In Praise of Dullness

The mattness of the paint PaonLin was initially sought to avoid reflections on cinema posters. In decoration, this mattness is used for aesthetic reasons. It gives walls and objects a velvety feel reminiscent of old lime paints. Unlike lime, which is dusty and volatile, PaonLin paint forms a solid, durable, washable, water- and weather-resistant film that is completely powder-free, while being permeable to water vapour and allowing the substrate to breathe. It is, however, more susceptible to scratching than a satin or gloss paint. But, on the one hand, scratch marks normally disappear with a sponge and water, and on the other hand, the inconvenience of possible scratches is largely compensated by the beauty of a wall or an object which, thanks to the matte finish, regains a natural aspect, softness and depth that would be lost with a smoother, more functional coating. It is probably not appropriate to varnish our paint. Surfaces that are close to us should be able to breathe and be permeable to water vapour. A varnish creates an artificial barrier between the material or colour of the walls and objects on the one hand and the occupant on the other.

However, for matt surfaces which have to be handled frequently (door or cupboard leaves) or cleaned frequently (near a water supply), a matt varnish such as TRAE-LYX two-component varnish, which is water-soluble and solvent-free, can be used to provide additional protection in one or two layers. TRAE-LYX NATURAL FINISH provides particularly durable protection and only slightly alters the colour and matt finish.

In praise of white

From the very beginning, PaonLin developed a white with high coverage and a very matt finish. The "calico", or cotton canvas on which the film posters were painted, had to be "whitewashed" when first used and after each use. A calico could be whitewashed ten times. Afterwards, the canvas, which had become too thick due to the layers of paint, was thrown away. There are therefore very few original film posters left from this period.

The white had to be very covering to cover the previous decoration in one layer and not thicken the canvas too much. It also had to be matte to act as an anchor for the next design.

"Starting from a blank page", as white and matt as possible, was therefore a necessity for the poster designers of the time. In decoration, this is often the case too. New homes are often painted entirely in white, until the new occupant chooses a colour he likes for his walls. The matt white of PaonLin is well known for its covering qualities in all circles close to artists, poster artists, stage designers and decorators.

In praise of colour

Another requirement of the film poster artists of the time was to have a palette of colours that were intense, opaque, matte and non-reflecting, that dried quickly, that allowed them to work for long hours without being bothered by toxic fumes, that mixed easily and that gave an infinite number of shades in one layer.

Decorators and colourists also use PaonLin colours in decoration. They allow to obtain a softness and a velvetiness comparable to lime paints without the disadvantages of the latter. In 1996, the architect and decorator Agnès EMERY, a renowned colourist, created a palette of 49 "calm" colours from mixtures of colours PaonLin, followed by a palette of 36 "more intense" colours and 96 shades, inspired by the colours of nature. They contribute to the reputation of the home furnishings company that bears his name. On the basis of a colour sample or reference, it is also possible to produce a paint with a customised colour.

Everyone can therefore choose or compose a matt, breathable and well-covering colour for themselves, produced from the paints PaonLin. It is very difficult to judge the shade, texture and effect of a paint to make a personal choice from a sample smaller than A4. It is therefore strongly recommended that you acquire a sample to test beforehand to judge whether the colour is suitable.

Praise for versatility

Artists and poster artists needed a paint that could be used in all circumstances, regardless of the medium or exposure, outdoors or indoors, on canvas, walls or wood. The same paint was to be used for artworks, stage sets, or cinema front banners exposed to sun and weather. There was no question of having to research or adapt to different types of paint in different circumstances.

In practice, artists use PaonLin paint for their profession as well as for painting their living room, kitchen, bathroom or façade. The same paint PaonLin can therefore be used for exterior or interior decoration, on walls, partitions, or furniture and objects, without having to worry about finding a different paint for each surface or environment.

In praise of quality

The composition of PaonLin evolves with innovation and legislation to provide a very high quality paint that is as durable, matt, opaque and non-toxic as is technically possible.

In 1934, casein was the best choice of binder for a quality water-based paint. Gradually, other excellent resins were developed. Some were incorporated into PaonLin to further improve quality. One of the best resins is acrylic resin, which was adopted by the greatest contemporary artists in the 1950s (Rothko, de Kooning, Morris Louis, then Warhol, Hockney, Alechinsky, etc.). It has since confirmed its excellent qualities, particularly in terms of durability and colour fixative.

Currently, PaonLin is composed of 20 to 40% neutral mineral fillers, based on calcium (in the form of chalk, lime or marble powder) or silicon (in the form of sand, clay, kaolin or talc), 20 to 40% organic binders (acrylic, casein), 5 to 25% organic or inorganic pigments, depending on the colour, and 15 to 25% water.

These raw materials produce an ultra-thin dry film that bonds intimately with the substrate, protects and beautifies it, and can last probably as long as the substrate, without powdering or flaking.

In Praise of the Craft

PaonLin paint has been produced by hand since 1934 in our workshop in Saint-Gilles (Brussels). The raw materials (pigments, fillers, water and binders) are weighed by hand with great precision according to a formula adapted for each colour. They are then dispersed in a tank by means of a powerful grinder-disperser following a precise order, time and speed of rotation. Once the process is complete, a well-dispersed and homogenised coloured liquid is obtained. The colour, fineness and viscosity are then checked for conformity. The paint undergoes a final grinding before being packaged. The jars are labelled, filled and closed by hand.