FAQ

How to paint kitchen cupboards: Painting Kitchen cupboards is a tricky job even for people who have done it before! 

Kitchen cupboards need fresh paint every few years to give them a new look and keep them looking great. This is the easiest and probably the cheapest way of giving your kitchen a new look. However, you need to give a lot of attention to some details before starting it or else you might end up ruining your cupboards. 

To avoid potential blunders in doing so, we have some tips and tricks to cover those cupboards in beautiful, even layers of paints. We have also mentioned some common mistakes that you need to look out for.

Prepping kitchen cupboards before painting:

Cleaning the wood before painting the cupboards:

If your cabinets are made of wood then there are chances that the old paint is stuck there along with oil and grease. A scrub is needed before you begin the painting process, as clean cabinets will let the new paint stick to them and last for a much longer time, otherwise the paint will come off within a few months leaving you with uneven patches of the new paint.

Take out the cupboard drawers and hinges before painting

You might have heard someone recommending painting the hinges along with the cupboards but let me tell you why that is not a good idea. The paint on hinges and other hardware will start to chip very easily. Taking them out early will save you the arduous task of sanding the parts afterwards. You can simply put them back in place once you are done painting your cupboards.

Sanding the cabinet doors and drawers

Sanding is required so that the paint sticks to the cabinets. Keep on sanding until you notice that the glossy surface of your cupboards change to matte. Choosing the right sandpaper is also important so use one which is just enough to key the surface.

After you are done with sanding, take a damp cloth to wipe the surface. This will remove the dust from your cupboards. 

Applying the primer or undercoat

A primer or undercoat acts as the base to your paint. An undercoat will help your paint remain smooth on the surface and help adhesion. There are paints which have these properties in them so they don’t require a primer and that may be mentioned on the tin. If you want to paint your cupboards with a strong colour paint, a primer will help you give it a better base.  Leave the primer for 2-4 hours so it dries before you paint. 

The universal primer  is designed for all kinds of surfaces, such as wood, metal, melamine and UVPC, which will help adhesion and help get an even coat of paint. A single layer of this primer paint followed by GrafClean Midshine will give your kitchen a whole different look.

Start Painting:

Painting the kitchen drawers:

With the help of a paintbrush, roller or a spray gun, start applying the paint on your cupboards. While painting your drawers remember that you only need to paint the front of the drawers not the sides. The GrafClean MidShine is a paint safe for any kind of surface. The first coat of this paint will cover the surface but may not give a clean even finish. This coat is just to cover the porous area.

Why one coat is not enough

● Applying one coat will not give the solid colour that you want.

● It is not durable enough in case your wall gets dirty. Cleaning the wall will become very difficult.

● There are chances that you will miss some spots with one coat. The original colour of the paint won’t last long enough. Colour builds with coats

Why 2 coats are better

A double coating will last longer and will be more durable as compared to one coat.  Kitchen cupboards are vulnerable to all types of heat and humidity and so the paint should be chosen very carefully. You need two coats to build up the colour and protection.

Painting the backs of the kitchen cupboards

Now paint the back side of your cupboards, turn them over to paint the other side the same way. Let the dry and toughen for a night before applying the second coat.

Fit the cupboards doors now they are painted

Now that the painting is behind you, time to put the cupboard doors back in their place and appreciate the finished look!

● Add new hinges to your cupboards to give them a brand new look or you could also use the ones that you took off. 

● Attach the handles and drawer pulls on your cupboards and drawers respectively.

● An additional step would be to add protective bumpers on your kitchen cupboards and drawers.

The prepping time for painting your cupboards is the most important because that is where you set up your base The sanding and cleaning of cupboards followed by the primer and first coat of paint will take the most time. The second coat will take the least amount of time in the whole process. If this is one of those projects that you have been putting off for a long time then I hope this article gave you some motivation to begin!

How to identify an eco friendly glue?

If you are trying to identify an friendly glue over a non friendly glue, then stick with us. We only offer natural, no toxic and safe glues, whether small tubes of natural contact adhesive or a huge tub of adhesive for floorings and other surfaces.

We would recommend this natural glue for most uses, but please double check the tech sheet or product page for more information and safety data. Any questions please just get in contact.

