Baumit DivinaReneo White one coat, high coverage, solvent free, vapour open, internal, silicate paint. 5 & 15 litre
Ultra low VOC one coat, solvent-free ready-to-use, easy to apply, odour-less interior dispersion paint with very high covering power.
- Vapour open - breathable
- Can be used as a one coat.
- Can be applied with the usual manual airless sprayers.
- Once dry, it gives a durable, matt, natural light true surface (DIN 53778).
- Suitable for walls with wall lights.
- Solvent and plasticiser-free, so ultra low in VOC emissions.
- Available in white or coloured.
Yield:: 120m²/15 Litre bucket, 40m²/5 Litre bucket
Consumption kg/m2* : 0.125 Litre per coat (substrate dependent)
Price is per bucket
Use as a very good covering paint for new build and renovation projects. With high durability for coated and unpainted internal walls and ceilings.
Suitable for existing and new substrates, e.g. mineralic and organically bound plasters, dispersion paints, plasterboards and wallpapers.
Particularly good application, easy to apply and improves the structure of the substrate for a good final finish.
Before application, stir slowly and thoroughly with a slow speed mixer and, if necessary, add water to give a working consistency (up to max. 5 % for basecoat). The manufacturer recommends applying to a test area to ensure desired coverage and to indicate yield.
Containers of material with different batch numbers should be mixed together in order to rule out any differences in colour tone. Do not mix in any other materials (with the exception of colour pigments, max. amount to be added is 20 %).
Baumit DivinaReneo should be applied fully and evenly by brush, roller or spray (nozzle diameter 0.5 – 0.6 mm) One to two coats should be applied. If 2 coats are required, please leave ca. 12 hours between applications of each coat.
High humidity and low temperatures can significantly delay drying times.
Protect surrounding areas, especially glass, ceramics, brick, natural stone, paint and metal before application. Rinse splashes immediately with plenty of water. Do not wait until they dry. Clean tools immediately after use with water.
To avoid deviations in colour, please order all material required for a project at the same time to ensure same batch. Any subsequent deliveries should be mixed with the already delivered material.
Do not work with the material or let it dry if the substrate and air temperature are under + 5 °C and over + 30 °C. Observe DIN 18550 and DIN 18350, DIN 18363 (VOB, Part C) as well as the special terms of the ‘general construction authorities’ approvals (abZ).
Clean tools and equipment thoroughly with water immediately after use.
Some general background information on silicate paint
Silicate mineral paints or mineral colours are paint coats with mineral binding agents. Two relevant mineral binders play a role in the field of colours: Lime and silicate.
Under influence of carbon dioxide, lime-based binders carbonate and water silicate-based binders solidify. Together they form calcium silicate hydrates.
Lime paints (aside of Fresco-technique) are only moderately weather resistant, so people apply them primarily in monument preservation. Mineral colours are commonly understood to be silicate paints. These paints use potassium water glass as binder. They are also called water glass paints or Keimfarben (after the inventor).
Mineral silicate paint coats are considered durable and weather resistant. Lifetimes exceeding a hundred years are possible. The city hall in Schwyz and "Gasthaus Weißer Adler" in Stein am Rhein (both in Switzerland) received their coats of mineral paint in 1891, and facades in Oslo from 1895 or in Traunstein, Germany from 1891.
Common substrates for application
- clay plaster
- lime plaster
- wood wool boards
- MgO render carrying boards
- environmentally friendly, non-toxic applications
- high durability, especially on masonry products, and lightfast
- mineral paints with high vapour permeability
- acid rain resistance
- antifungal properties
- reduces carbonation of cement-based materials
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 colours 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 vapour of silicate paints is equivalent to that of the substrate. This effectively means that silicate paints do not inhibit the diffusion of water vapour. 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), which 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 are far easier to wash off. 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 colour-tone stable. As they are solely dyed with mineral pigments that do not fade with exposure to UV radiation, the silicate paint coats remain constant in colour 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.
A potted history
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. Small round panes of water glass were first industrially manufactured for used as windows in the 19th century by Van Baerle in Gernsheim and Johann Gottfried Dingler in Augsburg. Johann Nepomuk von Fuchs made the first attempts to create paints with water glass.
Around 1850, the painters Kaulbach and Schlotthauer applied facade paints of the Pinakothek in Munich. Due to use of earth pigments, which cannot be silicated, the paintings washed out of the water glass.
In 1878, the craftsman and researcher Adolf Wilhelm Keim patented mineral paints. Since then, they have been manufactured by the successor company Keimfarben in Diedorf near Augsburg.
Keim depended on V. van Baerle as the source of water glass. Keim also attempted to manufacture silicate paints himself. His experiments took years to mature, but he finally achieved good results. The Silinwerk van Baerle in Gernsheim near the Rhine river and Keimfarben in Diedorf near Augsburg are well-known manufacturers.
The impetus for Keim's intense research originated from King Ludwig I. of Bavaria. The art-minded monarch was so impressed by the colourful 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.
Commonly three types of silicate paints are distinguished: Pure silicate paint consisting of two components, a colour 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. 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.
- Kurt Schönburg: Historische Beschichtungstechniken – erhalten und bewahren. vb Verlag Bauwesen, Berlin 2002, ISBN 3-345-00796-7, S. 43f.
- Kurt Wehlte: Werkstoffe und Techniken der Malerei. Band III, Urania Verlag, 2001, ISBN 3332016652, S. 452.
- Kurt Schönburg: Historische Beschichtungstechniken – erhalten und bewahren. vb Verlag Bauwesen, Berlin 2002, ISBN 3-345-00796-7, S. 193f.
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