for construction work & artwork

linseed oil paint

linseed oil paint

 

Flax, from which linseed oil is produced, is an  

extremely old cultivated plant that only grows in 
temperate climates. The conditions around the Baltic 
Sea are ideal for the cultivation of a high quality 
product and the linseed oil that we use comes from 
flax that is cultivated and pressed in southern  
Sweden. Linseed oil has a unique property in that 
it oxidizes through a reaction with oxygen in the air 
and transforms from a liquid state to a solid.

 

[Linum usitatissimum]

[product]

 

Linseed oil

The linseed oil that we use is only extracted by cold 
pressing. This method of pressing the oil from 
linseed without prior heating gives a small ex-
change but in return a cleaner and clearer product. 

> The newly pressed linseed oil is called 
cold-pressed raw linseed oil and stored for 
at least half a year prior to being used. Dur-
ing storage, the impurities fall to the bottom 
and the clear pure oil is drawn off and ready 
for use. As its surface tension is lower than 
water, the raw oil has an unequalled prop-
erty to penetrate into the substrate. No prior 
heating of the oil is necessary for this pen-
etration process to take place. This property 
makes it suitable for use for primer paint 
applications outdoors. We also use this oil 
in the manufacture of our artist’s oil paints. 
Raw linseed oil dries relatively slowly. Very 
early on it was discovered that heating the 
oil improved its drying properties. This pro-
cess is generally referred to as “boiling” and 
the product is retailed under the name cold-
pressed boiled linseed oil
.

In the boiling process we use, the oil is heated 
to approx. 140° C and both oxygen and met-
al salts are added to make the product more 
reactive. The oil is slightly thicker than the 
raw product but has the same excellent ad-
hesion and penetration characteristics. This 
oil is used as a binding agent in our paints.

We also refine raw linseed oil by using a very 
old method that consists of subjecting the oil 
to natural sunlight and oxygen outdoors for 
several months. During this process, the oil 
oxidizes and thickens and is also bleached by 

the sunlight. The oil is called sun-thickened 
linseed oil
 and used an additive to paint in 
the final coat in order to improve the gloss, 
covering and drying properties.

 

Colour pigments are chemically divided be-
tween organic and inorganic compounds. Or-
ganic pigments are made up of hydrocarbons 
and the inorganic mainly of metal compounds 
and minerals. Inorganic pigments are gener-
ally more stable to light and air and function 
best with linseed oil. Examples of inorganic 
pigments include all naturally occurring earth 
pigments, all iron oxide pigments, zinc oxide, 
titanium oxide and cobalt. Our endeavour is 
to use inorganic pigments in our paints at the 
same time as satisfying market demands for 
a wide range of paint shades in combination 
with being environmentally friendly. Recent-
ly, we have discovered modern inorganic pig-
ments that can replace the old colour strong 
chromium, cadmium and lead pigments. 
These pigments consist of other metal com-
pounds which, from an environmental per-
spective, are approved. You can be sure that 
in our production, no naturally occurring 
ochre, umbra or terra has been replaced by 
any similar iron oxide pigments. Therefore 
bensvart (bone black) still consists of incin-
erated animal bone and koboltblått (cobalt 
blue) contains genuine cobalt pigment. >

[the pigments] 

+

=

[ the craft ]

 

The Process

In the production of linseed oil paint the two ingredients, 
linseed oil and colour pigments, are combined. The crafts-
manship primarily involves understanding and evaluating 
the relationship between the characteristics of the various 
pigments in combination with linseed oil. The pigments are 
individual and behave differently when mixed with linseed oil.

> “Primarily it is the mechanical process that 
is most significant. We use various kinds of 
mixers and mills in order to achieve optimal 
effect. I would particularly like to highlight 
our triple-cylinder mixer. This method of 
“grinding” paint, i.e. refining the pigments 
evenly in linseed oil, is mentioned in litera-
ture dating back to the 16th Century. Up 
until the 1840ies, this was done entirely by 
hand but later this grinding process was pro-
gressively taken over mechanically using tri-
ple-cylinder mixers. Some of our paints are 
ground in modern dissolver machines, but 
some special natural pigments require a roll-
ing mill to achieve the best results. Linseed 
oil is added to the torn paint paste to acquire 
the desired viscosity, which resembles thick 
yogurt. The balance between linseed oil and 
pigment is important for reasons of storage. 
In our sealed cans, linseed oil paint should 
be suitable for use for many years. 