Can paint be recycled? If you want your eco paint to be recycled there is no better way than supporting your local community repaint scheme,
Community Repaint works with community organisations, local authorities, housing associations, manufacturers, retailers, businesses and many others to collect leftover, reusable paint and redistribute it into communities in need.

Are paint tins recyclable?

Our paint tins are recyclable, yes.
They are made using 80% recycled materials, and a fully recyclable themselves!
If you can find a use for them in your home or garage this is even better than recycling!

How do I paint furniture? Whether you’ve redecorated and discovered that a piece of furniture just doesn’t fit into the new colour scheme, or you’ve been struck by a sudden bolt of inspiration, painting furniture is a great way of stamping your personal style onto a space.

But how can you make sure you get the result you want? Today we’ll explain exactly how to naturally paint furniture, so you can let your creativity run free.

Choosing your natural paint

The first thing to do if you want to paint a piece of furniture is to decide on the colour and finish you want. If you’re after a semi matt finish, then we recommend Graphenstone Grafclean Mid Sheen natural wood paint, which is great if you’re after a classic, or an aged or distressed look.

The natural wood paint is available in many colours, or can be hand tinted to give you the exact shade you want, so whether you’re going for a classic white-painted look or something brighter and bolder, you’ll be able to use the natural paint you want.

Sanding and cleaning

Once you’ve chosen your paint, the next thing to do is prepare your piece of furniture. Use 150 grade sandpaper to abrade the surface. The aim here is not to smooth the surface of your furniture, but to slightly roughen it to give the paint a surface that it can bind to. You may be tempted to skip this step and go straight to the painting, but we recommend you take the time to sand as a properly-prepared surface results in far less paint chips, discolouration and peeling, and stays looking good for longer. We advise to sand back to bare wood as best you can, and then use the correct primer, in this case it’s generally the correct primer first

After you’ve sanded your furniture, it’s time to clean. It’s vitally important that you use the right cloth to clean with, as most cloths leave fibres behind which can cause the paint to lift and split later. Use a chamois-style lint-free cloth to make sure the surfaces are free of dust and grime. Do this right before you paint so there’s no chance for dirt to gather.

Priming

Priming, like sanding, is a phase that many people are tempted to skip. But, just as with sanding, there is a vital reason for this step. Applying a coat of special primer paint gives the top coat the perfect surface to bond to, and ensures that colours are vivid and consistent.

The Graphenstone primer makes a great primer paint, as it is designed to go on easily and leave an even coat while protecting the material beneath. If you want to get a perfect, blemish-free finish, we recommend using a foam mini roller to get a totally even look. If you’re after a more lived-in look, this doesn’t matter so much and you can get away with using an ordinary paintbrush. Whatever look you’re going for, you’ll need a small brush to ensure you get the primer into the hard-to-reach areas.

Painting

Once your primer coat is dry, use the sandpaper to smooth away any drips or lumps, and wipe the whole thing down with your cloth to make sure it’s clean before you apply the final coats. We recommend using at least two and usually three coats of paint to cover wooden furniture. Even though it may look fine after the first coat, furniture is more susceptible to wear than walls, so it’s a good idea to make sure that the topcoat is several layers thick. Please check the data sheet (on each product page) for suggested drying times,

Sand away drips between layers, and don’t be tempted to slather the paint on thickly. It’s better to build up your finish with several thin coats than to go for one thick one which risks peeling off. As with the primer, if you’re after a flawless finish, you simply have to use a mini roller, as brushstrokes are easily visible, especially with gloss paint.

Finishing

Once you’ve painted your piece of furniture, let it dry thoroughly, then give it a clean with your lint-free cloth.

So there you have it. If you’ve been worrying about the best way to paint your furniture, then hopefully this guide has given the confidence to let your creative spirit free. There are almost infinite possibilities to experiment with, including mixed colours and finishes. The only limit is your imagination.

Why not try a tester pot first and see if it’s right for you? Testers available for most paints!

How do I Paint a Ceiling? Painting a ceiling can be a real pain, but if you follow our instructions, you’ll find that with a little know how, it doesn’t have to be. This is how to paint a ceiling, the easy way.

