Color Design Workshop

Where are water-based coatings gone?

A good question, which is difficult to answer in a comprehensive way.

On one hand, we could say that the industrial world and the new global economic conception is going in the direction of reducing costs (and pollution is a cost, indeed), improving the workers’ living conditions (even if in current water-based coatings there is a certain amount of solvent, it is undeniable that they are less toxic) and consumers’ living condition (the "indoor" emissions are virtually nil), improving material performance (almost 100% of water-based paints are used for frames painting and, consequently, they have excellent resistance "even" outside where the stresses are definitely superior to internal ones), in our “explorations” looking for virtuous companies we often stumble in organizations resigned in using traditional solvent-based paints.

The most common answer that is given by those working in this field is always the same: “I would like to use them, but they dry with more difficulty, and it is necessary to pay more attention in the preparation of the substrate, and furthermore they are more expensive”.

Is it true that water-based coating’s technology – which has been produced since the late sixties of the last century… - has not solved those problems? I don’t think so. After all there are companies that produce wood paintings – practically – only water-based, and with a recognized high quality. Unfortunately, not the Italian ones: some of them which started “in the right way”, but then they backtracked, except a couple of exemplary companies, which truly believe in a future of low environmental impact paints, starting from their sellers (at least those who we know) first ones to promote these products to users.

DRYING: Everyone assume that water-based coatings dry very slowly, slower than the solvent-based ones, without knowing that the water, with the help of some co-solvents in small quantities, forms "azeotropic" solutions that evaporate at water’s temperature (100° C), faster than toluolo (111° C), so that “hydro” paints dry out faster: seeing is believing.

SUBSTRATE PREPARATION: We talk a lot about quality, but we haven’t yet taken for granted that quality starts from smoothing, pre-treatment, in conclusion from substrate preparation?

COSTS: It is trivially a matter of market functioning, considering that if there was a greater demand, raw materials would reduce their cost and, consequently, also paints. Anyway, not to pollute is already a way to reduce costs (health care, waste, diluents, and so on).

Finally, without giving due consideration to other “defects” reported by detractors as, for example, the need to have a heated warehouse. Progress needs a healthy “natural selection”; having adequate production systems – not only plants, but also business organisation and work-condition’s respect – are essential conditions for companies’ survival.

The Tyranny of the Time by Patricia Malavolti

Let us resume a critical topic for coatings in architecture (and also in industrial design): which materials, how to use them, the relationship between the real material and its mimicry.

Architecture and design – that means the project - must always deal with time: in fact time is the variable that requires control. The main purpose of the coatings consists of  protecting materials with a"waterproofing" layer in order to not let deteriorate them, not only in terms of appearance but, and above all, in terms of  mechanical and functional characteristics. So we do not coat the materials just to give sensations but also to find the right balance between the naturalness of the material and the requirements connected to maintenance, cleaning, durability.

Everything is linked to time (and money): to prevent  materials’ deterioration the designer has to find the right coating that enhances the idea and allows its appropriate use. A choice that makes the difference.

Anyway coating is the last step of a process that involves more products and more players: the choice of the treatment and of the surface finishing cycle is essential to achieve the desired appearance. So it is not right to talk only about coating, but you need to know the whole process. The right process will lead to the best finish for the enhancement of the surface. Some "risky" design choices about finish reduce manufactured pieces’ lasting and caused an increase of costs for the maintenance of an adequate appearance over time, for the cleaning and for the functionality.

What does  time have ti do with the relationship between the "real" material and its mimicry? The link is due to the necessity to find the right compromise between the appearance of the material - especially when it is required in its natural appearance, for example by using  wood, or natural aluminium or oxidized iron - and the problems that these materials have without any protective coat: they get dirty, change the appearance and lose structural features - for example wood; they release on other materials their own residuals and they can not be cleaned - like Corten; they do not keep an acceptable appearance, or may be it is inherent in the production technology the difficulty of keeping  the same appearance, or in the process steps performed  in different times- as the anodized aluminium.

For this reason coating products which “imitate” materials or some finishing, in terms of aesthetical appearance, have been developed.

How can you deal with the problem without incurring the copy? The debate is open