When adding shade nuances to our standard 
paints we always start from our various base 
shades that consist of one colour pigment 
and linseed oil. Different base shades are 
weighed and mixed to create a new shade. 
For example, Köpenhamnsgrön (Copenha-
gen green) is produced from the base shades 
järnoxidsvart (iron oxide black), kromox-
idgrön (chromium oxide green), grön um-
bra (green umbra), guldockra (gold ochre), 
järnoxidgul (iron oxide yellow) as well as a 
little zinkvitt (zinc white). Once the paint is 
ready it is checked and approved. It is then 
stored or filled into cans. Much of the work 

is performed manually which is why the 
process is described as an industrial craft. 
The production of a special shade usually 
proceeds as follows. A customer requests a 
shade based on his or her own model. This 
could be an old paint flake or an object of 
specific colour. Our knowledge concerning 
different combinations enables us to quickly 
assess which of our base shades should be 
used to achieve the desired shade. This mix-
ing process has striking similarities with a 
chef seasoning his pot. It’s all according to 
the senses. In the case of the chef, it’s with 
the tongue, in our case, it’s with the eye. 
Linseed oil paint has a high density and its 
weight per litre ranges from 1.5 to 2.2 kg 
depending on the pigments contained. The 
high pigment content of the paint gives it un-
surpassed coverage and extensibility.” |

Gunnar Ottosson GF

  

White primer indoors

 

 

For indoor use only! 

  

 

 

Matt White indoors 

NCS 0502-Y18R  

For indoor use only! 

   

 

 

Antique White indoors

 

 

NCS 0604-Y23R

 

For indoor use only! 

  

 

White Titanium-Zinc

 NCS 

0402-Y07R 

  

 

 

 perceived color hue*

White Cream Tone 

NCS 0902-Y25R 

  

 

 

 perceived color hue*

Putty White

 

NCS 0604-Y26R 

  

 

 

 perceived color hue*

White Plaster

 

NCS 0603-G95Y 

  

 

 

 perceived color hue*

Light Grey

 

NCS 1000-N 

  

 

 

 perceived color hue*

WHITE & LIGHT GREY | 

colour tone

> White shade nuances are those that are in most demand and our white standard shade,  
White Titanium-Zinc, is included in most of our shade range. All white and light grey shades  
consist of a combination of the pigments titanium dioxide and zinc oxide.

They complement each other well. Titanium dioxide offers high coverage properties and zinc oxide gives 
hardness and gloss. Zinc oxide also provides good protection against algae and mould to painted surfaces. 
We use zinc oxide in all our shades including black.

The combination of black and white results in light blue tones that are sometimes called “poor-man’s 
blue”. In order to balance this blue, yellow ochre, umber and iron oxide yellow are used. We also produce 
various shades of light grey in the same way. |

|   Window workshop in Germany   |   Tongue-and-groove panels indoors   |   Brevik village museum in Norway painted with White Titanium-Zinc  

Symbol shows the perceived unmixed standard shade and refers to a façade of painted wood panels estimated at a distance  
of approx. 50 metres. It applies to all shades with the exception of White plaster. The code concerns a completely smooth  
plastered surface; the impression will be darker if the plaster is coarser.  

 

 

 

 

 

    

!

Colour samples that are very close to white will make a façade appear whiter than it actually is. If the sample has a slight 
grey-yellow tone, the façade will appear a beautiful white without smarting the eyes. If the sample is light grey without the 
yellow tone, the façade will appear grey-white and may have a slight tendency towards violet. 

Y

R

G

Y

B

R

G

Y

B

R

G

Y

B

R

G

!