WHAT YOU’LL NEED

Before you begin, you’ll need to make sure you have all the tools required to get the job done right. Here’s what you’ll need:

• A good quality paintbrush, about one and a half inches wide. Like this paintbrush
• A roller, preferably an extendable one long enough to reach the ceiling without causing you arm strain. Like this roller set
• A paint tray.
• Either a stepladder or, if you are worried about balance, a movable decorators’ platform. You can rent these from most tool hire shops.
• Masking tape.
• Clean cloths or rags.
• Biodegradable Dust sheets to cover carpets and furniture.
• Some Natural Paint! We recommend this range of natural paints, by far the best paint right now!

Read more below for how to paint a ceiling.

Step one: Preparation

Before you crack open the tin of paint, you’ll need to prepare your room and the ceiling surface. Start by removing furniture, or moving it to the centre of the room if there’s nowhere for it to go. You’ll need clear access to the edges of the ceiling, so make sure you leave enough room for your stepladder or platform. Once this is done, cover floors and furniture in dust sheets to prevent them getting spattered.

Next, you’ll need to clean the ceiling. Ceilings can become coated with a layer of oily grime over the years, and this can stop the new paint from bonding properly. Lightly scrub the ceiling with natural plant soap, and rub dry with a rag. A decorators’ platform makes this stage a lot easier, but it can be done with a stepladder. Just make sure you don’t overbalance. Remember, it’s always better to climb down the ladder and move it than to fall off, even if it seems tiresome.

Once your ceiling’s clean, it’s time to mask the edges. By applying masking tape to the top of the wall or architrave, you ensure a clean, straight edge. Be extra careful here, as any kinks in the tape can mean an uneven look later. If your room has ceiling features like a rose or skylight, mask the edges of these too.

Step two: Cutting in

Once the edges are masked, it’s time to open your can of paint. Use a flat head screwdriver to gently pry up the lid, being careful not to let it fall. Lay the lid down somewhere out of the way – the last thing you want to do is step on it and leave footprints all over the place.

Give the paint a stir, and dip in your paintbrush, ensuring you only wet the top half-inch of the bristles. Paint a three-inch border around the entire ceiling, making sure you paint right up to the masking tape, being careful not to splatter the wall.

If you have ceiling features like plaster roses or other decorative details, cut in around these too. Once you’ve completed a section, peel off the masking tape slowly before the paint dries to get that crisp, defined edge.

Step three: Rolling

Rolling a ceiling can be tiresome work, and very hard on your arms. If you’re working in a pair, you can swap back and forth between rolling and cutting in duties, but if you’re on your own you may want to think about getting an extendable roller. Because extendable rollers make the job easier on your arms and back, they make it a lot easier to paint a ceiling by yourself, and also cut down on the hassle of constantly moving the ladder.

Pour a little paint into your roller tray, just enough to fill the reservoir at the deeper end. Now, roll your roller over the paint, making sure you don’t submerge it. Remember, if you get wet paint on the roller arm, or anywhere except the soft absorbent rolling surface, it will drip and make a mess.

The best way to paint a ceiling with a roller is to work in three-foot-square patches, starting in a corner and working your way across the width of the room. Remember, moving a ladder is a lot less hassle than a trip to A&E, so if you’re using a stepladder don’t overstretch yourself. Pay attention to the joins between your patches, making sure you smooth each together before continuing.

Step four: Cleaning up

Once you’ve painted your ceiling it’s time to get things cleared away. Start by cleaning your brushes, roller and paint tray with a natural soap or detergent. When replacing the paint lid, make sure you press it firmly closed to avoid spillage.

Once the paint can’s closed and all wet brushes and rollers have been removed from the room, it’s time to remove the dust sheets and take a good look at your handywork.

How long does Auro Paint take to dry? A common question we hear all the time!

Well, it’s a variable one, but fundamentally they all take longer than your standard off the shelf petrochemical paints. The reason that they take a while longer than normal paints is that they are , and they don’t contain the nasty solvents and quick drying chemicals that speed up the process, to the detriment of the people living in the house.

It’s a small price to pay, just allow a few more hours of drying time in exchange for no more nasty chemicals leeching into you air! A wise trade off.

Each product page has a downloadable tech sheet and will give you the exact drying time of the specific paint, but the generally the glossy paints need about 24 hours between that, and the emulsions are much quicker. The Auro 524 is one of the newest recipe and has been designed to dry much much quicker.

