Silicate mineral paint

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The Term mineral colors describes paint coats with mineral binding agents. Two relevant mineral binders play a role in the field of colors: Lime and silicate.

While lime-based binders carbonate under influence of carbon dioxide and water silicate-based binders (usually potassium silicate resp. potassium water glass) solidify under influence of CO2 and in contact with mineral reactive partners form calcium silicate hydrates.[1]

As lime paints (aside of Fresco-technique) are only moderately weather resistant these today find application primarily in the field of monument preservation. When mineral colors are mentioned nowadays these are commonly understood to be silicate paints. These are paints using potassium water glass as binder. They are also called water glass paints or Keimfarben (after the inventor).

The special composition of silicate paints grant special properties and qualities. Mineral silicate paint coats are considered very durable and weather resistant. Lifetimes exceeding a hundred years are possible. An example for this is the city hall in Schwyz(Switzerland) which received its coat of mineral paint in the 19th century.

History[edit]

Alchemists on their pursuit of the "Philosophers Stone" (to manufacture gold) found glassy shimmering pearls in fireplaces. Sand mixed with potash and heat coalesced into pearls of water glass. First small and round panes of water glass were created and used as first windows. This first form of industrial manufacture of water glass took place in the 19th century by Van Baerle in Gernsheim and Johann Gottfried Dingler in Augsburg. Johann Nepomuk von Fuchs made first attempts to create paints with water glass. Around 1850 facade paints of the Pinakothek in Munich were applied by the painters Kaulbach and Schlotthauer. Due to use of earth pigments which cannot be silificated the paintings were washed out of the water glass.

Mineral paints were patented in 1878 by the craftsman and researcher Adolf Wilhelm Keim and are manufactured since then by the successor company Keimfarben in Diedorf near Augsburg.

V. van Baerle upon which Keim was dependent as source of water glass also attempted to manufacture silicate paints himself. His experiments took years until they were mature and finally he also achieved good results. The Silinwerk van Baerle in Gernsheim near the Rhine river and Keimfarben in Diedorf near Augsburg are well-known manufacturers.[2]

The impetus for intense research by Adolf Wilhelm Keim originated from King Ludwig I. of Bavaria. The art-minded monarch was so deeply impressed by the colorful lime frescoes in northern Italy that he desired to experience such artwork in his own kingdom Bavaria. But the weather north of the alps - known to be significantly more harsh - destroyed the artful paintings within short time. Therefore he issued an order to Bavarian science to develop paint with the appearance of lime but greater durability.

Original paintings and coats dating to the 19th century still exist. Facades in Switzerland, e.g. the "Gasthaus Weißer Adler" in Stein am Rhein oor the city hall in Schwyz (1891), in Oslo (1895) or in Traunstein (1891) are impressive evidence.

Properties[edit]

Mineral paint contains aside of inorganic colorants potassium-based alkali silicate (water glass), also known as potassium silicate, liquid potassium silicate or LIQVOR SILICIVM. A coat with mineral colors does not form a layer but instead permanently bonds to the substrate material (silicification).

The result is a highly durable connection between paint coat and substrate. Above that the binding agent water glass is highly resistant against UV light. While organic binders such as dispersions based on acrylate or silicone resin under UV over the years tend to grow brittle, chalky and develop cracks which finally result in damage to paint coats, the inorganic binder water glass remains stable. The chemical fusion with the substrate and the UV stability of the binder are the fundamental reasons for the extraordinarily high lifetime of silicate paints.

Silicate paints require siliceous substrate for setting For this reason they are highly suitable for mineral substrates such as mineral plasters and concrete. They are only of limited use for application on wood and metal, though. The permeability for water vapor of silicate paints is equivalent to that of the substrate. This effectively means that silicate paints do not inhibit the diffusion of water vapor. Moisture contained in parts of a structure or in the plaster may diffuse outward without resistance. This keeps walls dry and prevents structural damage. This addition helps avoid condensation water on the surface of building materials. This reduces the risk of infestation by algae and fungi. The high alkalinity of the binding agent water glass adds to the inhibitive effect against infestation by microorganisms and completely eliminates the need for additional preservatives.

As mineral paint coats are not prone to static charging and thermo-plasticity (stickiness developing under heat) is common for surfaces coated with dispersion or silicone resin soiling takes place to lesser extent . For this reason fewer dirt particles cling to the surface and also can be washed off far easier.[3] Silicate paints are incombustible and free of organic additives or solvents (DIN 18363 Painting and coating work Section 2.4.1).

Silicate paints are highly color-tone stable. As they are solely dyed with mineral pigments and these do not change hue under UV the silicate paint coats remain constant in color for decades.

Silicate paints are based upon mineral raw materials. They are environmentally compatible in manufacture and effect. Their high durability helps to preserve resources and their contaminant-free composition preserves health and environment. For this reason silicate paints have gained popularity especially in the segment of sustainable construction.

Types[edit]

Commonly three types of silicate paints are distinguished: Pure silicate paint consisting of two components, a color powder in dry or water-paste form and the liquid binder water glass. (DIN 18363 Painting and coating work Section 2.4.1). The processing of pure silicate paints require great experience and know-how. These are especially common for the historic area.

Around the middle of the 20th century the first single-component silicate paint was developed. The addition of up to 5 mass percent of organic additives (e.g. acrylate dispersion, hydrophobisers, thickeners or similar) makes ready-to-use paint in containers possible. These are also called "dispersion silicate paints" (DIN 18363 Painting and coating work Section 2.4.1). The range of application for such silicate paints is significantly higher than for pure silicate paints as the dispersion allows coats for less solid substrates and/or organic composition. Above that handling and processing is simpler than pure silicate paint.

Since 2002 a third category of silicate paints is known: sol-silicate paint. The binder is a combination of silica sol and water glass. The organic fraction is limited to 5 mass percent similar to dispersion silicate paint allowing for chemical setting and retaining of the silicate specific advantages. The sol silicate paint allows use on non-mineral plaster.[4] For these the bonding occurs chemically and physically. The sol-silicate paint has revolutionized the field of application of silicate paints. These paints can be applied easily and safely to nearly all common substrates.

Possible substrates[edit]

Applications[edit]

  • environmentally friendly, non-toxic applications
  • high durability, especially on masonry products, and lightfast
  • mineral paints with high vapor permeability[5]
  • acid rain resistance
  • antifungal properties
  • reduces carbonation of cement-based materials

See also[edit]

References[edit]

  1. ^ Kurt Schönburg: Historische Beschichtungstechniken – erhalten und bewahren. vb Verlag Bauwesen, Berlin 2002, ISBN 3-345-00796-7, S. 43f.
  2. ^ Kurt Wehlte: Werkstoffe und Techniken der Malerei. Band III, Urania Verlag, 2001, ISBN 3332016652, S. 452.
  3. ^ Dr. Ingo Rademacher: Die Farbigkeit in der Altbaubeschichtung. In: Restauro-Estra, Callwey-Verlag, März 2007, S. 17f.
  4. ^ Kurt Schönburg: Historische Beschichtungstechniken – erhalten und bewahren. vb Verlag Bauwesen, Berlin 2002, ISBN 3-345-00796-7, S. 193f.
  5. ^ http://consumpedia.org/es/pintura