N.B. All our standard shades are given an NCS code regulated by Färginstitutet (the Swedish Paint and 

Varnish Institute) in Stockholm, according to Swedish standard SS 01 91 00 with spectrophotometer.

Wheat Grey

 

NCS 2611-Y08R 

RAÄ kod ~ 7B-920   

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Light Yellow

 

NCS 1019-Y25R 

RAÄ kod ~ 6A-JOLES   

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Yellow Ochre

 

NCS 1530-Y21R 

RAÄ kod ~ 4A-JOLES  

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Sun Yellow

 

NCS 1339-Y09R 

   

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Sand Yellow

 

NCS 2431-Y17R 

 

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Manor house Yellow

 

NCS 2242-Y19R 

RAÄ kod ~ 4A-920   

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Golden Yellow

 

NCS 2740-Y25R 

RAÄ kod ~ 2A-94 

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Gold Ochre

 

NCS 4144-Y27R 

RAÄ kod ~ 1A-94   

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

YELLOW | 

 colour tone

Yellow shades on a facade are perceived as being lighter and often a more intensive yellow.  A beautiful bright yellow shade sample 
easily results in the facade having a too bright yellow appearance. To acquire a beautiful yellow facade, a colour sample should be 
chosen that looks slightly dirty. It is these more subdued yellow shades that belong to the Swedish facade tradition.

 > In our yellow shades we use the following pigments: various yellow ochres, iron oxide yellow, 
nickel-titanium yellow and other inorganic metal combinations. Some are mixed with white,  
umbra and black in order to achieve the correct balance.

The designation “yellow ochre” is well-known to many and has been extensively used throughout history. 
The best pigments today are still obtained from soil deposits around the Mediterranean and vary in shade 
from yellowish brown to reddish brown. Iron oxide yellow is produced from scrap iron and has a somewhat 
brighter yellow tone than ochre. Thus this pigment is the result of a recycling process.

To further enhance the clarity and yellowness of e.g. Sun yellow, nickel-titanium is added and the pigment 
bismuth. These are inorganic metals that are stable, light-fast and approved. They replace the previous  
commonly used chromium and lead pigments. |

|   Door leaf, lintels and panels in the same shade   |   Unbroken yellow ochre on Bäckaskogs Castle in Skåne   |   The façade of the Hallanbergs Country House painted with yellow ochre  

Y

R

G

Y

B

R

G

Y

B

R

G

Y

B

R

G

Symbol shows the perceived unmixed standard shade and refers to a façade of painted wood panels estimated at a distance  
of approx. 50 metres. It applies to all shades with the exception of White plaster. The code concerns a completely smooth  
plastered surface; the impression will be darker if the plaster is coarser.  

 

 

 

 

 

     

!

The two lighter components of each colour sample show a mixture of equal parts of Standard shades and White Titanium-Zinc  
as well as one part of Standard shade and three parts White Titanium-Zinc. These shades you mix yourself as follows:  
S = Standard shade and V = White Titanium-Zinc N.B. This combination key applies to all shades

S

V

+

= 50%

S

V

+

V V

= 75%

S

V

+

= 50%

S

V

+

V V

= 75%

Caput Mortuum 

 

NCS 6523-Y97R 

RAÄ kod ~ 1A-20D   

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Red Ochre

 

NCS 4544-Y65R 

RAÄ kod ~ 1A-ABRICOT  

50%White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Burnt Terra

 

NCS 5338-Y68R 

RAÄ kod ~ 1A-5876   

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Iron oxide minium

 

NCS 5731-Y78R 

  

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Falu Red

 

NCS 4941-Y79R 

  

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Dark Iron Oxide Red

 

NCS 5536-Y81R 

RAÄ kod ~ 1A-222  

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Light English Red

 

NCS 4353-Y73R 

RAÄ kod ~ 1A-10A  

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

English Red

 

NCS 4746-Y77R 

RAÄ kod ~ 1A 48A  

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*

Empire Red 

 

NCS 4053-Y94R 

  

50% White Titanium-Zinc 

75% White Titanium-Zinc 

 perceived color hue*