Plasterwork

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Plasterwork refers to construction or ornaments made with plaster, such as plaster layers on the interior or exterior wall structures, or decorative plaster prints on the ceiling or walls. This is also sometimes called targeting. The process of making plasterwork, called plastering or rendering , has been used in building construction for centuries. For the history of the art of three-dimensional plaster, see plastering.

Video Plasterwork

History

The earliest plaster we know is chalk. Around 7500 BC, people from 'Ain Ghazal in Jordan use lime mixed with unswit limestone limestone to make plaster that is used on a large scale to cover the walls, floors, and stoves in their homes. Often, walls and floors are decorated with red painted patterns and designs painted on the fingers. In ancient India and China, made in clay and gypsum plaster were used to produce a smooth surface on rough stone or mud brick walls, while in the early Egyptian tombs, the walls were lined with lime gypsum and the finished surface was often painted or decorated..

The Stucco Model was employed throughout the Roman Empire. The Romans used a mixture of chalk and sand to construct layers of preparation where smoother applications of gypsum, limestone, sand and marble dust were made; pozzolanic material is sometimes added to produce a faster set. Following the fall of the Roman Empire, the addition of marble dust to plaster to enable the production of fine detail and hard and delicate finish in hand and mold model decorations was not used until the Renaissance. Around the 4th century BC, the Romans discovered the principles of chalk hydraulic sets, which by the addition of highly reactive forms of silica and alumina, such as volcanic soils, can harden rapidly even underwater. There was little use of hydraulic mortar after the Roman period until the 18th century.

Decorative plaster is widely used in Europe in the Middle Ages where, from the mid-13th century, plaster gypsum was used for both internal and external plaster. Hair is used as a booster, with additives to help regulate or plasticity including malt, urine, beer, milk and eggs.

Maps Plasterwork

the 14th century

In the 14th century, decorative plaster called pargeting was used in South-East England to decorate the outside of wood-framed buildings. This is a form of incision, mold or ornament model, which is executed in lime or a mixture of lime and gypsum plaster. During the same period, the terracotta was reintroduced into Europe and is widely used for ornament production.

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15th century

In the mid-fifteenth century, Venetian skilled workers developed a new type of outward facing, called marmorino made by applying lime directly to the mason.

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16th century

In the 16th century, a very decorative type of decorative plaster plaster, called scagliola, was created by a stuccois working in Bavaria. It consists of gypsum plaster, glue and animal pigments, used to mimic the colors of marbles and piecre dure decorations. Sand or marble dust, and chalk, sometimes added. In the same century, sgraffito techniques, also known as graffito or scratches were introduced to Germany by Italian artists, combining them with the modeled cement decorations. This technique was practiced in ancient times and is described by Vasari as a fast and durable method for decorating building facades. Here, a layer of plaster lime contrast is applied and the design is scratched through the top layer to reveal the color underneath.

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the 17th century

The 17th century saw the introduction of various types of internal plaster. Marble cement is an artificial marble made using a cast (sometimes with lime), pigments, water and glue. Stucco lustro is another form of imitation marble (sometimes called stucco lucido) in which a thin layer of gypsum or gypsum is applied over the full support of the lime, with pigments scattered on the surface of the wet plaster.

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18th century

The 18th century sparked a renewed interest in innovative external plaster. The oil masturbation introduced in England during this period included the patented "Composition or pasta stone" in 1765 by David Wark. It is a lime-based mixture and includes "olls of tar, turpentine and linseed" in addition to many other ingredients. Other "Compositions or Cement", including oil drying, patented in 1773 by Pdt. John Liardet. A similar product was patented in 1777 by John Johnson. Widely used by architect Robert Adam who in turn commissioned George Jackson to produce reverse-cut boxwood prints (many of which were for Adam's design). Jackson formed an independent company that still today produces composition emphasis and maintains a huge collection of boxwood prints.

In 1774, in France, moire mÃÆ' Â © was published on the composition of ancient mortars. This was translated into English as "Practical Essays on Cement, and Artificial Stone, which should belong to the Greeks and Romans" and published in the same year. Following this, and in reaction to the disappointment felt by the repeated failures of oil mastics, in the second half of the 18th century, water-based rendering gained popularity once again. Mixtures for patented renders, including "Cement Water, or Plastering" consisting of chalk, sand, bone ash and lime water (Dr Bryan Higgins, 1779). Experiments mixing limes that are different from volcanic soils occurred in the 18th century. John Smeaton (from 1756) experimented with hydraulic limes and concluded that the best limes are fired from limestone containing enough material from clay. In 1796, Revd James Parker patented "Roman Cement" Parker. It is a hydraulic cement which, when mixed with sand, can be used for plastering. It can also be cast to form molds and other ornaments. However it is an unattractive brown color, which needs to be disguised by the final surface.

