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CHSE Odisha VOC-ITV Construction Painter & Decorator study materials
CHSE Odisha VOC-ITV Construction Painter & Decorator study resources

CHSE Odisha VOC-ITV Construction Painter & Decorator practice questions

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Question 1Safety, Tools and Workplace Practices in Painting and Decorating

On a painting site, which piece of personal protective equipment is specifically intended to protect the respiratory system when spraying solvent-based paint?

  1. Cotton work gloves
  2. A suitable cartridge respirator Correct answer.
  3. Clear safety goggles
  4. Steel-toe safety boots

Explanation

Solvent-based paints release organic vapours and fine mist particles, so a respirator with the correct vapour or combination cartridge is needed to keep those out of the lungs. Goggles, gloves and boots protect the eyes, skin and feet but do nothing for inhaled vapours.

Question 2Safety, Tools and Workplace Practices in Painting and Decorating

A painter must work at height on a ladder to reach a ceiling corner. Which practice keeps the ladder stable while the painter uses both hands?

  1. Leaning the ladder against a glass window pane
  2. Having a second person foot the ladder at the base Correct answer.
  3. Carrying the paint pot in one hand while climbing
  4. Standing on the top two rungs for extra reach

Explanation

A ladder should be footed or otherwise secured so it cannot slip or kick out while the user works with both hands. Standing on the top rungs, leaning on fragile surfaces and climbing one-handed all increase the risk of a fall.

Question 3Safety, Tools and Workplace Practices in Painting and Decorating

Which solvent is commonly used to thin oil-based and enamel paints and to clean brushes afterwards?

  1. Clean water
  2. White spirit (mineral turpentine) Correct answer.
  3. Wallpaper paste
  4. Lime wash

Explanation

Oil-based and enamel paints are thinned and cleaned with white spirit, also called mineral turpentine. Water thins emulsion paints, while lime wash and wallpaper paste are decorative or adhesive materials, not solvents.

Question 4Safety, Tools and Workplace Practices in Painting and Decorating

Why should paint-covered rags and empty solvent containers be placed in a lidded metal bin at the end of the shift rather than left in a corner?

  1. They become heavier as they dry and are hard to lift
  2. They attract insects that damage the fresh paint film
  3. They can self-heat and ignite, so they must be contained away from ignition sources Correct answer.
  4. They lose their colour if exposed to air overnight

Explanation

Oily rags and solvent residues can oxidise and generate heat, which may lead to spontaneous combustion. Storing them in a closed metal bin limits oxygen and keeps any heat or vapour away from ignition sources.

Question 5Safety, Tools and Workplace Practices in Painting and Decorating

What is the correct way to store a paint brush between coats during a short break so it stays usable?

  1. Stand it bristle-down on the floor in a dry bucket
  2. Wrap the bristles in a damp cloth or suspend the brush in the matching solvent Correct answer.
  3. Lay it flat on newspaper in direct sunlight
  4. Soak it in water regardless of the paint type

Explanation

Wrapping the bristles in a damp cloth or suspending the brush in its own solvent keeps the paint from hardening in the heel. Drying out, standing on the bristles or using the wrong liquid damages the brush.

Question 6Safety, Tools and Workplace Practices in Painting and Decorating

Which statement best describes the correct body position when using a brush on a wall at chest height?

  1. Twist the torso and stretch to the far edge to save moving the feet
  2. Hold the brush at arm's length with the elbow fully straight
  3. Stand with feet apart, keep the wrist relaxed and work from a comfortable reach Correct answer.
  4. Lock the knees and lean backwards from the waist

Explanation

A stable stance with feet apart and a relaxed wrist gives control and reduces strain on the back and shoulder. Twisting, locking the knees or over-reaching with a straight arm causes fatigue and poor paint control.

Question 7Safety, Tools and Workplace Practices in Painting and Decorating

A painter is about to sand old paintwork that may contain lead. Which precaution is most important before starting?

  1. Wash the surface with water and begin dry sanding
  2. Test the coating for lead and control dust with wet methods and extraction Correct answer.
  3. Sand faster with a power sander to finish before dust settles
  4. Wear only a dust mask and open one window

Explanation

Old paint in older buildings may contain lead, so it should be tested before disturbing it. If lead is present, dust must be controlled by wet sanding, extraction and appropriate respiratory protection rather than by dry power sanding.

