Gilsonite, when fluxed with raw tung or oiticica oil, gives an unstable liquid, that is, one which will take on excessive body when aging, and one which is not gas-proof.
On the other hand, when gilsonite is fluxed with tung or oiticicaoils which have been heat-treated with the additions of gums or resins in the ordinary fashion, the resulting paint becomes full of check marks and deteriorates rapidly, particularly upon exposure.
The use of the present type of oils, however, results in a paint which does not take on excessive body upon aging and at the same time does not check and deteriorate rapidly upon exposure.
Driers, such as lead, cobalt, or manganese oxide, or the like, may be incorporated to control the drying time of the finished paint. Thinning oils such as mineral spirits, solvent naphtha, or any good solvent for the gilsonite and the oils, may be incorporated to bring the paint to the desired consistency. This normally requires about 50% to 65% by weight of thinning oils.
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