So, if I owned a possible 20k museum masterpiece, I would do this. Otherwise, prevention can be your mainstay. Keep them out of the sun both for UV protection as well as softening to the point where dirt can get embedded.
If you add a little dose of prevention from above, you should be able to enjoy your painting for as long as you wish. Those same artists have told me their paintings from 40 years ago still look great. I can personally attest to my unvarnished paintings from 30 years ago still looking fabulous. I still use Golden to this day for that reason.
For collectors, I would recommend any paintings you need cleaning should be taken to a professional to be on the safe side. A Matte finish is non reflective as it suggests, gloss can be very reflective under interior or natural light and satin provides a soft sheen; also consider that colours can change dramatically after the varnish has been applied, some will darken whilst others will become more vibrant.
Before varnishing your painting and if you are using a removable varnish, it is advisable to apply an isolation coat first. The isolation coat has a glossy and transparent finish and will provide a level base on which to varnish onto. This permanent protective barrier seals all of the porous surface and will protect your painting if you ever need to remove or replace the layers of varnish above it.
Varnish removal will involve using a solvent, which could damage the actual painting below if you do not create a permanent protective barrier. Using a gloss isolation coat, especially before applying a matte or satin varnish, will prevent a cloudy appearance from occurring in the varnish layer. Because this barrier is a permanent layer on your acrylic painting, it is advised that you create a series of investigations to ensure your isolation coat application is compatible with your aspirations.
Whichever isolation product you use, ensure you read the instructions carefully, different brands will have different instructions. Some may need diluting and some can be used straight out of the bottle. Wheras, Golden's Isolation Coat medium, for example does not need diluting. Most isolation coat brands can be used on canvas, wooden panel or paper. Another consideration before you purchase will be whether or not you want to use a solvent-based MSA mineral spirit acrylic varnish or a water-based polymer one.
Both contain UV filters and will protect your painting, however, the MSA varnish can be used for both oil paintings and acrylic paintings, it is clear on application and will dry to a harder finish; Liquitex makes a varnish called Soluvar which is archival and removable for acrylic and oil paintings.
If you choose to use an MSA varnish you will need to use a mineral spirit solvent for removal. When using solvent based varnishes you will need to wear a NIOSH approved respirator for protection as the fumes are toxic; your brushes will also need to be cleaned with a mineral spirit solvent.
Solvent resistant gloves and protective clothing are also recommended. A water-based varnish however is a non-toxic option and brushes can be cleaned with just soap and water; no harmful fumes and safer for the environment. Some of these varnishes can appear white or semi-translucent on application. They do dry clear and transparent but the matte varnishes can lighten dark areas of the painting due to the matting agent. Acrylic polymer varnish can also be removed with low odour solvent or turpentine.
A removable varnish will allow you to clean your painting and re-apply the varnish in the future. At this point if you wish, you may change the paintings surface appearance say from a matte varnish to a gloss or satin finish once the original varnish has been completely removed. You must apply an isolation coat if you are going to remove your varnish so the underlying paint layer isn't damaged.
The removable varnishes are just as protective as the permanent ones. A permanent varnish does not require an isolation coat as it cannot be removed but should provide an archival level of protection.
Removable and permanent varnishes come in both aerosol and liquid. Acid-free, quick drying, clear varnish made of acrylic base. No yellowing or de-saturation. For interior and exterior use. Can be used for art, hobby, crafts and DIY. Available in gloss, semi-gloss, matte finish.
Gloss level shown on donut see top of can. Protects and fixes paint on surfaces like canvas, paper, charcoal drawing, bast fibre, wood, photos, etc.
Protects against oxidation. During application, protect the object and the surrounding area from spray. Surfaces should be dry, clean of dust, oils and rust before applying the varnish. Shake can well for minutes upside down to take advantage of gravity.
Start by deciding if you are going to use a spray or brush. For flat, smooth surfaces a brush is fine. For impasto or textured surfaces sprays work better because a brush can leave little pools of varnish in cracks and crevices. Wipe off your painting and check to make sure there is no dust or dirt on it. Protect your surface with garbage bags or drop cloths.
Lay your painting on a flat surface. Placing it upright on an easel can cause runs in the varnish. If you are varnishing a canvas board or will be varnishing the sides of your canvas, put something under it to raise it slightly off your surface. I use four dominoes on smaller works and a large tub of gesso or two with a board propped on top for larger pieces. Read instructions on container! Pour your varnish into a dish large enough to accommodate your brush, which should be two inches or larger.
I found the best thing to use for this is old glass or ceramic serving dishes I have picked up at yard sales. I love to recycle. They are usually big enough and easily cleaned. If you are doing an isolation coat first, mix the varnish with water according to the manufactures instructions.
Stir gently! Vigorous stirring or shaking can cause bubbles and foam to form. It is best to use a brush that has only every been used for varnish. The chemicals in the varnish can loosen dried paint and cause specks and discoloration in your varnish. Starting in the center, move from one side to the other on your canvas with long, even strokes. Get eye level with your painting from time to time to check for areas you missed.