Question 8Safety, Tools and Workplace Practices in Painting and Decorating

When mixing two-pack epoxy floor paint, why must the base and hardener be combined in the ratio stated by the manufacturer?

  1. The chemical cure depends on that ratio, so wrong proportions leave a soft or patchy film Correct answer.
  2. The ratio only affects how much thinner can be added
  3. A different ratio only changes the colour of the finished floor
  4. Extra hardener always makes the paint dry faster without harm

Explanation

Two-pack products cure by a chemical reaction between resin and hardener, and the stated ratio balances that reaction. Too little hardener leaves the film soft or tacky, while too much can make it brittle or poorly adhered.

Question 9Safety, Tools and Workplace Practices in Painting and Decorating

A decorator needs to cut in a straight line where a coloured wall meets a white ceiling. Which tool and technique give the cleanest edge?

  1. A wide roller worked quickly into the ceiling corner
  2. A spray can held close to the ceiling
  3. A foam roller pressed hard into the junction
  4. A angled sash brush used with a steady cutting-in stroke along the ceiling line Correct answer.

Explanation

A quality angled sash brush lets the painter lay a controlled bead along the junction and draw a straight cutting-in line. Rollers and sprays lack that control at a sharp internal corner and tend to bleed onto the ceiling.

Question 10Safety, Tools and Workplace Practices in Painting and Decorating

After sanding filler on a wall, what is the correct next step before applying the finish coat?

  1. Apply the finish coat immediately to save time
  2. Wipe the wall with solvent to melt the filler
  3. Dust off the surface and check for hollows or ridges with a straight edge Correct answer.
  4. Wet the wall thoroughly and paint while damp

Explanation

Sanding dust prevents the paint from bonding, and any hollows or ridges will show through the finish. Removing dust and checking flatness with a straight edge lets defects be corrected before the topcoat.

Question 11Safety, Tools and Workplace Practices in Painting and Decorating

Why is a primer coat applied to bare timber before the undercoat and gloss?

  1. It provides the final gloss and colour in one step
  2. It seals the porous wood and gives the following coats a sound base to bond to Correct answer.
  3. It replaces the need for any sanding between coats
  4. It waterproofs the timber permanently against all moisture

Explanation

Bare timber is absorbent and uneven, so a primer seals the grain and provides a consistent surface for the undercoat to grip. It is not a finish coat and does not remove the need for sanding or provide permanent waterproofing.

Question 12Safety, Tools and Workplace Practices in Painting and Decorating

A painter notices dizziness and a headache while working in a small room with strong solvent smell. What is the first correct action?

  1. Stop work, move to fresh air and improve ventilation before continuing Correct answer.
  2. Drink water and keep the door closed to retain warmth
  3. Open a tin of stronger solvent to mask the smell
  4. Continue but work faster to finish the room quickly

Explanation

Dizziness and headache are signs of solvent vapour exposure, so the worker should leave the area for fresh air and the space must be ventilated. Continuing or masking the smell worsens exposure and does not remove the hazard.

Question 13Safety, Tools and Workplace Practices in Painting and Decorating

Which practice correctly protects a fresh gloss finish on a door while the room is still in use?

  1. Fit a temporary protective film or barrier and warn others the paint is wet Correct answer.
  2. Cover the wet door with a dust sheet pressed against the surface
  3. Leave the door open against a wall to dry faster
  4. Place a wet-paint sign only after the door has dried

Explanation

Fresh gloss stays tacky for hours, so a temporary barrier and a clear warning keep people and objects off it. A dust sheet pressed onto wet paint sticks and ruins the finish, and signs are needed before drying, not after.

Question 14Safety, Tools and Workplace Practices in Painting and Decorating

A decorator must choose between a synthetic-filament brush and a natural-bristle brush for a water-based emulsion. Which choice is appropriate and why?

  1. Synthetic filament, because natural bristles absorb water and lose shape Correct answer.
  2. Natural bristle, because it holds water-based paint better than synthetic
  3. Natural bristle, because it is always cheaper for emulsion work
  4. Either brush, because filament type has no effect on water-based paint

Explanation

Natural bristles take up water and soften, so they splay and lose shape in emulsion. Synthetic filaments resist water and keep their form, making them the suitable choice for water-based paints.

Question 15Safety, Tools and Workplace Practices in Painting and Decorating

What is the main reason for keeping a clean, labelled container for each solvent and paint on site?