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19th century

Natural cement is often used in cement mixture during the 1820s. Portland cement population changed the composition of plaster, as well as mortar, into a harder material. The development of artificial cement has begun in the early 19th century. In 1811, James Frost took a patent for artificial cement obtained with lime soil and fine lime clay together. The French engineer Louis Vicat in 1812-1813 experimented with the calcination of a synthetic mixture of limestone and clay, a product he introduced in 1818. In 1822, in England, James Frost patented the (other?) Process, Similar to Vicat, resulting in what he called "British Cement". Portland cement, patented in 1824 by Joseph Aspdin, is so called because it should resemble Portland stone. Son Aspdin William, and later Isaac Johnson, improved the production process. A product, very similar to modern Portland cement, is available from around 1845, with other improvements occurring in subsequent years.

Thus, after about 1860, most of the plaster consisted mainly of Portland cement, mixed with some lime. This makes it more versatile and durable. No longer used only as a coating for substantial materials such as masonry or logs, stucco can now be applied on wood or battens attached to light wooden frames. With this increased power, it ceases to be just a layer and becomes a more integral part of the building structure. Early 19th century made faÃÆ'§ades colored with distemper; oil paint for external walls was introduced around 1840.

The 19th century also witnessed the resurgence of the use of mastics oil. In England, patents were obtained for "compositions" in 1803 (Thomas Fulchner), 1815 (Christopher Dihl) and 1817 (Peter Hamelin). This oil expert, as it was before, also proved to be short-lived.

Molded or cast masonry substitutes, such as cast stone and poured concrete, became popular in quarrystone during the 19th century. However, this is not the first time "artificial stone" has been widely used. Coade Stone, a brand name for cast stone made of fired clay, was developed and manufactured in England from 1769 to 1843 and used for decorative architectural elements. After the closure of the plant in South London, the Coade stops being produced, and the formula is gone. In the mid 19th century manufacturing centers were preparing cast stones based on cement for use in buildings. This is made especially with the cement mix often incorporating fine and coarse aggregates for texture, pigment or dye to mimic the staining and erosion of natural stones, as well as other additives.

Also in the 19th century, various modified gypsum gypsum blends, such as Keene cement, emerged. These materials were developed for use as an internal wall plaster, increasing the plaster use of Paris as they are set more slowly and thus easier to use.

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Tools and materials

Tools and materials include trowels, buoys, hammers, screeds, hawks, tool scratches, utility knives, lath, nail braids, lime, sand, hair, Paris plaster, various cements and various materials for washing colors.

While most tools have remained unchanged for centuries, developments in modern materials have caused some changes. The tuft, originally made of steel, is now available in polycarbonate materials that allow the application of new materials based on certain acrylics without final staining. Float, traditionally made of wood (ideally a yellow pine, knot-free, without knots), is often solved with an expanded sponge or polystyrene layer.

Laths

Traditionally, plaster is placed into laths, not plasterboard as is more common today.

Wooden grilles are narrow pieces of straight-grained wood depending on the availability of species with a length of from two to four or five feet to adjust the distance to which floor surfaces or partitions are installed. Lath has a width of about an inch, and is made in three thicknesses; single ¹ / ₈ to ³ / ₁₆ Inches thick), battens and half ( / ₄ inch thick), and double ( ³ / ₈ - ¹ / ₂ inch inch thick).

Thicker whining should be used on the ceiling, to withstand extra loads (sometimes they are duplicated for extra strength), and thinner variations in vertical work such as partitions, except where the latter will be subject to rough usage, in this case thicker. battens become necessary. Laths are usually nailed with a distance of about <3 / ₈ an inch between them to form a key for the plaster.

The previous laths were all made by hand. Most are now made by machines and are known as saw saws, made by hand called rent or rath rath. Rent laths give the best results, because they split parallel to the wood grain, and are stronger and less prone to twist like a machine made yeast, some of the fibers that are normally cut in the sawing process.

Lath should be nailed so as to break the connection at bay three or four feet wide with opposite ends against the other. By breaking the plate connections in this way, the plaster tendency to crack along the line of connection is reduced and a better key is obtained. Each batten should be nailed at each end and wherever it crosses a cross or pole. All woods of more than three inches (76 mm) width should be dampened, that is, have a fillet or double braided nailed along the top of the trim and then nailed. This is done to keep a good key for the cast.

Wettable walls are sometimes pounded and plowed to form air cavities between moist walls and plastering.

Lathing in metal, whether in wire or in the form of hollow galvanized sheets, is now widely used because of its fireproof and durable properties. There are many types of this material in different designs, the most famous in the UK are Jhilmil, Bostwick, Lathing, and Expanded Metal Lamination. The last two names are also widely used in America.

Lathing spikes are usually of iron, cut, wrought or cast, and in a class better than their galvanized work to prevent rusting. Zinc nails are sometimes used, but expensive.

Lime plastering

The limestone plaster consists of limestone, sand, hair and water in varying proportions according to the nature of the work to be performed.

Mortar lime which is mainly used for internal plastering is calcined from lime, oyster shells or other almost pure limestone, and is known as lime, pure, lime or rich lime. Hydraulic blades are also used by plaster, but mainly for external work.

The perfect slope of calcined lime before use is very important because if used in partially cut conditions, it will "blow" when in position and blister the work. Lime should therefore be run as soon as the building begins, and at least three weeks must pass between lime running operations and its use.

Cheefon

Hair is used in plaster as a bonding medium, and gives the ductility to the material. Traditional horsehair is the most commonly used binder, as it is easily available before the development of the cars. The hair function is the same as a strand in fiberglass resin, by controlling and containing small cracks in the dimples when it dries or when flexing.