For a list of all the natural paints we recommend have a look here: NATURAL WALL PAINTS

Where can I find Breathable paint suppliers in the UK?  When water vapours are allowed to permeate through a paint, it is considered breathable.  Breathable paints have a high rate of permeability which means they allow water to quickly evaporate.  It’s almost like having your own dehumidifying system built right into the walls!  When moisture is allowed to build up, it can quickly cause deterioration in your home.  Trapped water can lead to rotting, mould, peeling, warping and many other such destructions.

Read more about breathable paints here.

So where can you find breathable paint suppliers in the UK?  Though manufacturers may be few and far between, the top trusted supplier of natural, organic and breathable paints is The Organic and Natural Paint Company.  This UK based distributor carries the full line of  Natural Paints as well as eco friendly varnishes, cleaning supplies, adhesives and much more.

Breathable paint comes in different types including highly specialised and useful formulas such as Anti-Mould Paint.  This excellent lime-based product helps naturally prevent mould and is very breathable, thus making it ideal for damp areas such as bathrooms and kitchens.

Chalk based paints such as natural Chalk Paint are also super breathable.  They also have the added bonus of being great odour absorbers.  Because they are mineral based and solvent free, they contain no VOCs (Volatile Organic Compounds) which makes them perfectly safe for indoor use.  You can even find breathable natural emulsions like the Eco Friendly Natural Emulsion Paint, so there’s really no reason not to switch to a breathable paint.

Once you’re ready to give your home and your family a breath of fresh air, be sure to take a look at the best of breathable paint suppliers in the UK, The Organic and Natural Paint Company!

More breathable paint resources:

What is Wall Breathability, and how does breathable paint help?

Breathable Plaster – Breathaplaster Natural Lime Plastering

Buy Breathable Paints currently for sale in the UK

Breathable Wall filler – How to use

Breathable Natural Lime Plaster & Eco plasters

Glossary of raw ingredients in the Auro Paint range

AURO PAINT Raw Materials  Guide

Binders, resins, oils, waxes, fats, soaps:

Beeswax: Pure, unbleached, ductile  beeswax  from best provenances, certified low residue  level. Germany.

Beeswax(-ammonia) soap: Beeswax is saponified with liquid ammonia  in dedicated boilers. It serves  as a natural wetting agent in pigments.

Carnauba wax: Hard, water-repellent wax obtained from a Brazilian palm tree species. The leaves of these  tall palm trees are cut (they constantly  grow again), the wax is liquefied  by boiling  in  water,  skimmed  off the  top  and cleaned physically (with bleaching  earths).  Thanks to its particular hardness, this wax enhances the mechanical resistance of all soft waxes. South America.

Colophony glycerol ester: Natural resin colophony is modified with the fat glycerin in a boiling process on the basis of a special method.  The result is a binder with very good weather resistance and elasticity. Europe.

Dammar: One of the  most  valuable  and  beautiful  vegetable   resins  on  earth.  Its  name  is  derived  from the Malaysian word for “cat eye”. It is very light-coloured and low in yellowing. Its tree of origin on Sumatra also supplies Meranti wood. The cultivation of dammar resin enables the inhabitants of Sumatra to sustainably use the tropic forest without destroying  it. The use  of dammar  thus  actively combats the depletion of tropical forests. Asia.

Wood oil – stand oil: Oil boiled until thick originating from the nut of the Chinese Tung tree; a valuable,  easily drying lacquer binder. Asia.

Potassium silicate: Finely dispersed solution of silicates in water which is produced by smelting  quartz  sand  and potash. Used as binder for silicate paints and plaster. Germany.

Lime  colophony:   Made  from  melted   colophony  resin whose natural acid content is neutralised by adding quick lime. Germany.

Coconut fat potassium soap: Fat from the seeds of coconut palm trees gently saponified with caustic potash solution in dedicated facilities. South America.

Larch resin balsam: An ethereal balsam resin produced by drilling into the larch tree trunks; colourless, smells of terpene and serves as scent and binder. Europe.

