Produce advanced decorative finishes - NOCN

Produce advanced decorative finishesReference : F/504/8018

Level : Level 3

Credit Value : 18

Guided Learning Hours : 126

Aim : The aim of this unit is to provide the learner with the knowledge and skills to be deemed trained to produce advanced decorative finishesin relation to: - producing high quality ground coat finishes - preparing materials and grounds - creating high quality specialist finishes.

Learning Outcomes Assessment Criteria

The Learner Will The Learner Can

1 Know how to produce high quality ground coat finishes foradvanced painted decorative work.

1.1 - State the potential hazards associated with producingspecialist decorative finishes and which Health and Safetypreventative measures can be adopted.- Referring to:- Construction Health and Safety- The Work at Height Regulations 2005- Manufacturers' instructions- Approved Code of Practice (ACoP)- Control of Substances Hazardous to Health (COSHH)1.2 - State the personal protective equipment (PPE) requirementsfor producing advanced decorative finishes.-

Could include:- overalls, safety glasses/goggles, and other equipment inaccordance with organisational procedures.1.3 - Describe appropriate surface preparation processes for theapplication of advanced decorative finishes.-

Processes: wet abrading, dry abrading, making good, spot priming.1.4 - Explain the defects that may occur in a range of decorativework if the ground coat finish is not of a high quality.-

Defects: uneven colour, ropiness, sinking, bittiness.1.5 - Explain how application methods affect the quality of theground coat/decorative finish.-

Methods: stipple brush, roller, brush, spray.1.6 - Explain the appropriate coating types for use as ground coatsfor painted decorative work.1.7 - Describe how to protect the work and its surrounding areafrom damage in accordance with organisational procedures.-

Protect against: damage from general workplace activities, otheroccupations and adverse weather conditions.

2 Be able to produce high quality ground coat finishes foradvanced painted decorative work.

2.1 - Select and use appropriate personal protective equipment(PPE) when producing advanced decorative finishes.-

Could include:- overalls, safety glasses/goggles, and other equipment inaccordance with organisational procedures.2.2 - Protect the work and its surrounding area from damage inaccordance with organisational procedures.-

Could include: maintaining a clean work space, disposal of waste.2.3 - Select appropriate tools and equipment to produce qualityground coat finishes.-

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Tools and equipment could include: hair stipplers, rollers, rubbingblocks, buckets, sponges, dusting brush, paint brushes (naturalbristle and synthetic filament), tack rags, stirrers, paint strainers,kettles.2.4 - Prepare a range of surfaces to produce quality finish groundcoats for painted decorative work, using abrasives and preparationprocesses.-

Surfaces could include:- untreated and previously painted timber, plaster and plasterboard,embossed/relief paper.

Abrasives could include:- silicon carbide, aluminium oxide, finishing papers.

Preparation processes could include:

- wet abrading, dry abrading, making good, spot priming.

2.5 - Prepare and apply materials to produce quality ground coatfinishes.-

Materials could include:- fillers, water-borne: mid sheen, vinyl silk, acrylic eggshellsolvent borne: primer, eggshell, solvent-borne primer/eggshell.2.6 - Check the suitability of the ground coat for defects, colour andfinish to receive replica graining and marbling.-

Defects:- uneven colour, ropiness, sinking, bittiness.2.7 - Defects:- uneven colour, ropiness, sinking, bittiness.

3 Know how to produce broken colour effects using water-borneand solvent-borne scumbles.

3.1 - State the potential hazards associated with producingadvanced decorative finishes and how to prevent breaches inHealth and Safety using risk assessment.-

Referring to:- Construction Health and Safety- The Work at Height Regulations 2005- Manufacturers' instructions- Approved Code of Practice (ACoP)- Control of Substances Hazardous to Health (COSHH)3.2 - Describe the appropriate materials required for producing arange of broken colour effects.-

Materials:- barrier cream, embossed/relief paper.