The ox's hair, which is sold in three qualities, is now the type that is usually specified; but horsehair, which is shorter, is sometimes replaced or mixed with cow's hair with lower quality. Good hair should be long (In England, long and long cow and long horse hair is used), and leave the fat (lanolin grease) as it protects against some degradation when put into very high alkaline plasters. Before use, must be beaten well, or teased, to separate the lumps. In America, goat hair is often used, though not as strong as cow's hair. The amount used in good work is a pound of hair for two or three cubic feet of rough goods (in the UK up to 12 kg per cubic metric). Hair replication in common lime plaster and many other types of hair and organic fibers can be found in historic plaster [4]. However, the organic materials in the lime will be degraded in damp environments especially on the humid external rendering. [5] This problem has led to the use of polyprolene fibers in the manufacture of new lime [6]

Manila flax fiber has been used as a hair replacement. Plaster for haircuts made with manila hemp fibers broke at  £ 195 (88 kg), plaster mixed with sisal hemp at 150  £ (68 kg), hemp at  £ 145 (66 kg), and goat hair in  £ 144 (65 kg). Other tests are made in the following way. Two barrels of mortar consisted of the same proportions of lime and sand, one containing the usual amount of goat hair, and other Manila fibers. After remaining in a dry cellar for nine months, the barrel is opened. It was found that the hair was almost entirely eaten by the action of chalk, and the mortar was consequently broken and easily destroyed. Mortar contains Manila flax, on the other hand, shows great cohesion, and requires an effort to separate it, the flax fiber is not damaged.

Sand/aggregate

For fine sand work, special sand is used, such as silver sand, which is used when light colors and fine texture are required. In England, this fine white sand is obtained mainly from Leighton Buzzard; also in the UK many traditional plasters have crushed lime as aggregate, this makes very flexible plaster suitable for wooden frame building.

For outdoor work, Portland cement is undoubtedly the finest material due to its strength, endurance, and external properties against the weather, but not on the historic structure necessary to flex and breathe; for this, lime without cement is used.

Sawdust has been used instead of hair and also not sand as aggregate. Sawdust will allow mortars to withstand the effects of freezing and rough weather. Sometimes useful for heavy cornices and similar jobs, because it makes the material light and strong. Sawdust should be used dry. Sawdust is used to tie the mixture sometimes to make it further away.

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Method

The first layer or rendering is from 1/2 to 3/4Ã, inch thick, and mixed in proportion from one part of cement to two sands up to one part up to five sand. The finishing layer or setting is about 3/16 inch thick, and done with a handshake on the rendering surface, which should first be dampened properly.

External plastering

Plastering is a term loosely applied to almost all types of external plastering, whether composed of lime or cement. At the present time it has fallen into dislike, but in the early nineteenth century much of this work was done. Cement has replaced lime for this work. The main varieties of plastering are common, rough, necked and asshole..

• Common stucco for external work usually consists of one part hydraulic lime and three parts sand. The walls should be rough enough to form a lock and wetted so well that water is not absorbed from the plaster.
• Crude plaster is used to imitate stone carvings. It works with hand floats that are covered with a coarse brush (rigid bristles can also be used), which form the sand surface in the plaster. The line is ordered before the object is set to represent the stone connection.
• Trowel stucco, the final layer of this work, consists of three parts of sand for two parts of fine goods. A very fine smooth surface is produced using a handshake.
• The cement bastard is a similar composition, but fewer labor is spent on it. It is placed in two coats with float skimming, combed all at once, and then trowel.
• Colored plaster: plaster cement can be executed in color, the desired color is obtained by mixing with various lime oxides. Black and gray are obtained by using forging ashes in various proportions, green with green enamel, red by using litharge or lead, and blue by mixing copper oxide or carbonate with other materials.

Roughcast or pebbledash plastering is a rough form of external plastering that is widely used for rural houses. In Scotland it is called "disturbing". This is one of the oldest forms of external plastering. In the Tudor era it was used to fill between wood of half-wood framing. When executed properly with this kind of material, plastering is very durable.

Roughcasting is done by first rendering walls or laths with a coat of fine-grained linen goods consisting of either hydraulic chalk or from Portland cement. This layer is scratched well to provide the key for the next layer. The second layer also consists of rough items crushed with a smooth and uniform consistency. Two completed two techniques can be used:

• dry dash: while the first coat is soft, pebbles, shingles or other small stones are thrown evenly with a small spoon and then brushed with a thin lime mortar to provide a uniform surface. Shingles are often dipped in warm lemon paste, well stirred, and used as needed.
• Wet dash: Traditional roughcast, injuring the scratches or bottom layers that are left to heal and in the final layer of gravel/agrigat mixed with lime and sand and thrown with a spoon/spoon casts.

Sgraffito (scratched ornament)

Sgraffito is the name for the ornament scratched in plaster. The scratched ornament is the oldest form of surface decoration, and is widely used in continental Europe, especially in Germany and Italy, both in external and internal situations.