A second coat is optional but I prefer multiple thin coats. Let your painting dry for 4 to 6 hours before disturbing it. It may be dry to the touch before this but I am always overly cautious. Set it in an out of the way place for a couple of weeks to let it cure completely. Follow steps 1 to 5 above. Shake the can of varnish vigorously. This step is important to make sure all of the chemicals have been mixed and you get a satisfactory finish.
It can be very helpful to have a second person helping. Drying times of varnishes vary, depending on the absorbency of paint, ground and substrate layers. Paintings on panel supports, for instance, might absorb less varnish and therefore dry more slowly. At any rate, key is to avoid any dust settling into the fresh varnish layer. Reducing airflow can help a lot. Small paintings may be placed in perforated cardboard boxes for drying Image 9. The box should be covered with a lid to protect the painting from dust.
Large paintings can be leaned against a wall as soon as a varnish has set Image The varnished side should be facing the wall, to reduce dust accumulation. Placing the painting on an oblique easel with the painting facing the easel can also be an option Image There are many ways to apply a varnish and create nuanced sheen differences.
The most important thing probably is to allow enough time and to practice on a sacrificial piece. It can be very useful to create a simplified miniature, sort of a scrap piece, while painting. Such a piece can be used for solvent sensitivity testing and for varnishing tests Image If you would like additional advice, please contact the Materials Specialists with your questions help goldenpaints. Subscribe to the newsletter today! Dear Mirjam, I greatly appreciate your sharing these varnishing techniques!
I have read many articles about varnishing methods but this is the first one to share methods to tamp down the sheen of glossy varnish or shine up a matte varnish. I will definitely try these methods as well as the idea to apply varnish with the direction of the underlying painting. These methods suggest to me that gloss and matte and satin varnishes could be applied to selective areas of a painting to preserve the shine of metallic paints or the matte of pumice inclusions, etc. Have you tried such an approach?
Thank you for your comments. Selective varnishing can be a good option sometimes. It probably requires a little more practice and skill, but it is a great way to protect the sheen of areas that have been gilded or painted with metallic or iridescent paints, for instance, while keeping the rest of the surface more matte. The possibilities are many! Always test first when trying out new varnishing approaches. How can a painting be lent forward without the front touching anything?
How to avoid dust on an oil painting left to dry for months before varnishing? Thank you very much for your questions. I should have been more clear on this. When placing the freshly varnished painting on an oblique easel, it should be facing the easel but not lean against the center piece or anything.
When placing a small piece of foam in-between the retainer and the painting, then the painting is held in place more securely. It is helpful to practice this set up with the painting before varnishing, so that everything goes smoothly when it matters. When we carried out tests to investigate the stability of UV-light stabilizers in our varnishes, we found that the UVLS do not become less effective, even when the varnishes are stored for longer periods of time. Thank you very much for your kind feed-back.
Yes, dust can be a tricky problem, especially in big cities. Avoiding any air draft and misting or spritzing the air with water should make the dust settle somewhat. Another option might be to improvise some sort of transparent tent in which the painting could be placed while drying. That way the oil can dry in the light, but the painting is protected from dust. It is correct that the Polymer Varnish is not recommended for oil paintings. There are concerns around both adhesion as well as the alkalinity of the varnish in its wet state.
At this point, however, if the oil painting looks okay we believe the best thing is to simply let it be. Removal of the Polymer Varnish would require extensive use of ammonia, which would pose far more danger to the painting then leaving things alone. Besides, at this point the varnish is largely inert and has a neutral pH.
Lastly, we would recommend making a note of the varnish type and including that with the painting — perhaps listed on some paper adhered to the back stretcher- not on the reverse of the canvas. That way any future conservator or framer needing to repair or clean the painting would be aware of what materials were used.
You could also consider removing the Matte MSA Varnish and then apply the Liquitex Gloss Varnish afterwards, provided that this could be achieved without damaging the underlying paint layers. While certainly this is an option an artist can take, we just want to share that we do not recommend using non-removable mediums as a topcoat on a painting since we believe varnishes should be removable to allow for repair should the surface is ever damaged.
We just want you to be aware of that, so you can make your own informed decisions. I have finished a painting as a mixed media work. I used Golden acrylic paints and black Noolers Ink. What Golden Media can I use for the finial coat to seal it so I do not have to put a glass over it?
Can you help me? Mixed media pieces can sometimes be tricky to varnish if the materials have different sensitivities. To avoid solubilizing or blurring any water sensitive inks, it would be necessary to use a solvent based varnish.
It might also be better to spray apply the varnish, rather than brush apply. The Archival Varnish would allow you to build up the varnish layers carefully with minimal surface contact. We recommend doing a small test on a scrap piece that contains the same materials as your mixed media painting, to check if there are any unforeseen issues. We generally recommend starting with MSA Varnish Gloss to build up layers until an even, glossy surface is achieved.
After that, Archival Varnish Satin or Matte could be applied, if a matter sheen is desired. I am looking for a varnish which can do oil and acrylic that protects against UV. I have just finished art school and was never shown varnishes. Can I use a glass varnish and then apply a coat of the spray for UV? Satin or Matte. This technique allows you to built up sufficient layers of UV-protective varnish, that should protect your paintings significantly from UV-induced discoloration or fading.
We have found that approx. Feel free to reach out whenever you have more questions. Here is where you can reach us:.
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