Lime paint

Lime paint (also: lime whitewash ) is a mineral paint . Water serves as a solvent . White lime hydrate ( calcium hydroxide ) is both pigment and binder .

Due to their porosity , capillarity and disinfecting effect, pure lime paints are more suitable than any modern paint for use on damp substrates and in areas at risk of mold .

In the trade, the traditional pure lime paint is also known as unfilled lime paint; in contrast to the filled lime paint, to which stone powder and other fillers and auxiliary materials are added to improve the workability .

History and dissemination

Lime paint used to be practically the only available and most widespread paint for brick and plastered exterior walls of residential, sacred and commercial buildings as well as for artistic painting techniques in the interior and exterior of buildings. From her expression touched lime for paint white or whitening ago.

Hardly anything shapes the image of southern European villages as much as the typically whitewashed houses. In this climate, the lime paint has another special advantage: It prevents the outer walls from heating up in the hot summer months. Lime paint does this because of its good albedo value, as it reflects a lot of sunlight.

In the construction and do-it-yourself sector, lime paints have been replaced by emulsion paints . The characteristic lively colored surfaces, which result from the property of the lime paints to develop slight differences in brightness depending on the surface and drying conditions, can hardly be seen today. This coating is only still used in agricultural operations. In addition, lime colors play a major role in the restoration of churches and historic buildings.

Properties and use

A lime paint is capillary and highly porous and therefore very moisture and gas permeable. In addition to silicate paint, it is particularly suitable for allowing damp masonry to dry out. Due to its alkalinity ( pH > 12), it is ideal for use in damp areas or areas affected by frequent condensation, such as kitchens, bathrooms, basements, stairwells and storage rooms, as it is resistant to mold and rot. Mold can only form on a pure lime paint if dust particles have settled on the surface or if there is some other type of contamination with organic substances.

Air lime is very elastic. A pure lime paint will not flake off the substrate. However, a minimum absorbency of the subsurface is a prerequisite so that the lime crystals can anchor themselves in the pores.

Lime paints can also survive for many decades outdoors, as can be seen from almost all plastered architectural monuments. As the stress in the outdoor area is higher, the subsurface should have a certain porosity ( roughness ) and consist mainly of mineral building materials. The fine-pored lime paint protects the coarse-pored facade plaster from getting wet and allows the wall to dry out quickly after moisture damage, as the capillary effect works particularly well from large to small pore volumes. When used on areas of the facade that are heavily used by driving rain , the lime paint should either be painted on the plaster that has not yet fully set ("frescal") or additional binders should be added to the paint to improve durability. Alternatively, the particularly endangered areas on the weather side can be specifically protected by wooden cladding or shingling , as is traditionally done in the particularly exposed locations of the low mountain ranges and on the coast.

When using white lime hydrate in powder form, i.e. dry slaked lime, tints often result that range from antique white to creamy white (also called champagne or egg shell colors) and are influenced by the metal compounds contained in the starting material. White lime hydrate is available in almost every hardware store and building materials trade and the material costs are almost negligible. Lime offered as natural hydraulic lime (NHL lime) or water lime contains natural hydraulic factors . As a result, the color sets a little faster and more weatherproof and the color tone is often between a light beige and a very light brown .

If you want a bright white paint, you must pay attention to a particularly pure material when shopping. Pit lime offered as a coating today is usually very pure and accordingly results in a very light, brilliant white lime . However, the retail costs are significantly higher than for white lime hydrate in powder form.

The application is traditionally very thin ( milk of lime ) and in two to six layers. When it sets, very fine crystals form, which reflect the incident light well and in the entire visible spectrum (similar to snow crystals). Due to the refractive index of calcium hydroxide, the freshly applied lime paint appears almost transparent, so that the covering effect can only be assessed after the paint has dried ( dry hiding effect ).

The formation of crystals is influenced, among other things, by the amount of moisture contained in the material. Since the crystals have a proportion of the hue and brightness impression of the color, the appearance of the dried surface is also determined by the absorbency of the substrate and, if applicable, the amount of sunlight during the drying process. As a rule, surfaces that dry faster appear lighter. With lime paints as well as with (pigmented) lime plasters and also with some modern facade paints, this effect can lead to the fact that a scaffolding in front of the facade will later appear as a "silhouette" on the surface when the sun has shone during the decisive drying phase .