  1. Labelled containers are always lighter to carry
  2. Labels allow thinner to be stored in any unmarked bottle
  3. Correct labelling prevents mixing incompatible products and accidental misuse Correct answer.
  4. Labels make the containers look tidy for inspection only

Explanation

Clear labelling lets workers identify contents and avoid mixing incompatible materials or using the wrong product. It is a safety control, not merely a tidiness measure, and thinners must never be kept in unmarked bottles.

Question 16Safety, Tools and Workplace Practices in Painting and Decorating

A painter is spraying in a room and a colleague enters without respiratory protection. What is the most appropriate control?

  1. Ask the colleague to hold their breath while crossing the room
  2. Exclude unprotected people from the spray area and post warning signs Correct answer.
  3. Spray only near the doorway so vapour escapes quickly
  4. Turn off extraction to reduce noise while the colleague is inside

Explanation

Spraying produces airborne mist and vapour that require respiratory protection, so unprotected people must be kept out and warned by signage. Holding breath, spraying near the door or disabling extraction all leave the hazard uncontrolled.

Question 17Safety, Tools and Workplace Practices in Painting and Decorating

A decorator must remove old wallpaper from a plaster wall that crumbles easily. Which sequence best protects the wall surface?

  1. Steam the wall until the plaster softens and lifts
  2. Use a power sander to grind the paper off the surface
  3. Soak the paper, strip gently with a broad scraper and stop before digging into plaster Correct answer.
  4. Scrape dry with a narrow chisel to save water

Explanation

Soaking softens the adhesive so the paper lifts with light scraping, and stopping at the plaster protects the substrate. Dry chiselling, over-steaming and power sanding all damage friable plaster or create unnecessary dust.

Question 18Safety, Tools and Workplace Practices in Painting and Decorating

A painter has two solvent-based products with different flash points and wants to store them together in a site container. What is the soundest safety decision?

  1. Store the higher flash point product outside and the lower one inside
  2. Store both in a ventilated flameproof cabinet away from ignition sources, following the lower flash point limits Correct answer.
  3. Store both in an unventilated cupboard to contain the smell
  4. Store both next to the site heater so they stay warm

Explanation

Both products are flammable, and the lower flash point sets the stricter storage limit. A ventilated flameproof cabinet away from ignition sources controls both vapour and fire risk, whereas splitting them or using a warm unventilated cupboard does not.

Question 19Safety, Tools and Workplace Practices in Painting and Decorating

Why is it important to clean a spray gun thoroughly immediately after use rather than at the end of the week?

  1. The trigger stiffens only because of dust
  2. Cured paint blocks the nozzle and passages, spoiling the spray pattern and risking a pressure fault Correct answer.
  3. The paint changes colour inside the gun
  4. The gun becomes heavier and harder to hold

Explanation

Paint left in a spray gun sets hard inside the nozzle and internal passages, which ruins atomisation and can create blockages or pressure problems. Immediate cleaning with the correct solvent keeps the equipment safe and accurate.

Question 20Safety, Tools and Workplace Practices in Painting and Decorating

A decorator is asked to work on a scaffold platform with no guardrail at the open edge. What is the correct response?

  1. Do not start work until the platform is fitted with guardrails and toe boards Correct answer.
  2. Work only near the wall and avoid looking down
  3. Tie a rope around the waist and continue
  4. Ask a colleague to watch while working at the edge

Explanation

A platform without edge protection is unsafe for painting work, and the correct action is to refuse until guardrails and toe boards are in place. Working near the wall, using a rope or relying on a watcher does not provide fall protection.

Question 21Surface Preparation and Substrate Assessment

Before painting a newly plastered wall, the painter must confirm that the plaster has fully cured. Which condition best indicates that the surface is ready for the first coat?

  1. The plaster has a glossy sheen under direct light
  2. The plaster feels slightly cool and darker in patches
  3. The plaster is uniformly dry and pale with no damp patches Correct answer.
  4. The plaster shows hairline shrinkage cracks across the surface

Explanation

New plaster must be fully cured and uniformly dry before painting; damp or dark patches show trapped moisture that will blister or peel the finish. A uniformly pale, dry surface indicates the moisture has escaped. Cracks and gloss are separate defects that also need treatment.

Question 22Surface Preparation and Substrate Assessment

A painter is preparing a previously painted wooden door and finds the old coating is firmly bonded with only minor surface chalking. What is the most appropriate preparation step?