Oil based: glaze, oil colourant, white spirit, linseed oil, driers.

Water based: acrylic glaze acrylic colourant, glycerine, proprietaryretarding agents.

Broken colour effects: 

- rag rolling (additive and subtractive), bagging (additive andsubtractive), sponge stippling (additive and subtractive), dragging,glaze and wipe.

3.3 - State the ingredients of:- glazes- scumbles3.4 - Describe a range of methods of extending and reducing dryingtime of oil-based and acrylic scumbles.-

Methods:- linseed oil, driers, glycerine, light spray, wet rag, proprietaryretarding agents.

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3.5 - Describe the different factors for the selection of materials forbroken colour work.-

Factors:- working time of material, yellowing, area size, number ofoperatives, finished pattern, environmental conditions.

Materials:barrier cream.

Oil based: glaze, oil colourant, white spirit, linseed oil, driers.

Water based: acrylic glaze acrylic colourant, glycerine, proprietaryretarding agents.

Broken colour work:- rag rolling (additive and subtractive), bagging (additive andsubtractive), sponge stippling (additive and subtractive), dragging,glaze and wipe.3.6 - Explain why it could be advantageous to prepare more thanthe calculated quantity of scumble for a piece of work.3.7 - Describe methods for producing a uniform effect when broadareas of broken colour are to be produced.3.8 - Describe the effect that incorrect viscosity of scumble has onthe appearance of the finished work.3.9 - Describe how to prevent a range of application faults.-

Application faults:- loss of wet edge, banding/tracking, slip/skid marks.3.10 - Describe the difference between the terms opaque andtranslucent in relation to surface coatings.3.11 - State problems created by the careless removal of maskingmaterials.-

Problems:- damage to decorative effect, removal of groundcoat.3.12 - Describe the cleaning and storage procedures for a range oftools and equipment following use in oil-based scumble glaze.-

Tools and equipment:- paint brushes, hair stipplers, mohair roller, lint-free rag, chamoisleather, dragging brushes, palettes, kettles.

4 Be able to produce broken colour effects using water-borne andsolvent-borne scumbles.

4.1 - Check the suitability of ground coats for defects and colour.-

Defects could include:- no visible coating defects (misses, ropiness, bitsand nibs, undue texture).4.2 - Set out areas for application of broken colour effects usingsuitable protection for adjacent areas.-

Protection could include:- masking papers and films, masking tape, low tacktape.4.3 - Select and prepare appropriate materials to produce a rangeof broken colour effects.-

Materials could include:- barrier cream, embossed/relief paper

Oil based: glaze, oil colourant, white spirit, linseed oil, driers

Water based: acrylic glaze acrylic colourant, glycerine, proprietaryretarding agents

Broken colour effects could include:- rag rolling (additive and subtractive), bagging (additive and

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subtractive), sponge stippling (additive and subtractive), dragging,glaze and wipe.4.4 - Select the appropriate tools and equipment to produce a rangeof broken colour effects.-

Broken colour effects could include:- rag rolling (additive and subtractive), bagging (additive andsubtractive), sponge stippling (additive and subtractive), dragging,glaze and wipe.

Tools and equipment could include:

- paint brushes, hair stipplers, mohair roller, chamois leather, lintfree cloth, cling film, natural sponges, dragging brush, palettes,kettles, plastic pots .

4.5 - Produce uniform broken colour effects using oil based andacrylic scumbles.-

Glaze and wipe and broken colour effects that could include:- rag rolling (additive and subtractive), bagging (additive andsubtractive), sponge stippling (additive and subtractive), dragging.4.6 - Remove the protection used and dispose of waste products inaccordance with legislation and official guidance.-

Protection could include:- masking papers and films, masking tape, low tacktape.4.7 - Clean and maintain tools and equipment in an appropriatemanner.-

Tools and equipment could include:- paint brushes, hair stipplers, mohair roller, chamois leather, lintfree cloth, cling film, natural sponges, dragging brush, palettes,kettles, plastic pots.4.8 - Carry out the work in accordance with current and relevantenvironmental and health and safety regulations.

