Final varnish - matte or gloss
 

I'm looking for advice. I don't care for a glossy sheen on a painting. Are there any disadvantages to using a matte final varnish instead of the traditional gloss damar?

I've seen the occasional anecdotal remarks about a "bad experience" with matte varnish -- though it often seems that the situations described implicated other possible culprits as well. I haven't heard or seen or been able to locate any authoritative or definitive discussion that would counsel one to avoid matte-finish varnish.

Matte varnish is, unscientifically, just varnish with wax or some microsized particulate suspension that serves to influence the angle of light refraction, so that, in simple terms, light gets diverted "sideways" as it enters and exits the painting surface, rather than going straight into and reflecting straight back out of a painting. Though it is a characteristic of the different types of varnish that they dry with varying degrees of hardness, any varnish receiving additives to create the optical "matte" effect is going to be slightly weaker in structure and, according to one source, softer and more susceptible to scratching. Again, I've not encountered any advisories that this difference in curing is one that should cause significant worry.

You might wish to use a matte varnish if, say, you want to minimize the incidence of glare (though you can't eliminate glare completely with matte varnish, just as you can't entirely overcome the effects of strong light by framing with non-glare glass.) It may also seem appropriate if the subject matter of the work is such that a smooth shiny surface would not be in keeping with the mood of the piece. I have two still-lifes drying right now (though in Taipei humidity, not very fast), each of which is a very low-lit setting with flat, very dark backgrounds. I'm definitely thinking "matte" for those, because I "see" a glossy finish as spoiling the effect -- and if anyone knows of a good reason to reconsider, please! sound the alarm.

Many painters do like the glossy look of straight varnish, as it presents a "freshly painted" appearance, but I think it's absolutely fine if your preferences lie elsewhere. I would note, however, that if you begin to paint in a manner in which you're deliberately using hues in underlayers that you want to "shine through" the layers of paint on top of them (a technique said to give "luminosity" to paintings, as if they were self-lighted from within), the light disturbance that is the very reason for choosing matte varnish will now work against the light's getting cleanly and directly to those lower layers and reflecting back out to the viewer.

Just some considerations. Harold Speed writes that "the subject of varnishing paintings is a very vexed one," noting that some painters simply choose not to varnish at all. No doubt some of the pros on this site can better describe how they've learned to unvex the subject.

Good luck
Steven

I talked recently with an artist/framer/restorer who prefers to varnish with a 50-50 combination of matte and gloss. I believe she uses Liquitex Soluvar. She taught me how to apply varnish to 2 of my paintings. A thin coat is brushed on while moving the brush in all directions and feathering out to the edges, doing a smallish area at a time. She recommended varnishing the face as one whole area. Keep looking at the painting from the sides to make sure the varnish is covering evenly and uniformly. Once you start to varnish, keep going until you're done (don't stop to answer the phone!). Lint and bristles can be picked out of the varnish with tweezers, the brush, or your fingers.

According to her, unless the paint is very thick, you don't have to wait 6 months to varnish--a month is usually sufficient. She says that environmental pollutants start to adhere to the surface rather quickly and it is best to protect the surface ASAP.

I liked the combination matte and glossy look, but I'm not sure yet if I prefer it over 100% glossy.

I would love to hear some experienced opinions.

Without intending to start a new thread, I recall a passage attributed to Norman Rockwell. Being an illustrator (gasp) under deadline he could not wait for layers of paint to dry. What he apparently did was spray varnish multiple stages of his work; paint, varnish, paint, varnish, etc. He was told by his contemporaries that his paintings will likely explode. :) Well, I don't know how archival ol' Norm's works will be, but they show no signs of detonating to date (that I'm aware of).

Pam, I also like the 50-50 mix with Soluvar.

Straight matte varnish was the preference in the mid 20th Century because it emphasized "flatness" of surface, and seemed more "contemporary." For portraits though, I think it kills depth and transparency in shadows. Also, if not carefully applied, matte varnish can impart a streaky look to darks. The half-and-half mixture to me avoids some of these problems, without giving the work such a high gloss that it's hard to view through the glare. It still evens out the dull and shiny areas of the surface, and pops up the color, just like straight gloss varnish.

I don't know that matte varnish is any less archival than gloss--it probably is somewhat softer as Steven notes--but one needs to exercise some care in applying either--the most important consideration is to avoid an excessively humid environment when applying. Also, once it's applied, leave it alone and don't brush it once it starts to set up, especially if there is matte varnish in the mixture.

I have recently read strong recommendations for Gamvar. One from Marvin M. and one from Chris S. I think Sharon N. mentioned it also.

I am on the verge of varnishing several paintings. My last experience with Damar has put me completely off varnishing. Can anyone advise as to whether Gamvar gives a shiny or matte finish?

Also, I understand that Gamvar comes in a crystal form, can any all thumbed scientist make this work?

Hi Mike,

I use GamVar, and really like it. It comes in a cystalline form that you mix with some sort of solvent (don't have the box in front of me) and shake periodically until they dissolve. Once you prepare the solution, it must be used within 30 days. I usually wait until I have a few canvases ready to go in order to make best use of the batch.

The best way I can describe the finish is "sparkly". It's very similar (to my eyes) as Liquin, not too shiny, not too matte. Its really very nice.