  1. Wash off the chalk, sand lightly and dust before recoating Correct answer.
  2. Strip all old paint back to bare timber
  3. Seal the door with a water-repellent coating
  4. Apply a thick coat of oil primer directly over the chalk

Explanation

Where the existing coating is sound and well bonded, full stripping is unnecessary; the chalk is removed by washing, the surface is abraded for key and dusted before recoating. This gives good adhesion without destroying a serviceable film. Stripping is reserved for flaking or incompatible coatings.

Question 23Surface Preparation and Substrate Assessment

Which tool is most suitable for removing loose, flaking paint from a flat timber surface before sanding?

  1. A putty knife used at a shallow angle
  2. A sponge dampened with water
  3. A steel scraper with a sharp, burr-free edge Correct answer.
  4. A soft bristle dusting brush

Explanation

A sharp steel scraper lifts loose and flaking paint cleanly from flat timber without gouging the wood. A blunt or burred edge tears the surface, so the edge must be kept sharp. Brushes and sponges only clean dust and cannot remove flaking film.

Question 24Surface Preparation and Substrate Assessment

When assessing a substrate for painting, what does the term 'porosity' describe?

  1. The tendency of the surface to reflect light
  2. The resistance of the surface to impact damage
  3. The ability of the surface to absorb liquid into its body Correct answer.
  4. The rate at which the surface dries after washing

Explanation

Porosity is the capacity of a substrate to absorb liquid through its open structure, which determines how much sealer or primer it needs. Highly porous surfaces such as new plaster draw binder out of the first coat and require priming. Reflectivity and impact resistance are unrelated properties.

Question 25Surface Preparation and Substrate Assessment

Which common surface contaminant on a kitchen wall is most likely to cause paint to bead and fail to adhere?

  1. Dry brush bristles
  2. Fine plaster dust
  3. Loose sand grains
  4. Grease and cooking oil film Correct answer.

Explanation

Grease and oil films are the classic cause of paint crawling, beading and poor adhesion on kitchen surfaces because they lower surface energy. They must be removed with a suitable degreaser and the wall rinsed before painting. Dust and loose grains are removed by simple dusting.

Question 26Surface Preparation and Substrate Assessment

A painter needs to check whether a wall surface is flat before applying a finish coat. Which method is appropriate?

  1. Shine a torch at eye level and look for shadows
  2. Wipe the wall with a damp cloth and watch the drying pattern
  3. Tap the wall with a knuckle and listen for sound changes
  4. Hold a straightedge or spirit level against the wall and look for gaps Correct answer.

Explanation

A straightedge or spirit level laid across the wall reveals hollows and high spots by the gaps or rocking it shows. This is the standard check for flatness before filling and finishing. Tapping detects hollow plaster, not flatness.

Question 27Surface Preparation and Substrate Assessment

What is the primary purpose of rubbing down a surface with abrasive paper during preparation?

  1. To remove all traces of moisture
  2. To increase the porosity of the substrate
  3. To sterilise the surface against mould
  4. To provide a key and smooth the surface for good adhesion Correct answer.

Explanation

Abrasion creates a mechanical key and levels minor imperfections so the next coat grips and dries evenly. It does not sterilise, increase porosity or dry the surface. The dust produced must be removed before painting.

Question 28Surface Preparation and Substrate Assessment

Which substrate is naturally alkaline and therefore normally requires an alkali-resisting primer before painting?

  1. Seasoned softwood timber
  2. Hardboard panel
  3. Galvanised steel sheet
  4. New cement render and concrete Correct answer.

Explanation

Cement, concrete and render are strongly alkaline when new, and ordinary primers can be attacked by that alkalinity, causing loss of adhesion or saponification. An alkali-resisting primer isolates the surface until it has weathered. Timber, galvanised steel and hardboard raise different preparation issues.

Question 29Surface Preparation and Substrate Assessment

While preparing a wall for painting, a painter hears a hollow, drummy sound when tapping the plaster. What does this most likely indicate?

  1. The wall has been painted previously
  2. The plaster contains too much sand
  3. The plaster is still curing and will harden
  4. The plaster has debonded from the background beneath Correct answer.

Explanation

A hollow sound on tapping indicates that the plaster has lost adhesion to its backing and is drummy. Such areas must be cut out and repaired, otherwise the paint will fail as the plaster breaks away. A solid wall gives a dull, firm sound.

Question 30Surface Preparation and Substrate Assessment

A painter must prepare a galvanised steel surface for painting. Which preparation is normally required to ensure adhesion?

