Posts Tagged ‘Casein’

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Painting Update 2: A Kiss On the Neck

August 20, 2017

A few spots need a little more tweaking, but it’s almost finished.

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Painting Update: A Kiss On the Neck

August 15, 2017

After getting sidetracked for a few days trying to earn some spending money, I’m back on this painting again. It seemed like I had gotten too rusty from being away so long, working extra hard to get her face just right, but I think I’m getting the hang of it now. Maybe things will go more smoothly when I switch over to the guy’s head.

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Shiva Casein Paint Test Update

July 24, 2017

To follow up on my previous post, I had found that one of my Richeson/Shiva paints, Cadmium Green, transferred to a dry paper towel with just some light rubbing after the paint had dried. Now I wanted to see if other tubes I owned had this same problem. They do.

This picture shows a sheet of paper on which I painted 1 inch swatches of all the different tubes of Shiva paints I have. The paper towel at the bottom shows pigment from each swatch that transferred over. I did not dilute the paint at all with water, and did not apply the paint too thickly. All of the paints smeared easily when rubbed, some more than others, with the sole exception of the Raw Sienna. The ivory black in particular smeared very badly, and even after a day of drying felt to have a weak paint film.

Since all of the paints are old, in some cases decades old, I asked around to other people who used these paints if they could test any tubes they might have that are newer, and see if they had the same problem. I heard back from a couple people. One person had some Richeson caseins that were only months old, and found they had the exact same pigment transfer problem. The other artist rubbed the surface of paintings he had made that were at least 3 months old, and said no paint at all rubbed off. What this tells me is it might be possible that if the paint is allowed to cure for awhile longer, the pigment will adhere better and not rub off. This strikes me as a strong possibility. So, I think I’ll do a new test on paint swatches that sat undisturbed for a month or more, and then see if any pigment rubs off.

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Comparing My Casein Paint to Shiva Brand

July 22, 2017

I wanted to follow up on my previous post where I made my own casein white paint, and see how well it compares to tubes of the Shiva paint I had, and discovered something interesting. I used the paint swatch I made testing my paint on a sheet of Strathmore textured “Art Paper” 65lb.

I painted a small swatch of the Shiva titanium white, undiluted, next to the swatch of mine I had made. It may be hard to tell in this photo, but I noticed their white has a slight off-white yellowish tint to it that mine does not. I let this dry for a day, and came back and gave both a buffing with some colored fabric, and saw no transfer of pigment from either swatch. Next I placed a small piece of cellophane tape over each one, rubbed it, and removed the tape. Both transferred some paint, but more paint came off the Shiva swatch, lifting almost all the paint from the paper. The casein binder I used to make my paint was over a year old, so later I’ll see if a fresher batch performs better.

Since that tube of Shiva white is many years old, I thought I’d test a newer tube of Cadmium Green that I had to see if it performed any better. Rather surprisingly the pigment adhesion was worse. I let that paint swatch dry for about 3 hours, and rubbed the surface with a paper towel. You can see quite a bit of pigment rubbed off. The tape test pulled off quite a bit of pigment also, and the way the pigment transferred was not in sections of paint, but powdery like what I saw on the paper towel. This tells me that the adhesion on this tube of Shiva paint is poor. Granted, it’s about 5 years old or so, but it shouldn’t come off this easily. I have commercial tubes of gouache that adhere better than this. I hope the newer Richeson brand of Shiva adheres better. Now I want to test the rest of the Shiva paints I have. This is not terrible, but surprising. This paint adhesion is not much better than soft pastel.

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Making Casein Paint: Titanium White

July 21, 2017

I’ve been wanting to get back to using one of my favorite paint mediums for awhile, casein. I took an inventory of the tubes I had available for my next project, and noticed I was short or low on a few colors, particularly titanium white, so it’s time to make some more.

I have a bathroom next to my studio space that I use exclusively for this type of work, so I clean off an area by the sink, and set up my tools and supplies. I have a large sheet of textured glass that I use for mixing the paint. There’s a mortar and pestle for smoothing the dry pigment, an empty tube for the paint, a squirt bottle of distilled water, about 4 ounces of casein binder, and white pigment.

The pigment is a little lumpy, so I use the pestle to break it down some, and place about 2.5 tablespoons of pigment on the glass with about 2 teaspoons of binder and just enough water to get the consistency of paint I want, and spend a few minutes with the spatula smoothing it out.

I test the paint I’ve mixed to see if it spreads easily with a brush without having to add any water, and check the opacity on this sheet of colored paper. It looks fine, so I repeat these steps about 2 more times to make more paint to fill the tube.