5 Know how to prepare plates and apply stencils. 5.1 - Explain the difference between a range of stencil types.-

Stencils: positive, negative, multi-plate5.2 - Describe a range of enlarging and reducing methods used forstencil designs.-

Enlarging/reducing methods:- accurate measurement, grid, illuminated projection, photocopy.5.3 - State the advantages and disadvantages of a range of platematerials.-

Materials: treated paper, treated card, proprietary stencil card,acetate sheet.5.4 - Describe the different methods of transferring designs ontostencil plate materials of paper and proprietary stencil card.-

Methods:- trace, pounce, photocopy, illuminated projection.5.5 - Describe the different methods of use and applications for thefollowing cutting tools:- craft knife- hot knife5.6 - Describe the suitability of a range of base materials used forcutting stencil plates.-

Base materials: glass plate, proprietary cutting mat.5.7 - Explain the significance of factors taken into considerationwhen cutting stencils.

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Factors: cleanliness, hand position, knife angle, direction of cutting,blade sharpness, repair of broken ties, size and sequence of pattern(small areas and vertical lines first), free movement of stencil plate,margin widths.5.8 - Explain the planning considerations when setting out andapplying stencils to wall areas.-

Considerations: number of repeats/connections, location of doors,windows, corners, access requirements, room dimensions, stencilsize, spacing, order of application.5.9 - Describe the purpose of chalk lines, centre/horizontal/verticallines and registration marks to mark out an area to be stencilled.5.10 - Describe the advantages and disadvantages of methods forsecuring stencils to surfaces.5.11 - Explain methods of preventing application faults.-

Faults: creep, smudging, paint lifting, uneven colour, bittiness,undue texture, uneven weight of colour over repeats, buckled/curledstencil plate.5.12 - Describe appropriate cleaning, maintenance and storageprocedures for tools and equipment.-

Tools and equipment: ruler / tape measure, pencil, chalk and line,stencil knife/craft knife, hot knife, palette, stencil brushes.

6 Be able to prepare plates and apply stencils. 6.1 - Select appropriate tools and equipment to prepare plates andapply stencils.-

Tools and equipment could include: pencil, ruler/tape measure,chalk and line, stencil knife/craft knife, hot knife, palette, stencilbrushes.6.2 - Design own stencil creating appropriate ties.6.3 - Transfer designs to stencil plate materials.-

Methods could include:- trace, pounce, photocopy, illuminated projection.

Materials could include:treated paper, treated card, proprietarystencil card, acetate sheet.6.4 - Prepare stencil plate materials, proprietary stencil card andpaper using a range of materials.-

Materials could include:- drawing paper, linseed oil, shellac knotting,mineral oil.6.5 - Cut out own design and multiplate stencils from plate materialswith accurate and clean cut design and strong ties and observingcutting considerations.-

Plate materials could include: treated paper, treated card,proprietary stencil card, acetate sheet.

Base materials could include:- glass plate, proprietary cutting mat.

Cutting considerations could include:- cleanliness, hand position, knife angle, direction of cutting, bladesharpness, repair of broken ties, size and sequence of pattern(small areas and vertical lines first), free movement of stencil plate,margin widths, base materials.6.6 - Set out and mark out stencil locations for linear runs, bordersand walls.-

Could include: number of repeats/ connections, location of doors,windows, corners, access requirements, room dimensions, stencil

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size, spacing.6.7 - Apply stencils with sharp outlines according to the workinstructions.-

Avoiding application faults that could include::- creep, smudging, paint lifting, uneven weight of colour overrepeats, bittiness, undue texture.

Stencil types could include:Positive or negative.6.8 - Produce graduated effects.-

Could include: sponge, brush or spray.6.9 - Clean and maintain tools and equipment.-

Could include:-pencil, ruler/tape measure, chalk and line, stencil knife/craft knife,palette, stencil brushes, hot knife.-treated paper, treated card, proprietary stencil card, acetate sheet.6.10 - Work to current requirements of health and safety andenvironmental legislation.