If the substrate consists of different materials or has been repaired in places, it can be advantageous to pre-treat the surface with a primer containing natural or synthetic resin (e.g. deep primer). The same effect can usually be achieved by first applying one or two additional layers of lime paint with an addition of around 2.5% vegetable oil. If the substrate is very uneven, the surface can be smoothed with a thin layer of welding plaster, fine plaster or filler.

If there is a plaster substrate that has been leveled off with a spatula or a smoothing trowel, the spatula or trowel can become visible as differences in brightness after the lime paint has been applied. Probably because the movement of the trowel leads to an accumulation of binding agent, which in turn influences the absorbency of the plastered surface. These surface structures can be very attractive and are often created consciously.

Precisely because the substrate and drying conditions have an influence on the formation of crystals and the appearance of the lime paint, textures such as delicate marbling or weak "wiping effects" can arise, which give the lime paints a special depth effect and patina; especially if they are pigmented. If the color still looks too irregular after the first few applications, the effect can simply be softened by further coats until the desired structure is achieved.

When using pigmented lime paints on the facade, the pigments come to the surface over time due to the natural weathering of the binder and can react with the atmosphere, which results in a further patination of the paint. The facades, which are characteristic of the Mediterranean region and glow in many shades, are based on this effect. Since hydrated lime has only a weak binding power, only 5 percent by volume of pigments can generally be added without the abrasion resistance suffering.

Limes - plasters like paint - reach an old age on mineral building materials such as lime plaster , lime cement plaster , lime gypsum plaster, bricks and absorbent natural stones . With a few restrictions, cement plasters and concrete (preferably sulfur-free) are also suitable as substrates. Highly absorbent or water-soluble substrates such as clay, distemper , wood materials , plaster , plasterboard wallpapers and weakly bound emulsion paint and silicate emulsion paint must be primed before. Weakly or not at all absorbent and too smooth surfaces such as paints, plasters, emulsion paints and leveling compounds with a high synthetic resin content, as well as metals, are pretreated with an adhesion promoter .

Because the reaction takes a relatively long time due to the low carbon dioxide content in the air, it must be ensured that the paint does not dry too quickly and, in particular, is protected from solar radiation if an abrasion-resistant paint is required. In the past, whitewashing was therefore preferred in bad weather . Alternatively, the painted surface can be hung up with a wet cloth or sprayed with water. Otherwise the crystallization in the material cannot develop homogeneously (the lime " burns up ") and the lime that has not set will chalk off. In the case of wall and ceiling surfaces that are difficult to reach anyway, this need not be a disadvantage. With the traditional use of pure lime paint to whitewash barn walls, abrasion resistance is often not critical. On the contrary, a paint layer that has not completely set due to drying too quickly still contains sufficient calcium hydroxide , which is highly alkaline and can provide the desired antiseptic effect over a longer period of time .

If applied sufficiently moist, lime paint achieves sufficient abrasion resistance on mineral substrates. When you stroke it, a light whitish haze may be visible on the palm. The abrasion resistance and weather resistance can be increased by adding white cement , which should also be kept moist for at least 24 hours. If drying out too quickly cannot be ruled out, synthetic resin dispersions or casein can be added , e.g. B. in the form of low-fat quark or skimmed milk . The addition of these binders is also recommended outdoors on the weather side and in the plinth and spray area, as well as in areas with high pollutant emissions in the air ( exhaust gases containing sulfur dioxide). Applied to fresh lime plaster, the lime paint binds together with the plaster to form a homogeneous layer ( limestone ) (see fresco painting technique).

processing

Since pure lime paint behaves more “capricious” than modern paints with various additives, the application requires a certain basic knowledge.

