for Nicola Vigini r i e n d l y, durable and more popular than ever. But with the boom

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1 15Questions for Nicola Vigini Photos: Vigini Studios Nicola Vigini completes Hall of Ruins at Vigini Studios, Inc. during a seven-day mural class. Ve n e t i a n p l a s t e r s are gorgeous, ecof r i e n d l y, durable and more popular than ever. But with the boom has come an explosion of plastering products, many with competing claims and confusing terminology. Sometimes, it feels like you need an Italian dictionary just to read the label. Nicola Vigini understands. The renowned founder of Vigini Studios, Inc and 2002 host of the International Conference of Painters (SALON) in San Antonio, Texas, trains artisans worldwide in plastering techniques. And no matter how experienced the artist, Vigini says, confusion reigns over product names and meanings. So who better than this son of Rome to clear up the confusion and help with the hype? PWC: So many products these days are labeled Italian plaster or Venetian plaster. Is there a single, universal definition of these terms? Nicola Vigini: Surprisingly, no. Ve- A master of Italian plasters offers a plain English guide to the materials. netian plaster and Italian plaster are terms created for the English-speaking market. But they really don t indicate anything, except for the general expectation of a smooth plaster that can be polished. We don t have a single definition. Suppliers can call their products whatever they want. PWC: Does that mean that all plaster products are more or less the same? NV: Definitely not! That s why I spend so much time in my classes explaining the materials. Professionals who work with plasters need a very clear understanding of these products, and many still don t have it. Different products with similar (or even the same) names can yield very different results! PWC: Do brand names or prices tell anything about plaster products? NV: Brand names don t mean anything when it comes to the product you are buying. But in general, more expensive products tend to be of better quality, because they presumably have higher-quality ingredients. PWC: OK, so help us translate. Many products call themselves marmorino. What exactly is marmorino, and how does an artist find the most authentic material? See PLASTERS on page PWC SEPTEMBER/OCTOBER 2009

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3 15 Questions PLASTERS from page 40 NV: Marmorino (from the Italian for little marble ) is a specific name given to a mixture of lime putty (processed lime) and marble dust that produces a finished appearance similar to marble. Marmorino s origins can be traced back 2,000 years, to the time of the Roman Empire, and in some cases back to the ancient Greeks. For the Romans, marmorino was the standard material and process for finishing a wall. Much of this work has been preserved; even today, in Nero s Domus Aurea (Golden House) in Rome and in Pompeii, we can still see wonderful examples of it. In fact, much of what we know today about marmorino comes from the Roman architect Vitruvius. His 10 books on architecture include detailed and memorable accounts of making and applying marmorino. His work was then rediscovered, along with much of the classical world, during the Italian Renaissance. PWC: What was the Romans process? NV: For centuries, the application process consisted of at least six layers of plaster over walls of stone or brick. The first three layers were composed primarily of lime and sand, leveled with a wood plank to build up volume and level the surface. The top three layers were the true marmorino, made of lime and marble dust. The plaster was then polished with a trowel or other tools, then sealed with a natural soap mixture and finished with a layer of wax. PWC: Has that process changed much? NV: Somewhat, but perhaps not as much as you might think. Today, authentic marmorino can be made as in the past by using lime putty and marble dust, but this product can only be applied over an absorbent surface, such as traditional plaster. Fortunately, advances in technology over the last century have introduced resins and polymers that are now fundamental components of every plaster on the market. This innovation has allowed modern marmorino to be applied over coats of paint and our modern walls. Sometimes, these products also Marmorino was extensively used in ancient Rome, and many examples of the six-layer process survive. have a special companion primer, made with more resin, to improve adhesion to a painted wall. PWC: All right. Next translation: spatolato and pastellone. What are these? NV: These are somewhat newer plasters that grew from the 19 th -century demand for less expensive, faster, easier products. These finishes made with whiting, pigment and organic glue can also be polished and finished with wax. The smooth, buttery consistency of the mix led to the use of spatulas instead of trowels in application; hence, the name spato- lato. A good-quality Venetian plaster and the right technique can deliver the look of this finish. PWC: What is the difference between marmorino plasters and the spatolato/pastellone types? NV: The main difference is that marmorino, by definition, has marble dust and lime and is considered a finish coat for regular plaster. Pastellone and spatolato do not contain lime and, because of the presence of glue in the product, can be applied to wood and other surfaces. PWC: Are there differences in application as well? NV: Yes. Traditional marmorino is applied in long strokes with a trowel, resulting in a uniform and slightly mottled surface. The others are generally applied in short strokes with a spatula or putty knife, producing a contrasting finish with angular shapes. PWC: Where do Pozzolana and Cocciopesto come in? NV: Pozzolanic ash (Pozzolana) and crushed brick (Cocciopesto) were once added to traditional plasters to help make them waterproof. Pozzolana also strengthened the material. Cocciopesto became especially popular in Venice for the red tone it added and for its help against the city s humidity. It is still used in some modern products for its special coloration. PWC: We also see stucco lustro and stucco veneziano on the market. Are these brand names or specific product types? NV: Actually, neither. In English, these are general names for any Venetian plaster. In Italian, they refer more specifically to the spatolato and pastellone type of plasters than to marmorino. If you see a product labeled this way, it is best to contact the manufacturer to learn more about the See PLASTERS on page PWC SEPTEMBER/OCTOBER 2009