7 Know how to produce replica graining. 7.1 - Explain the importance of using an appropriate ground colour.7.2 - Explain the reasons for selecting colourants to produce thescumble for replica graining.-

Colourants: artist's oil, acrylics, powder pigment, universal stainers.

Replica graining could include: straight grain - oak, mahogany,figure work graining - oak and mahogany.7.3 - State the difference between scumble and varnish stain.7.4 - Describe the properties of oil-based scumbles.-

Properties: ingredients, drying process.7.5 - Describe the properties of water-graining media.-

Properties: ingredients, drying process, cissing7.6 - Describe the properties of tools, brushes and equipmentrequired to produce replica graining effects.-

Brushes: ‘rubbing in' brushes, mixing brushes, overgrainers,sable pencils/writers, fitches, one stroke brushes, mottlers/cutters,floggers/dragging brushes, softeners (hog's hair, badger).

Tools: metal/rubber/card combs, check/tick roller, veining horn,natural sponges, crayons equipment: lint-free rag, palette knives,palettes, kettles, plastic pots.7.7 - Explain the purpose of, and effect produced by a range ofbrushes, tools and equipment.-

Brushes: ‘rubbing in' brushes, mixing brushes, overgrainers,sable pencils/writers, fitches, mottlers/cutters, floggers/draggingbrushes, softeners (hog's hair, badger).

Tools: metal/rubber/card combs, check/tick roller, veining horn,natural sponges, crayons.

Equipment: lint-free rag.7.8 - Describe how specific cuts in wood dictate the grain pattern.7.9 - Explain a range of processes for producing individual replicagraining effects.-

Processes: rubbing in, flogging, combing, softening, overgraining,mottling, wiping out, heartwood or painting in heartwood, combing(painting in).7.10 - Describe the sequence of graining a range of structural

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components.-

Components: panelled doors, windows, dado rails, narrow linearruns i.e. architraves and skirtings, small wall panels.7.11 - Explain the importance of cleanliness and sharpness whengraining.7.12 - Describe appropriate methods of cleaning, maintaining andstoring brushes and tools.-

Brushes: 'rubbing in' brushes, mixing brushes, overgrainers, sablepencils/writers, fitches, mottlers/cutters, floggers/dragging brushes,softeners (hog's hair, badger)

Tools: metal/rubber/card com.bs, check/tick roller, veining horn,natural sponges, crayons.

Equipment: lint-free rag, palette knives, palettes, kettles, plasticpots.

8 Be able to produce replica graining. 8.1 - Select the appropriate colourant for the following replicagraining types:- straight grain - oak, mahogany- figure work graining- oak and mahogany.-

Colourant could include: artist's oil, acrylics, powder pigment,universal strainers, poster colours.8.2 - Prepare graining materials.-

Could include: oil based glaze, acrylic glaze, oil colourant, glue size,white spirit, linseed oil, oil-based proprietary scumbles, binders(fuller's earth/whiting, stale beer, vinegar), oil grainingcolour/medium, water graining colour/medium, acrylic colourant.8.3 - Select appropriate brushes, tools and equipment to producereplica graining.-

Could include: brushes: rubbing in brushes, mixing brushes,overgrainers, sable pencils/writers, fitches, mottlers/cutters,floggers/dragging brushes, softeners (hog’s hair, badger) tools:metal/rubber/card combs, check/tick roller, veining horn, naturalsponges, crayons.

Equipment could include: lint-free rag, palette knives, palettes,kettles, plastic pots.

Replica graining could include: straight grain – oak, mahogany,figure work graining – oak and mahogany.8.4 - Produce the following types of replica graining on a range ofstructural components, using appropriate processes:- straight grain - oak, mahogany- figure work graining- oak and mahogany-

Structural components could include: narrow linear runs i.e.architraves/skirtings/dado rails, panelled doors.