  1. Degrease and allow to weather, then apply an etch or suitable primer Correct answer.
  2. Sand heavily to expose bare steel before priming
  3. Apply a water-based emulsion as a sealer coat
  4. Wash with acid and paint immediately while wet

Explanation

New galvanising has a smooth, passive surface that resists adhesion, so it is degreased, allowed to weather or treated with an etch primer before painting. Heavy sanding is unnecessary and risks damaging the zinc coating. Emulsion alone does not bond reliably to zinc.

Question 31Surface Preparation and Substrate Assessment

A wall shows a white, powdery deposit after damp has dried on it. What is this condition and what must be done before painting?

  1. Mould, which must be painted over directly
  2. Efflorescence, which must be brushed off and the damp source cured Correct answer.
  3. Blooming, which is sanded and left untreated
  4. Chalking, which is sealed with oil primer

Explanation

White powdery salts drawn to the surface by moisture are efflorescence. They are brushed off dry and the underlying damp must be cured, otherwise the salts return and push the paint off. Painting over the deposit traps it and guarantees early failure.

Question 32Surface Preparation and Substrate Assessment

When preparing a previously varnished timber surface for repainting, why is it important to remove the varnish and sand back to a sound key?

  1. Varnish holds moisture that rots the timber
  2. Varnish reacts chemically with all paints
  3. Varnish is smooth and glossy, so paint will not grip reliably Correct answer.
  4. Varnish contains lead that must be removed

Explanation

Varnish forms a hard, glossy film that repels paint and prevents a mechanical key, so it is removed or heavily abraded before painting. The issue is adhesion, not a chemical reaction with every paint. Lead is associated with old paints, not with varnish.

Question 33Surface Preparation and Substrate Assessment

A painter is deciding whether to use a primer or an undercoat on a porous new plaster surface. What is the main difference in their function?

  1. Primer seals and binds the porous substrate; undercoat builds and levels for the finish Correct answer.
  2. Primer is applied last; undercoat is applied first
  3. Primer is always solvent based; undercoat is always water based
  4. Primer provides colour; undercoat seals the substrate

Explanation

A primer is the first coat, chosen to seal, bind and stabilise the substrate; an undercoat follows to build film, level the surface and provide a background for the finish. The distinction is function, not solvent type. Applying primer last is incorrect.

Question 34Surface Preparation and Substrate Assessment

A painter notices that paint applied to a patch of wall dries with a wrinkled, crinkled skin. Which surface condition most likely caused this?

  1. A freshly sanded and dusted surface
  2. Excessively smooth, dust-free plaster
  3. Low ambient humidity in the room
  4. Contamination of the surface with oil or wax Correct answer.

Explanation

Wrinkling or crinkling usually occurs when a coating is applied over oil, wax or grease contamination, or when coats are too thick. The contaminant prevents proper film formation and drying. Clean, dry and dust-free conditions do not produce this defect.

Question 35Surface Preparation and Substrate Assessment

Which abrasive grade is most appropriate for final rubbing down between coats of paint on timber to obtain a smooth surface?

  1. A fine grade such as 180 to 240 grit Correct answer.
  2. A rasp for wood removal
  3. A wire brush
  4. A very coarse grade such as 40 grit

Explanation

Fine abrasives remove nibs and dust without cutting through the coat, giving a smooth key for the next coat. Coarse grades scratch and remove too much film, while rasps and wire brushes are for shaping and heavy cleaning.

Question 36Surface Preparation and Substrate Assessment

A painter is assessing a concrete floor slab for a coating. Which test gives information about the moisture content of the slab?

  1. Tapping the slab with a hammer
  2. Shining a light across the surface
  3. Placing a moisture meter or sealed polythene sheet test on the surface Correct answer.
  4. Scratching the surface with a nail

Explanation

Moisture content in a slab is assessed with a calibrated moisture meter or by the sealed polythene sheet method, which traps vapour and shows condensation. Tapping detects delamination, scratching tests hardness, and light reveals texture. None measures moisture.

Question 37Surface Preparation and Substrate Assessment

Why must dust be removed from a surface immediately before applying the first coat?

  1. Dust improves the opacity of the finish
  2. Dust prevents the paint from wetting and bonding to the substrate Correct answer.
  3. Dust acts as a primer for the next coat
  4. Dust accelerates the drying of the paint

Explanation

Loose dust sits between the paint and the substrate, so the coating bonds to the dust rather than the surface and can flake away. Removing dust with a brush or tack cloth ensures direct contact and adhesion. Dust does not improve drying, opacity or priming.