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5 15 Questions Circle No. 22 on Reader Service Card PLASTERS from page 42 product s composition and recommended application process. PWC: Some plasters are labeled natural, some are synthetic, and others are lime based. What is the difference, and is one type better than another? NV: The difference between synthetic and limebased plasters today is relatively simple. Synthetic refers to any plaster made exclusively, or mostly, of synthetic resin or polymer and pigment. Synthetic plasters are more flexible and less likely to crack, making them easier for a single person to apply. Like a paint medium, synthetic plasters accept any type of pigment and, if good quality, they are water resistant. On the down side, synthetics appear more plastic in their sheen and general appearance, and less expensive brands can appear chalky and flat. PWC: What about natural plaster? NV: True natural plaster doesn t really exist anymore (no matter what the label says!) unless it is homemade from scratch. Even if you could make it, natural plaster would be unusable in modern interiors because it must be applied over a flat, absorbent surface such as another plaster and could not be applied over paint. PWC: Which brings us to lime plasters. How best to use them? NV: Lime-based plasters have a high percentage of lime (up to 95 percent), but they retain a small amount of resin. The finished surface will be water resistant but porous, allowing moisture to go in and out. Lime-based plasters have a softer, more natural sheen than synthetics and, if properly applied, will have a more durable finish. On the other hand, these plasters Natural plaster doesn t really exist anymore (no matter what the label says). are limited to lime-proof pigments. Generally speaking, the color of a lime-based plaster will dry about 30 to 50 percent lighter, making it a better choice for pastel-type colors. The type of lime will help determine what kind of pigment can be used. PWC: Is there anything else decorative finishers should know about these plasters? NV: Yes, and it is important. Everyone who works with plasters should receive proper instruction and make sure to practice, practice, practice with them. Even the best materials are only as good as the artist who applies them. Beautiful results take time, care and experience. PWC: Grazie, Signore Vigini! NV: Prego! Vigini Studios Inc. Atelier and School of Faux and Decorative Finishes offers training to individuals, schools and museums nationally and internationally. Professional services are available through Vigini Painting and Decorating: or info@viginistudios.com. Learn More Nicola Vigini will lead a workshop on Plasters Across Time at his studio in San Antonio from Nov The workshop, for all levels of applicators, will cover the history and evolution of American plasters through hands-on training. Participants will create lime and synthetic based plaster samples. Details are available at 44 PWC SEPTEMBER/OCTOBER 2009