Processes could include: rubbing in, flogging, combing, softening,overgraining, mottling, wiping out heartwood and painting inheartwood, combing with painting in.

Replica graining could include: straight grain – oak, mahogany,figure work graining – oak and mahogany.8.5 - Clean and maintain tools, brushes and equipment.-

Could include: brushes: rubbing in brushes, mixing brushes,overgrainers, sable pencils/writers, fitches, mottlers/cutters,floggers/dragging brushes, softeners (hog's hair, badger).

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Tools could include: metal/rubber/card combs, check/tick roller,veining horn, natural sponges, crayons.

Equipment could include: lint-free rag, palette knives, palettes,kettles, plastic pots.8.6 - Work to current requirements of health and safety andenvironmental legislation.

9 Know how to produce replica marbling. 9.1 - Describe the main characteristics of a range of varieties ofmarble and how veins in marble are naturally formed.-

Characteristics: laminated, brecciated, crinoidal, stalagmitic,serpentinuous, variegated.9.2 - Explain the terminology related to marbling.-

Terminology: medium/gilp, clouding or scumbling, wash (of colour),transparency9.3 - State an appropriate ground coat colour for the followingreplica marbles:- Carrara- Sienna- Verte De Mer-

Colours:British Standards, RAL.9.4 - State the appropriate pigment colours for the following replicamarbles:- Carrara, Verte de Mer and two of the following:- Sienna- Black and Gold- Rouge Royal- St Annes- Breche Violet-

Marbles: white, black, ultramarine blue, ochre, umber (raw, burnt),sienna (raw, burnt), chrome, Indian red, Brunswick green, Prussianblue9.5 - Describe the properties, purpose of and effect produced bybrushes, tools and equipment required to produce replica marbleeffects.-

Replica marble effects : Carrara, Sienna, Verte de Mer.

Brushes: 'rubbing in' brushes, mixing brushes, varnish, softeners(hog's hair, badger), sable pencils/writers, fitches.

Tools: feathers (i.e. goose-wing), natural sponges.

Equipment: lint-free rag, palette knives, palettes, kettles, plasticpots, dippers, chalk and line, masking tape, paper.9.6 - Describe the methods of cleaning, maintaining and storingbrushes, tools and equipment.-

Brushes: 'rubbing in' brushes, mixing brushes, varnish,floggers/dragging brushes, softeners (hog's hair, badger), sablepencils/writers, fitches.

Tools: feathers (i.e. goose-wing), natural sponges.

Equipment: lint-free rag, palette knives, palettes, kettles, plasticpots, dippers, chalk and line, masking tape, paper.

10 Be able to produce replica marbling. 10.1 - Select pigment colours appropriate to each of the followingreplica marbles:- Carrara, Verte de Mer and two of the following:- Sienna- Black and Gold- Rouge Royal- St Annes

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- Breche Violet-

Could include: pigment colours: white, black, ultramarine blue,ochre, umber (raw, burnt), Sienna (raw, burnt), chrome, Indian red,Brunswick green, Prussian blue, Crimson lake, venetian red, middlechrome.10.2 - Prepare marbling materials according to manufacturers'instructions.-

Could include: oil based glaze and acrylic glaze, oil colourant andacrylic colourant, varnish (water-borne and solvent-borne), whitespirit, linseed oil, crayons.10.3 - Select appropriate brushes, tools and equipment to producereplica marbling.-

Brushes could include: rubbing in brushes, mixing brushes, varnish,softeners (hog's hair, badger), sable pencils/writers, fitches.

Tools could include: feathers (i.e. goose-wing), natural sponges.