Linseed oil: Fatty seed  oil of the linseed  plant (Linum usitatissimum), produced by cold and  warm pressing  fol- lowed by gentle desliming and physical discolouring (without chemical bleaching agents). Valuable binder component  which provides  high elasticity and creep;  partly from regional, improved conventional and ecological cultivation. Germany.

Linseed fatty acid: Fatty acid produced naturally from linseed  oil by the separation of glycerin (see glycerin) which helps to wet pigments. Germany.

Linseed  potassium soap: Nurturing cleaning  agent  produced from pure linseed oil by saponification with caustic potash solution or potash, slightly water soluble, very easily biodegradable. Germany.

Linseed oil – stand oil: Valuable binder for lacquers, stains and wall paints  produced by boiling of linseed  oil until thick. The respective boiling time is decisive for the different viscosities. Germany.

Natural rubber latex: Chyle produced by cutting through the bark of rubber trees  cultivated  in South East Asia; a highly concentrated natural  dispersion of natural  rubber (caoutchouc) in water. An indispensable binder  mainly used in adhesives. Contains a little liquid ammonia to prevent flocculation during transport. Asia.

Sodium  palm kernelate  potassium soap: Fat made  from the crushed  seeds of oil palms (not to be mixed up with palm oil generated from pulp) gently saponified with caustic potash solution  in dedicated facilities. The soap  has very good wash properties. South America.

Rape oil potassium soap: Oil from the seeds of Brassica napus, also referred to as turnip rape, gently saponified with caustic potash solution in dedicated facilities. Small amounts of soap  are used  to synergistically improve the wash performance  of other plant soaps.

Castor stand oil: Valuable, dryable binder made from rici- nus oil, i.e. oil from the seeds of the subtropical Ricinus shrub by means  of dehydration (elimination of water).

Ricinus oil potassium soap: Oil from the seeds of the sub- tropical Ricinus shrubs (Ricinus communis) gently saponified with caustic  potash solution  in dedicated facilities. The soap  has  a minor wash  performance but  excellent properties for natural foam regulation.

Safflower stand oil: Drying oil made from the fatty seed oil of the Safflower thistle, thickened by boiling to form a low- yellowing binder. Europe.

Shellac: Resinous substance produced by lac insects (Laccifer lacca) living on trees domiciled in India. The resin encrustations are removed from the tree branches, filtered hot  through  cloths  and  bleached – not chemically  but purely physically by AURO. Elastic binder for quick-drying lacquers. Asia.

Shellac (ammonia soap): Water-dilutable dispersion made by means  of saponification with ammonia  liquid in dedicated facilities, used as binder e.g. in vegetable paints.

Soy bean oil potassium soap: Oil from soy beans gently saponified with caustic  potash solution  in dedicated facilities.

Sunflower oil: A light yellow, fatty oil from sunflower seeds which is used in lacquers, paints and soaps. Germany.

Sunflower oil potassium soap: Oil made from the seeds of the central European sunflower (Helianthus annuus) gen- tly saponified with caustic potash solution in dedicated fa- cilities. This soap has an excellent wash performance and is the most important  plant soap  in most AWALAN prod- ucts. AURO only uses  sunflower oil from ecological culti- vation.

Walnut oil: Fatty seed oil from the pulp of the Juglans regia; very valuable,  semi-drying binder  for artist  paints.  Germany.

Mineral pigments and fillers:

Aluminium silicate: Aqueous alumina naturally formed by weathering of rock rich in aluminium or fine, mineral filler with pigment properties produced by technical  precipitation. Europe.

Wood cellulose:  Organic  filler based on  cellular  fibres made from deciduous wood or beech wood without using chlorine bleach. Provides wall paints and plaster with mechanical strength and a resorption capacity similar to that of wood. Germany.

Chromoxide green:  Green mineral  pigment  made  from chromium ores. Its production has negative environmental impacts  but there is no alternative  yet. In contrast  to so- called chromium (VI) compounds, it is insoluble and there- fore non toxic. Germany.

Earth and mineral pigments: extremely finely dispersed, highly transparent pigments  with excellent UV protection and good weather resistance which are especially used in stains. Europe.

Iron oxide pigments, transparent: Inorganic pigments like natural  earth  paints,  synthetic  iron oxide pigments, e.g. ochre, English red, Persian red, earth black, and selected mineral paints  such as ultramarine  and chromium green. Europe.

