The advantages of this paint are that the different components dry in their own way. The linseed oil dries by what is called polymerisation (oxygen uptake) which causes the painted layer to expand. This volume expansion is matched by the evaporation of the solvent in which the resin is dissolved. Reduced risk of cracking! The paint gives you greater clarity, fast and uniform drying, greater elasticity and better preservation of your artwork. Antique paintings painted with a mixture of oil and resin speak their own language around conservation.
The paint consists of synthetic resin, linseed oil and odorless solvent. A paint or medium usually contains two or more components, in this case odorless solvent, the purpose of which is to dilute the binder (linseed oil) and the resin so that it is easier to work with.
NOTE !: With resin oil paint (paint with resin paint) you can even in the worst case paint in semi-dry undercoat without risking cracking. When painting with pure oil paints (without the addition of paint), it is important not to overpaint areas until the underlying oil paint is dry. If you paint in a sticky oil color, the result can be cracking and later darkening of the colors. This is avoided by using this paint.
Resin oil paints dry faster and smoother than pure oil paints, are more lasing, have the depth effect of resin oil and dry on oily soils with a certain gloss. Renaissance painters, and especially Baroque painters, used mostly resin oil paints. The advantage of the resin oil paints is that a large part of the binder consists of resin, which compared to oil turns less yellow or not at all. As a resin, it has always been common to use Dammar and Mastiks, but our paint is made with hydrocarbon resin which does not yellow at all. When mixed with linseed oil, the hydrocarbon resin increases the gloss and hardness. It improves the mechanical properties (elasticity), adhesiveness and the ability to form surface films in addition to providing UV resistance.
This resin paint can also be used as an intermediate varnish or retouch varnish as it is also called. Rubens used intermediate varnish between the different layers and never painted on matte or “wrapped” parts in the painting (see final varnish) without first giving them intermediate varnish. However, the paint can not be used as a final varnish!