Since the reaction of the hydrated lime with carbonic acid to form calcium carbonate ( carbonate hardening ) only takes place in a moist environment and the carbon dioxide needs time to get to the site of the reaction, a pure lime paint must be kept moist for at least 24 hours if high abrasion resistance is required. It is therefore always advisable to pre-wet absorbent substrates to saturation before applying paint and to repeatedly spray very absorbent surfaces such as clay plaster with water even after painting. In the case of a less absorbent surface, it is often sufficient to bring in moisture through the diluted first layers of paint.

Sufficient priming, pre-wetting the surface or thinning the first coats of paint should ensure that the surface of the painting surface appears moist and shiny when the last layers of paint are applied for at least 2, but better 10 minutes, before the moisture is absorbed by the surface. Traditionally, a thin layer of welding plaster was first applied to compensate for difficult substrates , on which the lime paint was then painted fresh-in-fresh (Italian in fresco ).

Lime paint is traditionally spread as thin as milk and in several applications. The required thinning depends primarily on the absorbency or the water content of the substrate achieved during pre-wetting. Apart from the desired entry of moisture, a pure lime paint can only be spread without streaks if it is diluted accordingly. The more thin layers you apply, the more even, more opaque and durable the paint application will be.

To apply the paint, special flat brushes and ceiling brushes with natural trimmings are used, which are similar to the usual paintbrushes or a bricklayer's brush, but are denser and covered with finer bristles or fibers in order to be able to hold the liquid paint. Alternatively, dense, high-quality painter's tassels can be used.

Pure lime paint without fillers is translucent when wet. Only after drying can it be assessed whether the application was opaque. However, since it is necessary to keep the surface moist for a certain period of time in order for the paint to set, the paint should be allowed to dry in an area where the abrasion resistance is not important to assess the opacity. For example in the upper wall areas.

In order to increase the adhesion to earth building materials, either a thin leveling layer of a lime-loam mixture is applied or the first layers of the lime paint are rubbed vigorously into the loam so that it is loosened and mixed with the lime. With lower requirements u. U. two thinned coats of paint are sufficient as a primer.

Plasterboard must be primed thoroughly, otherwise the paint will draw the water out of it before it can set. For this, what is known is deep primer if you want to do without plastic dispersion - - a Kalkkaseingrundierung (washable distemper with increased casein and possibly fillers). Or

Occasionally it is recommended to use lime water (sintered lime water ) as a primer or as a binding agent for translucent glazes. Since calcium hydroxide is only sparingly soluble in water, lime water is obtained by quenching water with quicklime with excess water or by mixing white lime hydrate in powder form with water and waiting for the sumped lime to settle so that the lime water can be skimmed off.

Lime casein paint

Recent developments

Pure lime products with synthetic resin content

In the meantime, almost all major building material manufacturers are again offering "lime paints" and other "pure lime" products, although these are often not pure lime plaster or pure lime paint. As in the standard range, synthetic resin dispersions are also added to the pure lime products - albeit in smaller quantities. This significantly improves the workability. Even a synthetic resin content of 5% can strongly influence the properties of the paint, as the content is significantly higher when it is related to the solids remaining in the dry matter after the evaporation of the water contained . However, a synthetic resin content in a lime paint of up to 5% does not need to be declared.

In the following cases, the synthetic resin content should be significantly less than 5% by volume:

in areas where permanent moisture or frequent condensation is to be expected (e.g. on the inside of poorly insulated exterior wall surfaces), as organic resins provide a breeding ground for mold and prevent drying out and moisture compensation.
when it comes to particular air purity in living rooms, as many synthetic resins release particles into the room air ( fogging )
on the weather side of the building envelope as well as in the base area, if the condition of the facade plaster is not homogeneous and crack-free, as driving rain penetrates the plaster through fine facade cracks and the resins contained in the paint then prevent it from drying out. A small amount of white cement or water glass would be preferable here.
Plastered compartments in timber-framed walls should be provided with a lime coating that has not been "remedied" if possible, as this enables rainwater to be absorbed into the plaster and subsequent rapid evaporation, so that less water runs down the compartment and can penetrate into the framework beam below.