Calcite (marble powder): Natural appearance of calcium carbonate (like chalk). Available from most finely ground to coarse  grain size. Filler for lacquers, wall paints,  plaster and adhesives. Europe.

Kaolin: Natural clay mineral (china clay, an alumina  sili- cate). Filler for wall paints, plaster,  lacquers. Base compo- nent for chinaware. Europe.

Catalytically effective pigments: Inorganic pigments with a special, finely dispersed structure. Capable of splitting up and  degrading  organic  components, including  harmful substances, under UV impact.

Chalk: Natural calcium  carbonate from best  sites,  e.g. Hildesheim Börde, finely ground and elutriated, therefore high whitening power and grain fineness. Germany.

Quartz sand: Crystalline silicic acid, silicium dioxide, one of the most frequent minerals of the earth’s crust. A chem- ically very hardwearing  material  which forms during the weathering  process of eruptive rock. Virtually unlimited availability. Germany.

Talcum: Natural silicate  mineral  with pronounced layer structure (“steatite”). Thixotropic and pigment-saving filler for paints and lacquers. Europe.

Titanium dioxide: Very opaque, non toxic white pigment for paints and lacquers. Made from natural minerals (e.g. rutile) by separation of coloured  companion  substances. AURO has always used this pigment from sulphate proce- dures  with weak  acid  recycling and  recovery of green malts,  without dumping  of weak acids and without chlo- rine chemistry. Germany.

Ultramarine: An inorganic pigment whose crystalline struc- ture is similar to that of lazurite. Used as mineral pigment in all blue stains  and lacquers. Europe.

 

 

Auxiliaries:

Alaun: A white, crystallised powder made from potassium and aluminium sulphate used  in the manufacture of veg- etable  paints.  Germany.

Amine soaps: Ammonium compounds modified by organic components. Facilitate the  integration  of binders  into water-based products. Europe.

Bentone:  A natural  clay mineral,  swelling clay, which is used  as gelling and thixotropic agent in gloss paints  and printing inks, waxes, putties, adhesives but also for cos- metic products. Europe.

Borax: Natural mineral from specific salt lakes; traditional, mild alkali used for pulping e.g. of casein. North America.

Boric acid: Weak mineral acid formerly made from Tuscan spring water, today produced from borax with sulphuric acid. Europe.

Boric salt (sodium octaborate): Natural mineral from salt lakes. Very effective, non volatile, non fumigating agent for preventive  biological wood and flame protection.  North America.

Cellulose ether, ester: Expanding agents made from wood cellulose by chemical pulping. Serve as simple adhesives in AURO Wallpaper paste and distemper, but also used as emulsifiers and thickening agents in paints and adhesives for better processing control. Europe.

Citrate: Sodium or potassium salt of citric acid. Germany

Citric acid: Natural fruit acid in citrus fruits with good lime dissolving and water softening effect; made from molasse by means  of fermentation. Germany.

Green vitriol: Found as  mineral  in the  form of green  or white encrustations; technically produced by dissolving iron in sulphuric acid. This raw material is used  for wood preservation, plant dyeing and in tanneries. Europe.

Gypsum: Natural gypsum, calcium sulphate, from deposits in the Harz region. Germany

Sodium sulphate: Salt made  from sodium  sulphite and sulphuric  acid, used  in vegetable paints  and detergents. Germany.

Glycerin: Polyvalent alcohol. Component of all animal and vegetable fats,  produced by separation of fatty acids. AURO only uses  glycerin of purely vegetable origin. Ger- many.

Gum arabicum:  Dried mucilage from different species of acacia, also called acacia rubber. This rubber is colourless to brown and odourless. Dissolved in warm water, it forms a ductile, gluey liquid used in adhesives and as thickening agent. Europe.

Salts of hartshorn: In chemistry referred to as ammonium carbonate, used as lead additive in vegetable paints.  Ger- many.

Caustic potash:  Strong alkali for the saponification of vegetable oils and fats to generate wash active sub- stances. Made from potassium chloride and water by electrolysis. Germany.

Camomile extract: Produced from camomile by alcohol extraction, protects  the skin. Germany.