Treated properly, this job is durable, effective and inexpensive. The first layer or rendering of Portland cement and sand, in the proportions of one to three, is placed at about an inch thick; then follow the color layer, sometimes wearing different tints needed for the finished design. When this layer is almost dry, it finishes finely-skimming, 1/12 to 1/8 inch thick, from Parian, selenitic or cement or other lime, just as much as can be completed in a day placed on top..

Then by breaking through the punctured cartoon, the design is moved to a plastered surface. The wide space of the background now opens by removing the final layer, thus showing the colored plaster underneath, and after this the outline of the rest of the design is scratched with an iron knife through outer skimming onto a dyed surface.

Sometimes the coat is in three different colors, like brown for the first, red for the second, and white or gray for the final layer. The pigments used for this work include Indian red, Turkish red, Antwerp blue, German blue, many, ocher, purple brown, black bone or manganese oxide for black. The combination of these colors is made to produce the desired tone.

Coats

Plaster is applied in successive layers or layers on the wall or lathing and gets its name from this number of layers.

• One layer of work is the most rugged and inexpensive plaster class, and is confined to lower buildings, such as outhouses, where only rough layers are needed to prevent weather and wind. It is described as rendering on bricks, and battens and lying or battens and plasters one layer on the studding.
• Two-tier work is often used for factories or warehouses and less important dwellings. The first layer is a rough stuff that ends up fair with a float from it and rubbed. The thin layer of the arrangement of goods is then placed on top, and thrown and brushed smooth. Two-tier work is described as rendering and mounted on walls, and battens, plaster and sets, or battens, lying down and installing lath.
• A three-tier job is usually specified for all good work. It consists, as the name implies, of three layers of material, and is described as rendering, floating and mounted on walls and battens, plaster, float and sets, or battens, lying, floating and arranged, on lathwork. It makes a strong protective layer, straight, for walls and ceilings.

The process for three layer jobs is as follows:

• For the first layer, a long-haired coarse piece of material, about 1 inch thick, is affixed with a laying trowel. It's called "stabbing" in London, and in America "scratch coating". It must be placed diagonally, each trowelful overlapping the previous one. When the laths of the goods should be enough plastic to work through the spaces between the laths to form keys, yet so strong not to fall. The surface while still soft is etched with battens to give the key to the next layer. In Scotland part of this process is called "straightening" and in American "browning", and is done when the first layer is dry, thus forming a straight surface to receive the final coating.
• The second or "floating coat", and has a thickness of 1/4 to 3/8 inches. Four operations are involved in laying the second layer, that is, forming a screed; fill the space between screed; exploring the surface; lock the face for finishing.
  • Screed the walls thrown and the ceiling screed flattened. Screeds are narrow pieces of plaster, thrown carefully and flattened, thus forming a guide in which floating rules are run, thus securing perfect horizontal or vertical surfaces, or, in the case of a circular work, a uniform curve. li>
  • Charging, or flanking, consists of laying space between screeds with rough items, which are brought flat with screed levels with floating rules.
  • Scour the floating layer is very important, because it consolidates the material, and, in addition to hardening it, prevents it from cracking. This is done by a plasterer with a hand float that he applies vigorously in a fast circular motion, at the same time sprinkling work with water from a stock brush on the other. Each small hole or inequality is filled as he continues. The entire surface should be rubbed evenly two or three times, at intervals between each operation from six to twenty four hours. This process leaves the plaster with a closed surface and is quite smooth, offering little or no lock on the mantle that will follow.
  • To get the right cohesion, however, a rough face is required, and this is obtained by inserting the surface with a wire brush or a nail buoy, ie, a handshake with a fixed nail point and projecting about 1/8 inch; sometimes the point is placed in every corner of the float.
• After floating is finished to the wall and ceiling, the next part of the internal plastering is the cornice course, followed by the completion of the ceiling and walls.
• The third and final layers are layers of settings, which should be about 1/8 inch thick. In Scotland it is called a "finishing coat", and in America the "hard finish layer" or "putty coat". The goods arrangement should not be applied until the floating is strong enough and almost dry, but should not be too dry or moisture will be withdrawn from the goods arrangement.

The composition of the three plaster interior mantle:

• The coarse material used as the first layer consists of sand and lime, usually in proportions approaching two to one, with hair mixed into it in an amount of about one pound to two or three cubic feet of mortar. It should be mixed with clean water for consistency as the quantity is picked up at the point the shovel holds together well and does not fall off.
• Floating objects have a finer texture than those used for piercing, and are used in a softer state, allowing it to work properly into the first layer lock. A small amount of hair is also used.
• Smooth objects mixed with sand are used for the adjustment layer. Fine stuff, or putty lime, is pure lime that has been flattened and then mixed with water until it becomes semi-liquid consistency, and left standing until it has developed into a soft paste.
  • For use in the setting it is mixed with fine washed sand in a ratio of one to three.
  • For cornices and for settings when the second layer is not allowed time to be dried properly, special compounds should be used. It is often measured, consisting of three or four halves of putty and one part of Paris plaster, mixed in small quantities immediately before use. The plaster in the material causes it to be regulated quickly, but if it exists in too large proportions the job will crack in the settings.