A synthetic resin content is particularly positive on very dense surfaces such as smooth concrete and smooth clinker bricks , on which a pure lime paint can only be spread evenly with difficulty and on which outdoor adhesion is also problematic when exposed to weathering. Since these building materials already have a high resistance to water vapor diffusion , the "sealing" of the surface by the emulsion paint usually does not have a negative effect.

Powdered lime and dispersed white lime hydrate

Today's standard product , namely powdered white lime hydrate, which is available in 30 kg sacks, was previously referred to as dust lime. Alternatively, the fine powder, which was created when lump lime ( quicklime ) was stored in the open , when the air humidity gradually "dry" extinguished the layers near the surface. Some manufacturers of lime products for monument preservation use the term no longer used today and use it to designate white lime hydrate powder, the surface of which has been greatly enlarged by special processing methods in order to achieve faster and more complete carbonation .

When the lime mass is dispersed in the dissolver , the lime agglomerates are also finely crushed. In this way, stronger and more weather-resistant paints and plasters can be produced than with conventional lime products, which makes outdoor use unproblematic. Due to the better binding and water retention capacity, the paint can be pigmented more highly and processed just as easily as an emulsion paint without losing the advantages of the pure lime paint.

Additives

In the case of dry interior walls, the resistance of the lime paint to mold and rot is not important, so a number of substances can be added to the paint that significantly improve the workability and properties of the paint:

Pigments must (kalkbeständig fast to lime to be), since the color effect is lost many pigments in an alkaline environment. For example, ocher , iron oxide yellow , iron oxide red , ultramarine , chrome oxide green or leg black are suitable . In contrast, white lead , chrome yellow and zinc yellow decompose .

On strongly or unevenly absorbent substrates it makes sense to add saponifiable oil to the first application if no special primer is to be used. Almost all vegetable oils and paraffin oil are suitable . The addition of 0.5% linseed oil or safflower oil is often recommended . It is usually recommended not to add more than 2.5 percent by volume of oil. The oil saponifies in an alkaline environment and reduces the absorbency of the surface so that the next paint applications can be processed without leaving streaks, even with a lower dilution. Possible effects of adding oil are also improved wetting and adhesion on smooth surfaces, better workability (consistency), a certain water-repellent effect and a somewhat darker drying of the paint. If you add more, the abrasion resistance of the paint may decrease. The addition of oil should not be used for the top coat, the fresco technique or outdoors.

Swelling and water-storing substances such as gum arabic , grain and wood flour (grinding dust), bentonite and, to a lesser extent, rock flour delay the drying process, which gives the hydrated lime more time to set and reduces the need for pre- and post-wetting.

Due to the water holding capacity and possibly also due to the grain shape, binding and filling capacity ( body ) of these additives, much thicker layers of paint can be applied streak-free with the brush than would be the case with the application of pure lime paint.

Flours, in particular rye flour, have their own binding power, which under certain circumstances can enable the application of lime paint on non-absorbent surfaces (at least as long as these are sufficiently rough).

The fibers contained in wood flour and coarse grain flour reduce the susceptibility to cracking in lime casein paints with a high proportion of casein as well as poor substrate adhesion. For example, it is possible to apply lime casein paint to galvanized steel, which has a sufficient surface roughness due to hot-dip galvanizing. In addition to the effect of increasing the tensile strength of the paint layer to a limited extent, the swelling and subsequent shrinking of the moistened fibers probably leads to a reduction in the high internal tension that occurs with a high casein content by reducing the clot formation provoked by the shrinkage of the binding agent limited areas. In this way, much thicker layers of paint can be applied without flaking off during the setting process, as is sometimes the case with less diluted lime casein paint with a high casein content. A fibrous paint can also compensate for irregularities in the substrate and bridge cracks.

Thickening agents such as methyl cellulose fibers or cellulose ethers (usually declared as cellulose) improve the water retention capacity (water retention) and workability, as heavy additives are less likely to settle, the paint holds better in the brush and the application is more even.

By adding fibers, the surface properties of the paint can be varied over a wide range, depending on the quantity and fineness. Textile structure effects are just as possible as the use of the paint as "liquid woodchip wallpaper " or as "roll-up plaster".

