1.24.2018

getting buffed

Glancing View of Buffed (left) and Unbuffed (right) Paintings


Overhead View of Buffed (left) and Unbuffed (right) Paintings

It's been over six weeks now since I finished my first paintings on Claybord panels.  That's long enough for them to be completely cured and ready to buff.  I'm absolutely loving the way the buffing looks!  It takes the place of varnishing and creates a protective finish for casein - how wonderful is that?  I have an old white wool blanket that I'm cutting in pieces to use as buffing cloths.  The white cloths are clean after buffing which tells me six weeks is plenty of time.  Feeling happy here :)

2 comments:

Jan said...

Thanks! I know you had mentioned buffing as an alternative to varnish so it's nice to see the results.

Is the painting protected enough or should it be placed under glass?

Mary Klein said...

It's fully protected and ready to be framed as an oil painting - without glass.

Here's what Terry Stanley had to say in a comment on James Gurney's blog regarding buffing casein paintings: "Hi Jim - Terry here putting in my unsolicited 2 cents of knowledge from my years at Richesons. Richeson Shiva Series caseins are indeed one single product line. Emulsion info: Actually is to be used to make your own casein with pigment, mixing the emulsion as you do with egg tempera, then thin with water. Some people will use the emulsion as a medium and it's fine to do that except you 1) may extend drying time and 2) will lose the lovely matte finish of the paint, which is why casein was so prized by illustrators - the matte finish reproduces beautifully. Casein shouldn't be varnished (or finish of some sort be applied) before it is completely cured, which can take up to 4-5 weeks. Varnish is actually unnecessary which is why it's not made anymore. If you insist on varnishing, an acrylic one will be fine. Do NOT use an oil varnish as it can cause adhesion issues, orange peeling, etc. Casein on panel or other rigid support is meant to be buffed. Once completely cured, take an old t-shirt rag or other non-listing cloth and gently but vigorously rub the surface. A lovely satin-ish sheen will come to the surface and actually protect the painting. Properly applied to an acceptable, prepared painting surface, caseins weather time even better than oils. If you use paper as your chosen surface, it is recommended that it be framed under glass."

From Terry's blog: "Terry Stanley has been a professional artist for over 25 years. She has studied with Everett Raymond Kinstler, Dawn Whitelaw, Stephen Quiller, David Cheifetz, Michael Shane Neal, Elizabeth Robbins and others. She has taught workshops across the country and has curated over 50 art exhibits. Terry spent 13 years as the Founding Director of Richeson School of Art & Gallery and the Richeson75 International Art Competitions. Since retiring from Richeson's at the end of 2015, Terry is joyfully indulging her passion for textile/surface design, painting and teaching."