Hard cement used for stucco, such as Parian, Keene, and Martin, is placed generally in two layers, the first cement and sand 1/2 to 3/4Ã, inch thick, a second layer or a neat cement arrangement of about 1/8 inches thick. This cement and similar cement have gypsum as base, in which a number of other substances, such as alum, borax or carbonate of soda, are added, and all are baked or calcined at low temperatures. The plasters they contain cause them to be regulated rapidly with very fine hard surfaces, which can be painted or coated within hours of completion.

In Australia, rendering of plaster or cement applied to external bricks in residential or commercial buildings may be one or two layers. In the two layers make the base layer applied to a common mixture of 4 parts of sand to one part of cement and one section of dehydrated lime and water to make a consistent mortar. Render applied using hawk and shovel and push about 12 mm to start. For two layers, some plasterers apply two full depth rendering (one at the bottom of the wall and one around the chest height) which is screed perpendicular and square and allowed to dry while applying the first layer above the exposed remaining wall. The render is then scratched to give the key to the second layer. This method allows the rest of the wall to be rendered and removed without checking whether the second layer is still upright. Alternatively, both layers can be applied with plaster using t-bar to screed the final layer until straight and square. The first method is generally used where quality finish is at a premium. The second method is faster but can be several millimeters from the outside. The second layer can be a slightly weaker mixture 5/1/1, or equal to the base layer with possible proofer water in a mixture added to water to minimize crystallization (salt rise). Some plasters use lime putty on the second layer rather than dehydrated lime on rendering. The mortar is applied to about 5 mm and when the render is straightened straight. Float wood or plastic floats are used to scrub the walls. Traditionally, water is splashed on the walls using a coarse bristle brush scrub followed by rubbing the float in a circular motion or figure 8 even if the number 8 can leave marks. Many modern plaster use hose with special nozzle with fine mist spray to dampen the wall while rubbing (using wooden floats to produce consistent finish). Using a hose brings superior finish and is more consistent in color as there are more chances of catching rendering before it has a chance to harden too much. After the work area is floated, the surface is finished with a damp sponge using the same method as floating with a wooden buoy, bringing sand to the surface to give a consistently smooth finish.

The material used in rendering is usually local sand with a small clay content with fine to coarse grains. Sand finishes are common for external rendering and may be one or two layers. Plaster uses t-bar to trace the wall straight and square. The two layers are superior because, albeit more expensive, deliver more consistent finishes and less chance of becoming drums or cracks. Drummy is the term used to describe when rendering is not fully tied to the wall, either because the walls are too smooth, the coat is too thick or with a hover when the render has hardened too much, leaving the air space that makes the drum sound when the metal tool is "rubbed" on it.

For internal walls, two layers are standard and follow the same method as for external rendering but with a weaker mixture of five or six sands into one cement and one chalk. However, instead of finishing with a sponge, the second layer is left rough and sometimes will be judged by the spikes inserted into the buoy. After drying, the surface is then dredged to remove loose sand grains before plastering. If a concrete wall, a splash coat is required to ensure bonding. The splash coat is a wet mixture of two parts of cement to one part of the sand that "splashed" on the wall using a plaster brush until the wall is closed. Special mixes are sometimes required for architectural or practical reasons. For example, A hospital x-ray chamber will be provided with a mixture containing Barium sulfate to make the wall resistant to x-rays.

Moldings

Plain, or unenriched, moldings are formed with molds running from the zinc piece to the required profile of a process that has remained the same for over 200 years.

• For cornice molding two walking rules are common, one on the wall, the other on the ceiling, where the mold is done to and from by one worker, while others roughly put on the plaster to the mold. Miters at the corners are removed by a joint rule made of sheet steel of varying lengths, widths of three or four inches (102 mm), and about one to eight inches thick, with one end cut into an angle of about 30 °. In some cases steel plates are allowed into stock or hardwood handles.

Enrichment may be mold added after the main outline mold is set, and printed in a mold made of gelatin or plaster of Paris.

Crag

Cracks in plastering may be caused by the completion of the building, using inferior materials or by poor workmanship.

However, since none of this, cracks may occur due to drying up the work too quickly, which is caused by plaster placement on the dry wall that sucks from the required composition of water vapor to allow it to be regulated, with external heat applications. or the heat of the sun, by placing the mantle on one that has not been set properly, the crack in this case is caused by unbalanced contractions, or by the use of too small a proportion of sand.

Traditionally, crack propagation was captured by thoroughly churning horsehair into a plaster mixture.

Slabs

finished with a thin coating suit or slab. In some cases, with fireproof ceilings, for example, metal lathing is hung with wire hangers thus allowing space a few inches between concrete and ceiling floors. For metal laths partition in-grouting with semi-fluid plaster. Where enormous strength is required, work can be reinforced by small iron rods through the slab. It forms a very strong and rigid partition which at the same time is flame retardant and lightweight, and when finished measuring only from two to four inches (102 mm) thick. So strong was the result that the partition of this class was only two or three inches (76 mm) thick was used for a temporary cell for prisoners at Newgate Gaol during the redevelopment of a new session house at Old Bailey in London.

The sheets can be obtained either with the surface of the lock, which requires finishing with the setting layer when the partition or ceiling in position, or face so smooth, that may be coated or painted immediately joints have been made with care.