Rock powder such as quartz powder and chalk improve the workability, smooth out irregularities in the substrate and can improve the texture and appearance of the color. Depending on the fineness, they influence the color of the application - in the type of pigments. In Italy it is customary to add marble flour , which can also influence the play of light in the color due to its crystallinity. When adding rock flour, the paint often has to be stirred if the heavy additives are not kept in suspension by thickeners.

Natural fine or ground earths such as kaolin (china clay, china clay), bentonite and other white and clay minerals have properties similar to rock flour .

The addition of fine sand and silt creates a slurry coat . If no thickeners are added, the sand will settle to the bottom of the paint bucket and make it difficult to apply. Similar to the addition of fiber, the paint can be prepared with much less water, as the coarse particles prevent cracking due to the shrinking volume of the pure lime during drying and, with a graded grain size distribution, enable an even application and improve the water retention capacity. However, a thickly applied color becomes a fine plaster that can no longer be applied with a brush, but only with a trowel. The paint only becomes spreadable with finer additives such as rock flour and earth, which increase the suppleness.

If white cement is added to the lime , the abrasion resistance increases even without the addition of film-forming binders (which usually reduce the water vapor permeability). It should be noted that cement must also be kept moist for a certain period of time during the setting process. Cement should also not be used on permanently moist surfaces, since capillary water transport forms harmful salts such as saltpetre (especially on substrates containing gypsum ). The larger the cement content, the stiffer the paint layer, making it more prone to cracking. This is primarily critical with less solid substrates (e.g. pure lime plaster ), as the color then cannot compensate for the swelling and shrinkage after moisture penetration or expansion when exposed to sunlight.

On sufficiently firm and silicate-containing substrates (e.g. common cement-lime plaster with quartz sand aggregate ), water glass can be used instead of cement , but its processing is not entirely unproblematic. See: mineral paint

Alkali-resistant synthetic resin binders can be added in order to be less dependent on the substrate and the ambient conditions when painting. For the advantages and disadvantages, see the section above on pure lime products .

To improve the adhesion on difficult surfaces such as wood, plasterboard or smooth stones, we recommend extinguishing quicklime with hot water and mixing 40 liters of the resulting milk of lime with 500 grams of zinc sulfate and 250 grams of table salt .

Sugar or starch are added in the restoration area in order to increase the water retention capacity and to influence the crystal form of the calcium carbonate formed. Sugar increases the early strength, so that the waiting time before the next coat can be shortened.

Disadvantages of the lime paint

Depending on the layer thickness and drying conditions, lime paint can remain alkaline for weeks or months. This alkalinity can lead to saponification of natural and synthetic resins. If lime paints are mixed thoroughly with resins, oils or commercially available wall and facade paints before application, saponification is usually not a major problem. It then only leads to a reduction in the binding effect of the resins and oils.

However, if a modern emulsion or synthetic resin paint is painted on a lime paint that has not yet fully set, the saponification of the binder can lead to adhesion problems. This is particularly the case with binder-rich ("fat") paints. Depending on the binder, inks rich in binders can build up a high layer tension. This can also lead to the paint peeling off if the surface is not sufficiently abrasion resistant.

Pure lime paints and lime casein paints can usually be painted over as often as required. However, due to the high alkalinity of calcium hydrate, fresh lime paint is often able to dissolve oil, synthetic and natural resin paints, even if they have already set. A mixture of lime and soft soap is traditionally used as a paint remover for oil paints. If an existing wall paint with a high proportion of binder is to be painted over with lime paint, preliminary tests are essential to ensure that the paint is not detached from the lime. A high proportion of binder can often be recognized by the gloss, smoothness, smear resistance and density of the paint (wetting with water does not immediately lead to the formation of darker spots and the drops are only drawn in slowly).

Since thinly applied lime paint does not cover well, 5–7 coats of paint are often necessary before the wall appears really white if it was not already whitewashed. The effect of the coating can only be assessed when it is completely dry, as lime paint generally brightens significantly when it dries and only then does a noticeable covering effect occur.