There’s enough paint now to fill up this 50ml tube and another 22ml. I seal the ends by squeezing it shut at about 1/2 inch below the end. to give me enough room to crimp.

I fold over a little of the end, and crimp it tight with some pliers, and repeat this about 2 more times to get a tight seal.

Here I have two tubes of white casein labeled and ready to use.

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Sinopia Casein Gesso Update: Jar Problem

May 2, 2017

I’m interrupting my series of posts on the new painting to point out a problem I discovered today with a jar of Casein Gesso from Sinopia. This follows up on two posts I made in the past: one is a review of this product, and another was how I store paint containers like this upside down.

I bought this jar of gesso a little over a year ago, and keep it inside a drawer in my studio. I haven’t used it in awhile, but today I decided to open the drawer to try it out again, only to find the contents had leaked out. The lid was screwed on tight, but that wasn’t enough to stop air from getting in, and some of the contents leaking onto the drawer. Fortunately that was plastic, so it was easy to clean (that’s what that clean piece of gel is in the picture,) but I had to use a plumber’s wrench to get the lid off, and found that about 1/3 of the paint had dried out. That rounded disk inside the lid is about 1/2 inch layer of dried paint, and more dried on the sides of the jar. It had been stored upside-down.

As I mentioned in the article link above, I store containers like this upside down just for this reason. Screw-on lids of this type make very poor containers for paint, since air gets in easily. Even if this was stored upright, air gets in, and would have dried out the paint even worse. Some jars you can buy come with cushions inside the lid, sponges or thick paper, that help seal the jar. Another solution I’ve used in the past is to wrap wide tape around the outside. That has to be replaced frequently, but it’s better than throwing away paint.

Metal cans for paint make a better seal than a screw-on lid, unfortunately, a quart size can is the smallest available. Tubes are also better since the opening is smaller, so less air gets in. The best option is to use it up quickly. Prime several sheets of paper stock or canvas that you have on hand, and don’t store the left over paint for very long.

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Homemade Casein Fixative

October 27, 2016

I’ve been meaning to make fixative out of casein for some time now, but until recently I haven’t done much art in a medium that need it. Today, I was in a conversation with an online friend about types of fixatives, and this subject came up, so I thought it was a good time to make some and test it out. Conclusion: it works very well.

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If you’re possibly new to the term “fixative” and its use, it’s a coating that is added on top of dry media (charcoal, pastels, graphite, etc.) to keep it from smearing. Most commercial fixatives come in aerosol cans that use an acrylic resin. There’s a commercial brand of casein fixative on the market called SpectraFix. I’ve tried it, and it works okay; although, I’m not too fond of their pump sprayer.

I first heard of using casein as a fixative in a book about Paul Gauguin and his pastels where he learned this technique from Camille Pissarro. I later found a recipe for it in the Reed Kay book “The Painter’s Guide to Studio Methods and Materials.”
1 part by volume casein solution
2 parts by volume grain alcohol
5 parts by volume (distilled) water

The casein solution I used is the same as I always make for a base medium to start from. I describe it here in my most recent batch I made back in April. It has a couple drops of Thymol preservative in an 8 ounce mixture. It’s very easy to make. This batch came from raw milk, but it can also be made from dry casein powder, which I’ve talked about before. The grain alcohol I’m using is Everclear, which is 190 proof. A good clear Vodka could also work.

Mixing it was simple enough, so to apply it I used the Preval sprayer I wrote about a few years ago. I’ve used it occasionally for spraying primers and it works great. I found that the spray comes out with a little more force and volume than most aerosol cans I’ve used. As such, I knew to step back about 2 feet with the art surface upright, and move across the art in a quick sweeping motion; starting the spray off the art and finishing off the art.

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The plastic sheet above has the fixative on it, and the sheet below it has none, so you can see how it turns the plastic very dull. When sprayed on paper, even black paper, I don’t see anything. Held up to the light, I can’t see any reflections. Each coat dries very quickly, under 10 minutes. When soft pastels were sprayed with two coats, I didn’t get any smearing.

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At first, I got worried when I sprayed the grey pastels above. The whole image almost disappeared, but it came back as the fixative dried. It lost a little of it’s brightness, but otherwise worked fine. On the white paper sample, the color pastels didn’t seem to change value at all. It also works well on soft graphite pencils and charcoal.

I would have no concerns using this fixative on my finished work. I could also layer it; although, I would be reluctant to build it up too much – 3 to 4 coats max. The water content could cause paper to buckle, especially thin paper, unless it was stretched or taped down before the drawing was started.