Fiber plaster

The fibrous plaster is given by a suggestive name plasterer "stick and cloth", and this is a rough description of the material, because it is a fibrous consisting of plaster placed on the back of a canvas stretched across the wood. It is widely used for mold, circular and enriched casing into columns and girder and decorative work, which work in store and keep in its position.

Desachy, a French modeler, issued a patent in 1856 to "produce architectural prints, ornaments and other artwork, with plaster surfaces," with the help of plaster, glue, wood, wire, and canvas or other woven fabrics.

The modern usage of this material can be said to have begun later, but the use of fibrous plaster has been known and practiced by the Egyptians long before the Christian era; for ancient coffins and still-kept mummies proves that the plastered linen is used to decorate the coffin and make a mask. Cennino Cennini, writing in 1437, said that fine linen soaked in glue and plaster and laid on wood was used to make the foundations for painting.

Canvas and mortars are commonly used in England until the mid-20th century. This work is also widely used for temporary work, such as exhibition hall.

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Plastering

Modern interior plastering techniques

There are two main methods in USA that are used in interior wall construction of modern house, plasterboard, also called drywall, and plastering veneer.

In plasterboard a special form of stone sheet is known as a "greenboard" (due to a greenish outer layer of paper) that is screwed into the frame wall (button) of the house to form an interior wall. In a place where two edges of the wall board meet there are stitches. This layer is covered with adhesive tape and then the sutures and screw heads are hidden with a drywall compound to make the wall appear as a uniform piece. Plaster drywall is a thick paste. Lately it's painted or wallpapered to hide it. This process is usually called "recording" and those who use drywall are known as "shrink".

Veneer coating covered the entire wall with a thin liquid tape, using lots of water and applied very wet. The wall that is meant to be attached is hung with a "Blueboard" (so named because of the grayish-blue paper industry standards). This sheet sheets are designed to absorb some of the moisture of the plaster and thereby allow it to adhere the plaster better before it is installed.

Veneer coating is a one-shot one-coat application; recording usually requires sanding and then adding another layer, as the compound shrinks as it dries.

Traditional plastering

Usually the contractor has provided all the Gypsum plaster bags that will be needed, as well as external water supply if the house has not been connected. The stucco crew must carry their own equipment and equipment and sometimes supply their own beads.

The tasks that the plasterer usually hopes to do .

• Cornerbead hang

Plasterers usually have to first poke or pin Cornerbead to any outer corners that stand out inside the house. Care is taken to ensure this makes the walls look straight and more an eye skill than others.

• • "Bead" comes in many styles; Starting from a wire attached with staples to a heavier metal class that needs to be attached with a nail. Plastic varieties are also present.
  • The bead should be measured and cut to size; be careful not to bend or curl. In places where more than one corner meets; the end of the bead is cut at an angle and 2 or more ends are placed as close as possible; touch but not overlapping. The beads were completely covered with plaster as well as the rest of the walls and plaster also helped hold it firmly. The finished product leaves only a small, open metal strip on the closed corner bulge when the walls are painted. It leaves a clean and straight angle.
  • The alternative methods seen in older homes form round or bullnosed corners using unique wooden staff beads. The staff beads, 1 inch dowel with roughly 1/3 shaved from the rear, arranged in an external corner by the builders on site, tied to wood spark plugs set into brick/block stitches, or onto wooden frames. The plaster is run into the staff bead and then cut locally into the bead or "weird" to avoid the weak feather end where the plaster meets the bead.
  • In architecture, quirky is a small 'V' shaped channel used to isolate and provide reliefs on convex round molds. To make the corners emblazoned, the backing coat (brownish) plastered up to the staff beads, then the play of words was cut into a backing coat slightly larger than the finished size. When the top skimming layer is applied, again the bead is fully skimmed and then, using a straight edge, the words are cut back to the completed depth, usually at an angle of approximately 45 degrees into the beads. The play of words will hide the small cracks that will form between the beads and the plaster of staff.
• Set up the tool

The plaster needs to fill 5 bucket buckets with water. From this bucket he hung a shovel or shovel and put it into various tools.

• • Usually a plasterer has a shovel to "lie down" (the process of placing mud into the wall).
  • Some then store an older trowel that has a decent curve in it (banana arch) that will be used for the purpose of "texturing"; if called by the owner of the house. A trowel lay-on tends to be too flat for this and a vacuum caused by water can stick to the wall, forcing it to tear it so that it has to rework the area.
  • Finally, someone may have a new "yet broken" shovel that will be used to "grind"; this is when the plaster is almost hardened and he smooths the mound or fills up any small dips (cat face) to make the wall look like a uniform sheet of glossy white plaster.

Most plasterers have their own preference for the shovel size they use. some types of shovels are 20 inches long but normally appear 16 "ÃÆ' â €" 5 ". From my experience, the preferred brand is Marshalltown stainless steel. They have good luster for them, rubber grip and will not pit or rust if not accidentally left in the water overnight while others prefer a normal stealing shovel that takes more care but lasts long enough and pitting can give a "bite" that helps when "complete" (the last path when the cast is set).