Depending on the suction power of the substrate and the resulting drying time of the paint, there may be visible differences in brightness. This also applies if the wall is dampened later. In order to achieve a uniform color effect on an irregular surface, it may therefore be necessary to apply even more layers of color than is already necessary. Alternatively, the suction effect of the substrate can also be leveled out with a previous primer.

The lime's susceptibility to drying out too quickly make it unusable in warm weather and especially in direct sunlight. In addition, it does not tolerate temperatures below 4 ° C during the setting time. These limitations in processing times have meant that it has meanwhile been almost completely displaced from commercial construction.

Lime is sensitive to discoloration from iron compounds ( mold stains ) and sulfates , which can occur in damp walls (i.e. mostly near the ground). Particularly on substrates containing gypsum , when the air humidity is high, there is efflorescence and sulfur corrosion (conversion of lime to gypsum) because gypsum is hygroscopic , but calcium carbonate is hydrophobic .

Due to the acid rain , lime paint is less suitable for outdoor use in areas with high air emissions from heavy industry . Since their abrasion resistance is also only moderate, only refined lime paints are suitable for the weather side outdoors. Originally, this made up the actual purpose of the lime in the outdoor area: the lime forms the sacrificial layer that protects the plaster. In the case of outbuildings, which are exposed to higher levels of pollution in agriculture, for example, an annual renewal in outdoor areas was common.

Individual evidence

↑ ^a ^b ^c ^d ^e Rochus Michnia: Lime paint, a natural material for a healthy home. (PDF; 1.1MB) Old and modern areas of application. (No longer available online.) In: kalk-kontor.de. Archived from the original on March 23, 2011 ; accessed on February 16, 2016 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.

↑ Thomas Kesseler: Interior architecture basics of color and material. (PDF; 1.1MB) Color script - Part II. Pigments, binders. In: hs-owl.de. Detmold School for Architecture and Interior Design, accessed on February 16, 2016 .

↑ The albedo effect, the energy of light and lime colors - kalkfarben.com . In: kalkfarben.com . July 27, 2018 ( kalkfarben.com [accessed July 27, 2018]).

↑ Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 6 , accessed in February 2016. This polemical collection of texts contains a lot of valuable information for people with a certain background knowledge . The sloppy statements of the author are occasionally misleading, however, as the correct interpretation can often only be determined when it is placed in the relevant context.

↑ Thomas Klug: Colors made of stone. (PDF; 782kB) The handling of colored minerals in construction. In: keim.ch. Retrieved February 16, 2016 .

↑ Konrad Fischer's guide and experience report from 30 years of application practice - lime errors, page 5 , accessed in February 2016.

↑ Konrad Fischer's guide and experience report from 30 years of application practice - lime errors, page 4 , accessed in February 2016.

↑ Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 8 , accessed in February 2016.

↑ ^a ^b Christian Kern: Sumpfkalk - the natural and healthy coating material. (No longer available online.) In: alpinkalk.de. Archived from the original on February 16, 2016 ; accessed on February 16, 2016 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.

↑ Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 1 , accessed in February 2016.

↑ Konrad Fischer's old building and monument preservation information - Chapter 7 - Mineral substrate-compatible coating systems, pages 1 , 3 and 4 , accessed in February 2016. See also the information on Konrad Fischer above.

↑ Konrad Fischer's old building and monument preservation information - Chapter 7 - Mineral substrate-compatible coating systems, page 5 , accessed in February 2016. See also the information on Konrad Fischer above.

↑ Konrad Fischer's old building and monument preservation information - Chapter 7 - Mineral substrate-compatible coating systems, page 1 , accessed in February 2016. See also the information on Konrad Fischer above.

↑ Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 11 , accessed in February 2016. See also the notes on Konrad Fischer above.

↑ ^a ^b Properties and processing of dust lime in the technical data sheet and recipes from the manufacturer Solubel, accessed in February 2016.

^ Dispersed white lime hydrate from the manufacturer Kalk Kontor with the trade name Calxnova, product information from the specialist dealer Deffner & Johann, accessed in February 2016.