Equipment could include: lint-free rag, palette knives,

palettes, kettles, plastic pots, ‘dippers’, chalk and line, maskingtape, paper.10.4 - Brushes could include: rubbing in brushes, mixing brushes,varnish, softeners (hog's hair, badger), sable pencils/writers, fitches.Tools could include: feathers (i.e. goose-wing), natural sponges.Equipment could include: lint-free rag, palette knives, palettes,kettles, plastic pots, ‘dippers', chalk and line, masking tape,paper.-

Processes could include: oil-in and rubbing in, veining, softening,glazing, cissing and opening out, stippling, wiping out.10.5 - Apply protective finishing coat.10.6 - Clean and maintain brushes, tools and equipment.-

Brushes could include: rubbing in brushes, mixing brushes, varnish,softeners (hog's hair, badger), sable pencils/writers, fitches.

Tools: feathers (i.e. goose-wing), natural sponges.

Equipment: lint-free rag, palette knives, palettes, kettles, plasticpots, ‘dippers’, chalk and line.10.7 - Work to current requirements of health and safety andenvironmental.

11 Know how to apply metal leaf. 11.1 - Explain the history of gilding and the manufacture of leafproducts.-

Manufacture: rolling, beating, cutting, booking.11.2 - Describe the compositions of metals and the formats in whichthey are available.-

Compositions: 18ct - 24 ct gold alloys , platinum, silver, aluminium,copper alloys (Dutch metal).

Formats: loose leaf, transfer leaf, ribbon leaf, powder.11.3 - Briefly explain the processes of oil gilding and water gildingand the suitability and use of each process.-

Processes: transfer, loose leaf.

Suitability: interior, exterior, surface type (timber, plaster, metal,glass), architectural features, artefacts.11.4 - Describe the different types of mordant suitable for both oilgilding and water gilding.-

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Including, Japan goldsize, oil goldsize, acrylic goldsize, gelatine.Water, gesso, clay, glue size.11.5 - Explain the factors relating to the suitability of the surfaceconditions to receive gilding.-

Factors: smooth, level, clean, hard dry.11.6 - Explain the importance of establishing the correct dryingstage.-

Tack time.11.7 - Explain each of the processes of metal leaf application, thefaults that may be caused by the processes and how they may beprevented.-

Processes: tack time testing, metal leaf application, skewing,faulting, burnishing, cleaning off, backing up.

Faults: wrinkled edges, metal leaf on background, finger prints andattached tissue, patchy application, poor adhesion, scratches,uneven edges to the metal leaf.11.8 - Describe the importance of correct cleaning and storage oftools and equipment.-

Tools and equipment: camel hair mops, pounce bag, gilder'scushion, gilder's tip, gilder's knife, glass container, cotton wool.

12 Be able to apply metal leaf. 12.1 - Check the suitability of the surface to be gilded is smooth,level, clean and hard dry.12.2 - Select appropriate tools for applying metal leaf.-

Tools: camel hair mops, pounce bags, gilder's cushion, gilder's tip,gilder's knife, glass container, cotton wool.12.3 - Prepare and apply barrier coat materials evenly and withoutmisses.-

Materials: egg glair (egg white, warm water), French chalk.12.4 - Prepare and apply mordants to ensure the required finish,regularly checking for correct drying stage.-

Mordants could include: isinglass, gelatine, Japan goldsize, oilgoldsize, acrylic goldsize.12.5 - Apply metal leaf to flat and detailed areas.12.6 - Remove barrier coat from finished work, where applicable.12.7 - Burnish the surface to achieve the required effect.12.8 - Clean and maintain tools and equipment.-

Tools could include: camel hair mops, pounce bags, gilder'scushion, gilder's tip, gilder's knife, glass container, cotton wool.12.9 - Work to current requirements of health and safety andenvironmental legislation.

13 Know how to form painted lines and bands. 13.1 - State the different usage of chamfered and square-edgestraight edges.13.2 - State the purpose of a sash tool when applying paintedbands13.3 - Describe appropriate cleaning and maintenance techniquesof tools and equipment.-

Tools and equipment: ruler, chalk line, lining fitch, straight edge(chamfered, square-edge), sash tool, mohair pad.

