interior’s classic Standards for the Treat-ment of Historic Properties is an excellent starting point, with standards rele-vant to historic structures and coatings. Suppliers and historical organizationsare also valuable resources.

Deborah Slaton is a principal with Wiss, Janney, Elstner Associates Inc. in Northbrook, Ill.,

and a fellow of the Association for Preservation Technology International .

44 PWC DECEMBER 2009

Project Managers play key roles in thefinishing industries. Project Managers areresponsible for the planning, execution, and successfulcompletion of specific projects. You need the best trained,most skilled Project Managers available, we’re here tomake that happen.

In an increasingly competitive global business environment,an organization’s ability to attract, develop, retain andeffectively deploy talented Project Managers is vital tothe success of your business.

The training and skills you need to succeed can be found atwww.LMCIonline.org or by phone toll-free at (888) 934-6474or (202) 637-0798.

The Painters and Allied Trades Labor Management Cooperation Initiative programsare the result of a partnership with the Finishing Contractors Association and theInternational Union of Painters & Allied Trades.

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or more porous than perfectly soundwood. The traditional recipe for thistreatment is a mixture of linseed oil andturpentine. However, I no longer uselinseed oil, because it is like frosting onthe cake to mold and fungus. Instead, Iuse a mix of mineral spirits and oil-based alkyd resin varnish, or a propri-etary product like Flood’s Penetrol.Penetrol is like a light varnish. This

oil-based product, made of mineralspirits and alkyd resin, penetratesdeeply into the wood surface. To use itas a pre-treatment, I mix it about 50-50with mineral spirits, depending on sur-face and weather conditions.The mineral spirits carry the resins

deeply into the wood and then evapo-rate, leaving behind the resin that curesand consolidates loose fibers at the sur-face and well below it. Within 48 hours,the treated surface is dry to the touchand ready for light sanding or a primer.Note: Some specifications do not

allow additives, or the paint system’sperformance with an additive may be

unknown. Check with the manufac-turer.Paintable water-repellent preserva-

tive is suitable for bare, sound, woodsurfaces. The good old standby is tomake your own with the FPL’s recipe(see “Tips & Techniques,” page 42), al-

though some of the Thompson's Wa-terSeal products are similar. The FPL recipe contains paraffin to

repel water and alkyd-resin as abinder in a mineral-spirits base. Pig-ments or biocides can be added for

46 PWC DECEMBER 2009

HISTORIC from page 44

Existing Paint Project Variables

Thickness Condition Likely Likely homeowner institution Cost Difficulty response response

Full Recoat Up to .015” Sound; no Positive Positive Moderate Easy(half the cracks orthickness alligatoring of a dime)

Spot Up to .020” Alligatoring, Possible Good Low to Not hard,Maintenance (thickness peeling to concern over moderate but takes

of a dime) bare wood in ‘spotty’ look time to doup to 30% of correctlytotal surface

Full Strip .075” or More than Bring Capital Very high Complex,& Start Over more 30% of total financing to expenditure; but a good

(thickness surface the table may need job with theof a nickel) peeling board’s OK best results

See HISTORIC on page 49

Maintenance MinderDoes that old building need a new coat, spot maintenance, or a full strip-and-recoat? Here are some factors to consider.

A History of ColorRestoration of the historic Deepwood Estate in Salem, Ore., included several weeks spent onrestoring the closet doors in the maid's quarters. Paul Porter, of A History of Color, scrapedwith a broad knife, scrubbed with 60-grit steel wool, and used a chemical stripper over twoweeks to remove the purple latex topcoat and underlying yellow oil-based coat. He then used a3 lb. orange shellac to match the original wood finishes throughout the house.

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specific benefits.There are also some combination

products, such as California Paint’sStorm Stain Penetrating Wood Stabi-lizer. Water-based products of bothtypes may be suitable, especially fornew wood, but my decades of experi-ence are with oil-based products,which I know work quite well on oldwood surfaces.Storm Stain contains zinc

napthanate (a preservative that limitsmold and mildew) and a tiny amountof resin. The resins help hold the zincnapthanate in the wood, but there maynot be enough to consolidate loosefibers at the surface. As a waterborne,Storm Stain does not penetrate asdeeply as oil-based pre-treatments.But after 24-48 hours, the water hasevaporated, the surface is dry, slightlytacky, and ready for primer.

Love of craftTask for task, working on old and

historic structures is more complexand time-consuming than modernprojects are. Truly, you have to lovethis work and be ready to commit thetime required for best results. Mostprojects will require extra research,even for experienced contractors, andare less likely to go according to plan.With old structures, one size—orpaint, or process—never fits all.On the other hand, the rewards are

great. Not only have you saved the en-vironment from demolition and newconstruction, but your craft will be ev-ident for years to come. And, really,how many jobs offer a little posteritywith payment?

John Leeke is an historic buildingspecialist based in Portland, Maine.His site, www.HistoricHomeWorks.com,includes discussions on paint topicsand videos of techniques noted in thisarticle. pwc

HISTORIC from page 46

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