Question 38Surface Preparation and Substrate Assessment

A painter must prepare an old wall with several layers of distemper before repainting with emulsion. What is the correct approach?

  1. Seal the distemper with a thick coat of gloss paint
  2. Wash off the distemper completely, as emulsion will not adhere to it Correct answer.
  3. Sand the distemper lightly and paint directly over it
  4. Apply a coat of wood primer over the distemper

Explanation

Distemper is a soft, water-soluble coating that emulsion cannot grip, and it will lift when overcoated. It must be washed or scraped off back to a sound surface before painting. Sealing or priming over it does not solve the adhesion problem.

Question 39Surface Preparation and Substrate Assessment

During preparation of an external rendered wall, a painter finds areas of soft, friable render that crumble under finger pressure. What is the correct action?

  1. Wet the render and paint while damp
  2. Paint over the friable areas with a stabilising solution only
  3. Cut back the friable render and repair with matching mortar before painting Correct answer.
  4. Apply the finish coat quickly before the render dries

Explanation

Friable render has lost cohesion and cannot carry a paint film, so it must be cut back to sound material and repaired with compatible mortar. A stabilising solution alone cannot restore structural soundness. Painting while damp or over crumbling render leads to early failure.

Question 40Surface Preparation and Substrate Assessment

A painter is preparing a metal surface that shows light rust. Which preparation sequence is most appropriate before priming?

  1. Paint over the rust with a topcoat only
  2. Wash with water and leave to dry before painting
  3. Apply a filler over the rust and sand smooth
  4. Remove rust by wire brushing or abrasive, degrease and prime promptly Correct answer.

Explanation

Rust must be removed mechanically to bare metal, the surface degreased, and a suitable primer applied promptly to prevent re-rusting. Painting over rust or filling it traps corrosion and the coating will fail. Water washing alone does not remove rust.

Question 41Surface Preparation and Substrate Assessment

A painter is assessing whether a previously painted surface is suitable for recoating. Which combination of observations indicates the surface is ready?

  1. Chalky, flaking and dusty
  2. Glossy, greasy and slightly damp
  3. Cracked, blistered and soft
  4. Firmly adherent, clean, dry and lightly abraded Correct answer.

Explanation

A sound surface for recoating is firmly bonded, free of dirt and grease, dry, and has been abraded to provide a key. The other combinations describe defects that must be corrected first. This assessment prevents premature coating failure.

Question 42Surface Preparation and Substrate Assessment

A painter is choosing between a knotting solution and an aluminium primer for a resinous softwood surface. What is the correct reasoning?

  1. Knotting seals resinous knots, while aluminium primer blocks tannin and resin bleed over larger areas Correct answer.
  2. Knotting is used for tannin bleed, while aluminium primer seals knots
  3. Both are used only on masonry surfaces
  4. Knotting is a finish coat, while aluminium primer is a filler

Explanation

Knotting is applied specifically over resinous knots to stop resin exuding into the paint, while aluminium primer or a stain-blocking primer is used where tannin or resin bleed affects broader areas. Both are preparation aids, not finish coats or fillers.

Question 43Surface Preparation and Substrate Assessment

A painter is preparing a large plaster ceiling with a mixture of sound and drummy areas. What is the most technically sound sequence?

  1. Apply two thick coats of emulsion to bridge the drummy areas
  2. Cut out and repair drummy areas, allow repair to cure, then seal and paint the whole ceiling Correct answer.
  3. Seal the entire ceiling with a stabiliser and paint without repair
  4. Paint only the sound areas and leave the drummy areas bare

Explanation

Drummy plaster has lost adhesion and must be removed and repaired so the finish has a sound base. After the repair cures, the whole ceiling is sealed and painted to give a uniform finish. Stabiliser or thick paint cannot reattach debonded plaster.

Question 44Surface Preparation and Substrate Assessment

A painter is asked to prepare a wall that has been treated with a silicone water repellent and is now to be painted. Why is this problematic and what is the correct approach?

  1. Silicone speeds up drying, so no preparation is needed
  2. Silicone acts as a primer, so paint can be applied directly
  3. Silicone only affects colour, so a stain block is enough
  4. Silicone repels paint, so it must be removed or the coating system changed to suit the treated surface Correct answer.