Into the bucket there is also a large brush that is used to water the wall and to clean the equipment, paint brush to smooth the corners, and angle birds to form angles ( though many share one nice bird to keep the room stay in harmony ).

This tool bucket is first stored near a mixed table and then when the cast is set, it will be moved closer to the working wall. Time is a big factor here because once the plaster begins to harden (set) it will do it very quickly and the plasterer has a small margin of error to get a smooth wall .

To the mixing table the plasterer usually sets his "eagle" so that it will be useful when he has to grab it and to keep the dirt out of it. Any debris in plaster can be a major distraction.

• Plaster or bottom peak?

Plaster usually divides a room, (especially a large wall or high ceiling) at the top and bottom. The work above will do from the edge of the ceiling to the height of the abdomen and work from a casket for an 8-foot (2.4 m) ceiling, or work from a stage to a 12-foot-tall room. For the cathedral ceilings or the very high walls, the staging is arranged and another one works at the top, the other further down.

• Clean up before they finish the job

Usually done with labor. No clumps of plaster were left on the floor, walls, or edges of the corner beads. (They will appear if painted and disturb the floor and trim). Delete or stack all the garbage neatly.

• Check

All rooms and walls are checked for cracks and dents or scratches that may be caused by others crashing against the wall. They are also checked to make sure no bumps are left on the walls of the cast or splashed water. All rooms are checked to make sure all the plaster is thrown out of the outlet so that the electrician can install the socket and make sure no tools are left behind. This makes the wall ready for painters and painters to come and do their trade.

Interior plastering techniques

Smooth

Home owners and their bosses will usually decide in advance what style they will use at home . Usually the walls are smooth and sometimes the ceiling. Usually homeowners will choose to have a ceiling using the "texture" technique because it is much easier, faster, and thus cheaper than a smooth ceiling.

The plasterer quotes the price based on the technique to be used and the footboard to be covered by the contractor or homeowner before the work begins. The board foot is obtained by a hanger or predicted by a subcontractor head by counting the walls that come in an industry standard of 8 'to 12' in length. He then added an additional charge for the sofit and the cathedral ceiling.

• Second or first ceiling

Usually if the ceiling should be smooth it is done first, before the wall. If it should be textured, done after the wall.

The reason for this is that always when the ceiling is being worked on the plaster will fall and fall to the wall. But the texture mix does not need to be smoothed when it starts to be set:

• thus resistant as "Cream of tartar" or sugar can be used to extend the setting time, and is easily eroded from the wall.
• and because time does not control the factors on the textured ceiling, large mixes, or back-to-back blends can be done and all the ceilings are covered at the same time.
• another reason is that a bird usually runs in the upper corner after doing a smooth ceiling, it is easier to maintain this edge by doing the last wall. But the textured ceilings usually do not need to be knitted, just mixed with a very wet paint brush. In this case the wall is done first and the angle is formed with the bird.
• Scratching

The first thing tends to do by plaster is to jump over all the stitches of webs affixed to the wall that he will cover; in a very thin swatch. The wall board draws moisture out of this strip so that when the plaster repeats it again while doing the rest of the wall it will not leave any indentation stitches that need reworking further.

He then fills in the area near the ceiling so he does not have to stretch to grab it for the rest of the wall; And he formed a corner with his bird. This saves much needed time because this process is a race against chemical reactions.

• Placing on

From the mixed table, the plasterer spooned some "mud" into the center of its hawk with its shovel. Holding the eagle in his hand and his shovel at the bottom, the tape then took the roll of the cast onto the shovel. this takes a little practice to master, especially with the concentrated mixture.

Then holding a shovel parallel to the wall and at the slight angle of his wrist he tried to roll the plaster against the wall. In a way similar to squeegee. He started about an inch above the floor and walked up to the ceiling. Care is taken as uniformly as possible because it helps in the finishing stage.

• Dropping

Depending on the timing of the setting of the plaster. after moisture the casts begin to be drawn by the board, the second trajectory is made. this is called knock down. it's like applying paint with a roller in action and wrist purpose. to smooth out any lines and fill a big void that will make the extra work once the plaster begins to be completely set. very little pressure is applied and the shovel is kept relatively flat against the wall.

• Settings

Sometimes acceleration will be added to the mix to speed up the delay time from the initial mixing phase when the cast starts. This is usually done on cold days when arrangements are pending or for small jobs to minimize the wait.

After the plaster on the wall and begin to set (this can be determined by the first set table), the plasterer carefully sprinkled water onto the wall; this helps stop the setting and make a slip. He then uses his shovel and often brushes that are moistened in the opposite hand and lightly touch the wall in front of the shovel to slip this slip into the small cracks (known as "catfaces") in the plaster as well as smooth the rough lay-on and flatten the air bubbles that formed during setup.

This is an important moment because if the wall becomes too hard it is almost impossible to fill the gap because the slip will no longer be fitted with the wall and will just dry and fall off. This leads to the need for so-called "grinding" when one has to pass through a hard wall again and again trying to smooth a hardened wall and every major catfaces should be filled with putty contours, joint compounds, or reworked by mixing in a fresh thin coat.

The finished wall will look shiny and smooth and smooth to the touch. After a few days it will be white calcareous and then it can be re-painted.