Silicic acid: Finely dispersed silicic acids without crys- talline (quartz) structure  made  from quartz sand  and lime by flame hydrolysis. Used as matting filler or as fil- ter agent and binder additive in silicic brines. Germany.

Cork: Dermal tissue  formed by almost any green plant on its subterranean and superterranean parts. Only the very thick cork layer of the cork oak (Quercus suber) domiciled  in Mediterranean countries  is of economic use. Europe.

Cork powder, granulated cork: Coarsely to finely ground cork. Germany.

Lecithin: Natural phospholipid made  from soy beans by hot water extraction  which promotes wetting and emulsification. Germany.

Lactic acid: Acid produced by the fermentation of sugar by means  of lactic acid bacteria. Prevents lime stains on crockery. Germany.

Lactic casein: Flocculated milk protein made from cow’s milk by acidification after separating the fat. Valuable binder and emulsifier used  in paints  and adhesives. For this purpose it is pulped with mild alkalines (borax) to form casein paste. Germany.

Sodium metasilicate: Alkaline, water-dilutable sodium salt of silicic acid. Has a fat-dissolving  effect in dish- washing  detergents due  to its alkalinity and  is also water softening and anticorrosive.  Germany.

Sodium  percarbonate:  An adduct  of chlorine-fee bleaching agent hydrogen peroxide to sodium carbon- ate. Decomposes into sodium carbonate, water and ac- tive oxygen at higher temperatures. The latter has  a bleaching  effect on stains. Free of boron. Germany.

Natron: In chemistry referred to as natrium hydrogen carbonate, used  as neutralising agent and retarder  in paints.  Germany.

Organic acids: Carbon compounds with slightly acidic properties (as opposed to known mineral acids such as sulphuric acid). In combination with AURO binders based on vegetable resins and oils, organic acids im- prove the application-related properties of coating ma- terials. Germany.

Potash:  Mild alkali  formerly lixiviated from potash, today produced by the conversion  of sodium  carbon- ate with potash soaps. Used for the saponification of vegetable waxes, resins and oils. Germany.

Swelling  clay: Natural  mineral  (phyllosilicate)  with good swelling capacity.  Used as thixotropic agent  in aqueous and resinous oily products with good swelling capacity and dirt absorption capacity following surface treatment. Germany.

Rape, ricinus oil tensides, emulsifiers:

Specifically se- lected auxiliaries based on vegetable oil,

chemically modified,  for the in-house  production  of aqueous, solvent-free  oil resin binder for AURO Aqua products. Germany.

Ox bile:  Thanks  to  its  high  content   in  bile  acids, lecithins  and enzymes,  recommended as concentrate for local stain removal which is gentle on fibres. Ger- many.

Liquid ammonia:  Alkaline solution  of ammonia  in water, used  for making special,  water-dilutable resin, wax and oil soaps, so-called ammonia soaps. Germany

Phyllosilicate:  A mineral similar to swelling clay but produced by precipitation. The silicate particles are po- sitioned in sheets. Phyllosilicate has a high binding ca- pacity for calcium and is thus the main ingredient  of our softener component. Germany.

Evaporated salt: Undenaturated, pure rock salt (sodium chloride) without free flow agents for the prevention of scale deposits in dishwashers. Germany.

Sodium  carbonate:   Mild alkali from special  salt de- posits  (sodium carbonate lakes). Sodium salt of car- bonic acid, sodium  carbonate which is used  in AURO powder products  for the pulping of casein.  Germany.

Stearates: Oil and  fat  components insulated  from these, used  for making  soaps and  as  auxiliaries  in paints.  Germany.

Stearic acid: Found in large quantities in fats and oils, produced from these  by fat separation. Used for mak- ing stereates and as auxiliary in paints.

Traganth: Vegetable paste for artist paints,  generated by cutting the stalk of the Astragalus gummifer domi- ciled in Turkey. Europe.

Drying agents  (lead-free):  Auxiliaries, metal  soaps made  from minerals  of calcium, cobalt,  zirconium or manganese for reducing the drying times of vegetable oils. Germany.

Turkey red oil: Ricinus oil sulphatised by conversion with sulphuric  acid, used  as auxiliary emulsifier. Ger- many.

Wine vinegar: Natural acid made from wine by means of conversion into alcohol and further fermentation to produce vinegar.