14 Be able to form painted lines and bands. 14.1 - Select the appropriate tools, equipment and materials.-

Tools and equipment: ruler, chalk line, lining fitch, straight edge(chamfered, square-edge), sash tool, mohair pad.

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Materials: chalk, water-borne paint.14.2 - Set out lines and bands according to the specification.14.3 - Prepare water-borne paint of appropriate viscosity.14.4 - Form straight lines and bands of uniform thickness, usingwater-borne paint according to the given specification.14.5 - Clean, maintain and store tools and equipment.-

Tools and equipment: ruler, chalk line, lining fitch, straight edge(chamfered, square-edge), sash tool, mohair pad.

15 Know how to produce texture designs and smooth finishes usingbrush, roller and comb and trowel.

15.1 - Explain the factors relating to the suitability of a surface toreceive texture coatings.-

Factors: clean, keyed, porous, non-porous, sealed distemper, loosepliable surfaces, new plasterboard, awareness of asbestos contentin early coatings.15.2 - Explain the selection and suitability of a range of texturedesigns and smooth finishes.-

Texture designs: stipple, bark, circle/fan, swirl, broken leather (oneof which should be laced), one other comb design found in trade ormanufacturers' literature.

Texture materials:- Powder, ready-mix and related high-build products.

Surface suitability: clean, keyed, porous, non-porous, sealed

Smooth finishes: polished plasters.15.3 - Describe the applications of a range of masking and jointingmaterials.-

Masking materials: masking paper, polythene sheets, drop sheets,self adhesive masking paper, dust sheet (various types).

Jointing materials: Scrim, paper tape, edge tape, caulker.15.4 - Describe the method of mixing powdered texture materialsand the health and safety precautions to be observed at each stageof mixing.-

Precautions: personal protective equipment (PPE), inhalation (ofpowder material), the Health and Safety at Work Act, eye irritation,ingestion, COSHH regulations.15.5 - Explain the importance of consistency of material forproducing texture designs.15.6 - Describe the finishing processes of lacing and applyingmargin, their purpose and timing of applying them.15.7 - Describe the effects of atmospheric conditions when applyingtexture finishes, and on the wet texture finish.-

Conditions: high temperatures and ventilation sufficiency15.8 - Describe the sequence of work to apply half circle or fan toceiling or wall.15.9 - State how tools and equipment used for texture paint shouldbe cleaned.-

Tools and equipment: paddle/bumper, wall brushes, bark roller,lacer, rubber stipple brush, texture combs, buckets, sponges,access equipment/working platform.

16 Be able to produce textured finishes using brush, roller andcomb.

16.1 - Protect areas adjacent to the work.16.2 - Prepare texture materials (powder or ready-mixed) to aconsistency suitable for the design.16.3 - Select the tools and equipment for producing textureddesigns.-

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Tools and equipment could include: paddle/bumper, wall brushes,bark roller, lacer, rubber stipple brush, texture combs, buckets,sponges, access equipment/working platform, plastic bag.

Texture designs could include: stipple, bark, circle/fan, swirl (one ofwhich should be laced), one other comb design found in trade ormanufacturers’ literature.

Texture materials could include:- Powder, ready-mix and related high-build products.16.4 - Apply texture material and produce brush and roller texturedesigns, to walls.-

Texture designs: broken leather, and two of stipple, bark, swirl (oneto be laced).16.5 - Apply half circle or fan to ceiling or wall.16.6 - Clean and maintain tools and equipment.-

Tools could include:- paddle/bumper, wall brushes, bark roller, lacer, rubber stipplebrush.

Equipment could include:- access equipment/working platform, buckets, Sponges, plasticbag.16.7 - Work to current environmental and the following relevanthealth and safety regulations.-

Including: personal protective equipment (PPE), inhalation (ofpowder material), Health and Safety at Work Act, eye irritation,ingestion, COSHH regulations.

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