• Mix

From the moment the bag is thrown into the vat to when the wall is completely arranged it is called a mixture. Varying the techniques used and whether acceleration or retardant is added, the mixture usually lasts about two hours.

The last moments are the most frantic moment if smooth or if the mixture is faster than anticipated. If this happens then it says the mixture has "snapped" and is usually because using old products or different types of weather (humidity or a hot day can cause the plaster to be set faster). Usually only three or four mixtures are done in a day because the plastering is very tiring and ineffective under unnatural lighting in the months with early dusk.

• Season

Plastering is done year round but unique problems may arise from season to season. In summer, heat tends to cause plaster to be arranged more quickly. Plaster also generates heat and the house itself can be very horrible. Usually the plaster crew will try to arrive home long before dawn.

In winter, a short day leads to artificial lighting needs. At a certain angle, these lights can make the most delicate walls look like the moon's surface. Another dilemma in the winter months is the need to use propane jet heater (which can stain the yellowish plaster but not damage it), not only to keep the plaster warm but also to prevent water in the mixture from freezing and producing ice crystals. before the plaster has time to set. Also if the water hose is not completely dry before leaving it can freeze through the night and completely stop in the morning.

Textured

Textures are usually reserved for cabinets, ceilings and garage walls.

Usually a retarding agent is added to the mixture. this is usually Cream of Tartar (or "Dope" in jargon plasterer) and care should be taken with the amount added. Too much and the mixture may never be regulated at all. But the amount used is often estimated; like how to add a little salt to the recipe. You add a small spoon of the retarder, depending on the size of the mixture. The retardant is added so a larger mixture can be made, because the texture technique does not require people to wait until it starts to adjust before they do it.

Lay phase is just as smooth but added with a thicker layer. After the coat in the plasterer uniform then go back and bird the corner. Stay away from the corner he then gets a shovel with a nice banana curve in it and starts running it on the wall in a number eight pattern or Ess, making sure to cross all the areas at least once. He added a little extra plaster to the shovel if needed. The overall effect is a layer of patch that resembles paint all over the ceiling or walls. She can then just walk away and let it be carefully arranged so as not to leave too much of the blob and make sure the angle looks smooth and linear.

If the wall should be smooth and the ceiling is textured, usually the wall is done first, then the ceiling after the wall is set. Instead of re-bending the ceiling (which should be done when the wall is placed on top), a clean shovel is held on the wall and its angle is installed along the ceiling to "cut it" and clean the wall at the same time. This line is then smoothed with a brush to make the transition smooth.

Sponge

Sponges (technically called buoys), have a circular shape and rough surface. it stays to support with the center handle and roughly the size of a standard shovel. Sponges are variant texture techniques and are used normally on the ceiling and sometimes in closets. Usually when using a sponge; sand is added to the mixture and this technique is called sand-sponge.

Care should be taken not to stand right under your shovel when doing this because it is very, very unpleasant, and dangerous to get sand grains in your eyes; which is exacerbated by the irritation of lime as well. This combination can easily scratch the eyes.

The layout and mix are the same as regular textures. But after a coat is uniformly and finely placed on the ceiling and the edges are cut off; a special rectangular sponge with a handle run across the ceiling with overlapping and circular motions. It requires skills and practice to do well.

The overall look is the pattern of fish species on the ceiling, wall cabinets, etc. Although retarder is usually used; care should be taken to clean the sponge thoroughly when finished as any hardened plaster in it will not be possible to remove.

Ceiling

Stones are often required for most plaster plastering and are usually more difficult to lie down and work than walls. For the shorter ceiling, one can also work with a casket. The difficulty of working upside down often results in overflowing casts on the floor, walls and people below.

This is why a fine ceiling, which does not use a resistor and sometimes even acceleration, is done before the wall. Retarded plaster can be easily scraped off the plaster walls when wet. Any splashes from the soft ceiling can be easily eroded from the bare slates but not from the plastered walls. Care should be taken when standing under your shovel or other plaster.

The general difficulty of working on a smooth ceiling leads to higher costs. The technique is the same as the smooth wall but at an awkward angle for the plasterer.

Trading tools

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Example

In England, good examples of interior plasterwork from the early modern period can be seen in Chastleton House, (Oxfordshire), Knole House, (Kent), Wilderhope (Shropshire), Speke Hall, (Merseyside), and Haddon Hall, (Derbyshire).

Some examples of the fabulous plasterwork of ancient history found in Scotland, where three of the finest specimens of interior plaster are elaborate decorative ceilings from the early 17th century at Muchalls Castle, Glamis Castle and Craigievar Castle, all of which are in the northeastern region of the country.

The craft plasterwork model, inspired by the early modern period style, was revived by the designers of the Arts and Crafts movement in England in the late 19th and early 20th centuries. Famous practitioners are Ernest Gimson, his student Norman Jewson, and George P. Bankart, who widely publicize this subject. An example is stored today at Owlpen Manor and Rodmarton Manor, both in the Cotswolds.

Modern fibrous plunkwork embellished by specialist company Clark & ​​â € <â €

Corrado Parducci is a leading plaster worker in the Detroit area during lung

Source of the article : Wikipedia