Method of Production

All paints manufactured by The Real Paint & Varnish Company are produced by traditional means, grinding pigment into the appropriate binder on granite slabs, scraping the resulting paste through a screen into a container, ready for thinning. By this archaic method, the pigment remains more angular and the manufacturer is better able to judge the amount of oil and grinding required and avoids spoiling the appearance of the colour. For all our paints we take great care in the procurement and processing of the materials we use to ensure that all our products meet traditional standards and will stand the test of time. The life of paint being that of its binder, we use only pressed, settled and filtered linseed oil in our paints and our lime wash is based on our own traditional, pit-slaked, 'high-calcium' lime putty matured in our vats - both processes take many months.

The first stage in traditional paint manufacture is the selection of appropriate pigments to achieve the specific colour and texture required. Each pigment reflects light in a different way and the shape and size of each particle and its ratio volume, produces a different effect and appearance. Where and when a match to a historic colour and paint is required (for restoration after fire or flood damage for example) we collect and investigate samples to assess the original pigments, particle sizes, shapes and volume as a proportion of the whole, as well as the binder. The sample is first examined by microscope to judge the pigments' characteristics on a comparative basis. Then chemical tests are applied for confirmation. Occasionally samples have to be sent away for more advanced testing in specialist laboratories. By applying our experience and knowledge of history and tradition to this information, we can replicate any historic colour, texture and advise on repair or restoration of period decorative schemes.

The second stage is the selection of the binder. For oil paints for interior use, we use walnut oil but for most other traditional paints, the best linseed oil is generally used. For distemper we generally use rabbit and hare skin glue. For lime wash we produce our own tallow to add water-resistance outdoors and lactic casein to increase elasticity and permeability for indoor use. If a gloss finish is ordered we make our own mixing varnish and boil linseed oil in the traditional way.

Next comes grinding of the pigment into the binder on the slab. This essential traditional process involves a great deal of hard work, good judgement in mixing and care to avoid over-grinding, making the pigment dull. The avoidance of metal in the process keeps yellow ochre from turning green. The paste is scraped off and put into the mixing pot or vat, ready for thinning.

The final stage is the making of the paint. To make durable oil paint, we select the best spirits of turpentine to mix with more of the oil and adjust the ratio for each coat so that in use, they combine to form a cohesive lamination, well attached to the substrate and increasingly elastic in each successive coat. The paste and thinner are blended at low speeds to avoid heating and aerating the oil. The paint is then worked through a series of sieves of the appropriate traditional mesh size for the particle range. Following testing for quality, the paint is canned ready for despatch.