Explanation

Silicone water repellents lower the surface energy so paint cannot wet or bond, causing crawling and early failure. The treatment must be removed by appropriate means, or a coating system compatible with the treated surface selected. It is neither a primer nor a harmless colour effect.

Question 45Surface Preparation and Substrate Assessment

An old painted surface is suspected of containing lead. Which preparation practice is correct?

  1. Burn off the paint with a blowlamp in an enclosed room
  2. Avoid dry sanding; use wet methods or chemical stripping with appropriate personal protection Correct answer.
  3. Scrape dry and sweep the dust into general waste
  4. Dry sand the surface vigorously to remove all lead paint

Explanation

Lead paint is hazardous, and dry sanding or burning releases toxic dust and fumes. Wet preparation or chemical stripping with proper respiratory and skin protection controls exposure. Dry sanding, burning indoors and careless disposal all create serious health risks.

Question 46Surface Preparation and Substrate Assessment

A painter runs a hand over a new plaster wall and finds fine, loose sand grains coming away on the palm. What is the most likely cause of this condition?

  1. The wall has absorbed moisture from the room and swollen slightly
  2. The plaster surface has dried out too quickly and needs re-wetting
  3. The plaster mix contained too much cement and has cured too hard
  4. Excess fine aggregate or a weak surface layer has left a friable skin Correct answer.

Explanation

Loose grains coming away on the hand indicate a friable, under-bound surface layer, typically caused by too much fine sand, over-trowelling with water, or a weak skim coat. Such a surface must be stabilised or removed before painting, because any coating applied over it will flake away with the loose material.

Question 47Surface Preparation and Substrate Assessment

Before painting an interior wall, a painter wipes a dark cloth across the surface and it comes away heavily grey. Which preparation step does this finding most directly call for?

  1. Applying an alkali-resisting primer to the whole wall
  2. Washing down and rinsing to remove the surface contamination Correct answer.
  3. Sanding the wall with coarse paper to cut back the surface
  4. Applying an extra coat of finish to seal the deposit in

Explanation

Heavy grey transfer onto a cloth shows soiling such as dirt, soot or grease held on the surface. Contamination of this kind prevents the primer from bonding, so it must be washed off and the wall rinsed and allowed to dry before any coating is applied.

Question 48Surface Preparation and Substrate Assessment

A painter is preparing a previously painted exterior door and finds the existing coating lifting at the edges with bare timber visible beneath. Which assessment best explains this and guides the preparation?

  1. The old coating has cured too hard, so it needs a bonding primer to soften it
  2. The old coating has lost adhesion to the substrate, so the loose material must be removed back to a sound edge Correct answer.
  3. The old coating has absorbed atmospheric moisture, so it only needs a further coat on top
  4. The timber has swollen under the coating, so the door should be planed down before painting

Explanation

Coating that lifts at the edges with bare timber showing indicates a failure of adhesion between the film and the substrate, often from moisture ingress or poor initial preparation. The correct response is to strip or scrape back to sound, firmly adhering material, feather the edges and then re-prime the exposed timber.

Question 49Surface Preparation and Substrate Assessment

A painter is assessing a bare mild steel handrail that has been handled frequently and shows a faint greasy sheen. Which preparation is correct before priming?

  1. Wire-brushing the rail until the sheen disappears
  2. Applying the primer directly, since the sheen is only cosmetic
  3. Degreasing with a suitable solvent, then abrading and priming Correct answer.
  4. Applying a knotting solution to seal the rail surface

Explanation

Handling leaves oils and grease on steel that prevent the primer from wetting and bonding to the metal. The surface must first be degreased with a suitable solvent, then abraded to provide a key and primed before any rust can re-form.

Question 50Surface Preparation and Substrate Assessment

A painter is asked to prepare an old lime plaster wall that is sound but has a high, variable suction across its face. Which preparation approach gives the most reliable base for a subsequent emulsion system?

  1. Seal the whole wall with a solvent-borne knotting solution first
  2. Prime with a thinned, penetrating primer and allow it to dry, then assess suction again Correct answer.
  3. Apply the finish coats directly, since high suction only affects drying time
  4. Wet the wall thoroughly with water and paint while it is still wet

Explanation

Variable suction on an old lime plaster surface causes patchy absorption, leading to uneven sheen and drying of the finish. A thinned penetrating primer equalises absorption across the wall, and re-checking suction after it dries shows whether further sealing is required before the full coating system is applied.