White lime hydrate: Slaked lime (aged slake lime) in powder form. Produced by the baking of chalk followed by hydration.  Already used  as binder for lime mortar and lime paints in the ancient world. Germany.

Wheat flour: Pure grain flour, used as thickening agent in paint removers. Germany.

Xanthan rubber: Highly molecular,  natural  catabolic product, polysaccharide of (the genetically unmanipu- lated!) bacterium  Xanthomonas campestris. Suitable as thickening agent and binder. Germany.

Zeolite: Aluminium silicate  produced from alaun  and sodium silicate by precipitation, a particularly environ- mentally friendly phosphate substitute for softening water. Germany.

Sugar tenside: Wash active substance, made from sug- ary raw materials  by means  of conversion  with veg- etable oils using potash at temperatures below 100 °C. Germany.

Vegetable  paints:

Logwood extract: Produced from the heartwood of trees cultivated  in plantations, used  for dyeing, its colour range covers blue and violet black shades. Europe.

Catechu: Thickened juice extract from the heartwood of the Indian Acacia catechu. Catechu is used in brown to black vegetable paints.  Asia.

Chlorophyll: Pigment made from the dye of leaf green. The green dyestuff from plant leaves is used as copper complex in vegetable paints.  Germany.

Cochenille:  Red colorant  produced by scale  insects which live on cactuses domiciled  on the Canary Isles and  in Mexico. It gives vegetable paint  pigments  a slightly bluish red colour shade. This raw material has a red to violet dyeing effect and is used as food colour- ing. Europe, North America.

Indigo: Extract produced by fermentation of the Bengal indigo plant Indigofera tinctoria. Was already used  as dye 4,000  years ago. Serves as blue vegetable paint pigment. Asia.

Madder roots: Colorant with a high content  in red dye from central Europe, Turkey and Iran which is used  in red vegetable paint pigments  for wall stains. Europe.

Vegetable paint alumina pigment: Coloured pigments for artist and wall paints  made on the basis  of a dedi- cated method. The colorants (Reseda, Madder, Indigo, Cochineal, Leaf Green, Catechu, Logwood, etc.) are ex- tracted  with water adding  alaun,  the pigment is then precipitated as alumina coloured lacquer with lyes, fil- tered and washed. A laborious process which provides harmonically bright colour shades which sometimes take many days to develop.

Reseda:  Dye plant (Reseda luteola,  Wau) for making yellow vegetable paint pigment. Europe.

 

Solvents, ethereal oils:

Alcohol: Produced  by the fermentation of starch  con- taining vegetables, e.g. potatoes, followed by distilla- tion. AURO only uses  non denatured alcohol for shellacs. Germany.

Cembra oil: A water light oil of the Swiss pine, also re- ferred  to  as  Swiss  stone  pine  oil, with  strong  but flavoursome  odour.  Protects  from textile moths  and other insects. Europe.

Bergamot oil: Pure ethereal, yellowish oil from the fruit skin of the Bergamot tree (Citris bergamia),  used  as scent. Europe.

Eucalyptus oil: Ethereal oil with slightly preserving ef- fect made from the leaves of the Australian Eucalyptus tree, produced by water vapour distillation.  Europe.

Pine terpene  alcohol: High-boiling fractions from the distillation  of pine balsam  terpene  oil following cat- alytic water addition.  Europe.

Lavender oil: Water vapour distilled oil of the lavender plant (Lavandula officinalis) domiciled in Mediter- ranean  countries. Europe.

Lemongrass terpenes: Distillate from the ethereal oil of the tropical grass Andropogon flexuosus  domiciled in East India. Asia.

Orange oil: Ethereal oil produced during the manufac- ture of orange juice. The distilled, highly fragrant com- ponents are  used  in the  perfume  industry  and  for aroma therapy. The “terpene  lyes” of weaker fragrance are used as solvents in resins and oils. South America.

Rosemary oil: Ethereal oil produced from the leaves of real rosemary by water vapour distillation.  The oil has mildly fungicidal and preserving properties. Europe.

Water: AURO uses particularly soft, pure drinking water from the nearley Harz mountains. Germany.

We declare all raw materials  contained in our products. Please see www.auro.com for more information about our concept of “gentle chemistry”.