↑ Pigment suitability lists ( Memento of the original from October 11, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. of the company Kremer Pigments, accessed February 2016

↑ Color tables from the Stucco Palladiano company, accessed in February 2016.

↑ Stefan Haar, Bernd Froehlich: Painting technique: lime-casein colors. (No longer available online.) In: igbauernhaus.de. Interest group Bauernhaus eV, archived from the original on February 16, 2016 ; accessed on February 16, 2016 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.

↑ Painting with lime paint. (PDF; 241kB) In: mkl-technology.com. MKL SolidTechnology GmbH, accessed on February 16, 2016 .

↑ Information sheet data sheet Marmoriv fine from Stucco Palladiano, accessed in February 2016.

↑ Ulf Hestermann, Ludwig Rongen: Building construction theory 2 . 34th edition. Springer Vieweg, Wiesbaden 2013, ISBN 978-3-8348-1617-7 , pp. 750 ( limited preview in Google Book Search).

↑ Drying time of various building materials, table on the Konrad Fischer website, accessed in February 2016

↑ produced whitewash and paint , In: IB-Rauch.de; sources are given: Wilhelm Scholz, Wolfram Hiese; Knowledge of building materials, 13th edition, Werner Verlag GmbH Düsseldorf 1995, p. 547 Schwarz, Jutta; Ecology in construction, Verlag Paul Haupt Bern Stuttgart Vienna, 4th ed. 1998 pp. 61–62 Raaf, Hermann; Chemistry of everyday life AZ, A Lexicon of Practical Chemistry, Herder Freiburg Basel Vienna, 27th edition 1990, pp. 46/47, 96

[Kalk-kontor.de_/_Vortrag_Michnia-1] Rochus Michnia: Lime paint, a natural material for a healthy home. (PDF; 1.1MB) Old and modern areas of application. (No longer available online.) In: kalk-kontor.de. Archived from the original on March 23, 2011 ; accessed on February 16, 2016 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2

[2] Thomas Kesseler: Interior architecture basics of color and material. (PDF; 1.1MB) Color script - Part II. Pigments, binders. In: hs-owl.de. Detmold School for Architecture and Interior Design, accessed on February 16, 2016 .

[3] The albedo effect, the energy of light and lime colors - kalkfarben.com . In: kalkfarben.com . July 27, 2018 ( kalkfarben.com [accessed July 27, 2018]).

[4] Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 6 , accessed in February 2016. This polemical collection of texts contains a lot of valuable information for people with a certain background knowledge . The sloppy statements of the author are occasionally misleading, however, as the correct interpretation can often only be determined when it is placed in the relevant context.

[5] Thomas Klug: Colors made of stone. (PDF; 782kB) The handling of colored minerals in construction. In: keim.ch. Retrieved February 16, 2016 .

[6] Konrad Fischer's guide and experience report from 30 years of application practice - lime errors, page 5 , accessed in February 2016.

[7] Konrad Fischer's guide and experience report from 30 years of application practice - lime errors, page 4 , accessed in February 2016.

[8] Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 8 , accessed in February 2016.

[Christian_Kern-9] Christian Kern: Sumpfkalk - the natural and healthy coating material. (No longer available online.) In: alpinkalk.de. Archived from the original on February 16, 2016 ; accessed on February 16, 2016 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2

[10] Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 1 , accessed in February 2016.

[11] Konrad Fischer's old building and monument preservation information - Chapter 7 - Mineral substrate-compatible coating systems, pages 1 , 3 and 4 , accessed in February 2016. See also the information on Konrad Fischer above.

[12] Konrad Fischer's old building and monument preservation information - Chapter 7 - Mineral substrate-compatible coating systems, page 5 , accessed in February 2016. See also the information on Konrad Fischer above.

[13] Konrad Fischer's old building and monument preservation information - Chapter 7 - Mineral substrate-compatible coating systems, page 1 , accessed in February 2016. See also the information on Konrad Fischer above.

[14] Konrad Fischer's guidebook and experience report from 30 years of application practice - lime errors, page 11 , accessed in February 2016. See also the notes on Konrad Fischer above.