Hope this helps.

Thanks Stanka,

I know what you mean about "Liquin", it has a certain look.

Hello all...

Since my last post on this topic, I've experimented some more with a matte/gloss mix.

I tried a 50/50 mix of Winton (Winsor & Newton) final varnishes, and like the sheen it imparts. It's also a little less thick than the Soluvar, and spreads a little thinner and more fluidly.

I've also done some math in regard to how much I have to cut the subsequent mix with odorless mineral spirit to turn the mix into a retouch varnish, rather than a final varnish--after all, the only difference between a retouch and final varnish is the ratio of varnish to solvent: a final mix is 30% varnish, a retouch mix is 15% varnish (according to published tech letters from Old Holland).

If I'm mixing approximately 4 ounces of retouch mix, I cut the 50/50 Winton final varnish mix (straight from the bottle) with about 20% more odorless.

I've usually gone to an application of retouch varnish as soon as the paint was well dry to the touch (about a week or two) as I'm doing commissioned portraits mostly and I've got to get them out the door. I don't want to send them out with no protection, but some paintings go to live too far away for me to loop back and varnish them six months to a year later. So this is my compromise. I never liked straight retouch varnish from the bottle, as the gloss was always too high for my taste.

From researching it, I don't think that this technique is unsound, but if anyone sees a pothole I don't see, please let us know herein.

Best--TE

Too shiny 4 me
 

I mix up the Gamvar and add 2 teaspoons of Bee's Wax Medium by Gamblin. It knocks down about 30% of the gloss, without having to sacrifice any of the depth. Everyone can't believe that their portraits look even better.

Mix the bee's wax medium with a little bit of Gamvar in another jar. Keep adding in more Gamvar s-l-o-w-l-y and shake, shake, shake and stir, stir, stir. Eventually you'll add this "slurry" (Robert Gamblin's word) to the remaining varnish. Shake it very well until there are no more little remnants of bee's wax remaining. You can rest when your arm gets tired. It's well worth the time and effort.

Thanks, Marvin, I'll try it.

Winsor and Newton directs us to slightly heat their matte varnish to disperse the wax well within the varnish. I put my mixtures in a plastic bottle I got from the drug store, and heat it gradually and carefully on medium--not high--in the microwave, with the cap loose so the bottle doesn't explode, shaking occasionally. In a minute or two, I can see through to the other side of the bottle and the varnish is completely clear. WARM it slightly, rather than getting it really hot. It still dries to the same reduced sheen.

Maybe this would save your arm for another masterful painting.

Regards as always--TE

I do what Marvin does-exactly-works great.

Satin finish
 

I recently picked up a satin spray varnish by Winsor Newton (recommended by th shop owner). Have I made a mistake with this? I planned to use it on a large formal portrait of a horse against a deep plum background. The background was done with numerous glazes over a brilliant gold toned canvas. It sings, as Steven put it earlier). I don't want to lose this brilliance, retouch varnish has show me what it will look like with a gloss finish and I like it. Has anyone used any spray-on satin finish? Should I just go get a gloss for when I'm ready to add the final varnish? I haven't varnished a piece yet.

Jean

Any strong texture on a work will make it hard to read and photogragh if it's glossy-other than that it's personal taste.

Have used the GamVar before, but this is my first attempt to cut the shine using the Bee's wax...

I took 2 tablespoons of Gamblin's Cold Wax Medium and made a smooth slurry with some of the Gamvar in a stainless steel canister... This had a consistency/color almost like milk. Then I poured this into the remaining GamVar in the (5.4 oz) resin mixing jar. What I've got in the jar now is not clear, but rather looks sort of dull white -- more opaque than translucent, let's call it heavy fog. When I swirl it, I see little pearlescent eddies/clouds spinning by. If I turn the jar on it's side and look at the film the varnish leaves on the inside of the glass, at first the film looks a smooth but slightly fogged, then it starts to look a little clearer but almost gritty with little pin pricks -- not sure if these are bubbles, or teeny little bits of undissolved wax?

Questions:
1) Is the 2 Tablespoons number correct for the 5.4 fl. oz. size of the GamVar, or is there another size?
2) Should the resulting Varnish w/Bee's Wax appear clear in the jar, or is it expected to be foggy?
3) If it's supposed to be clear:
a) Does this batch just need more time/stirring/agitation (how long should it take overall?), or
b) Did I ruin the batch somehow? (stainless jar? day too humid???)

I do plan to apply this varnish to a sample painting first, that I will use to show clients what the finish looks like, but I'd rather not mess up even that if this batch of varnish is not right. . .

Any help greatly appreciated!!
Thanks!

I'm assuming you mixed up the Gamvar solvent with the crystals first. Personally, I use glass to mix my mediums and varnishes, not metal. Seems cleaner. After everything is mixed up I shake for one hour all day and let it all sit for a day or two.

When you mix up the slurry you need to introduce the beeswax gradually. Otherwise it may not be properly emulsified. In the final concoction there will always be tiny bits of undissolved wax in the final mix, which I would call more opalescent than opaque. White gesso is opaque.

Definitely test it out on an old unimportant painting that's sufficiently dried (6 mos to 1 yr). If you don't like what you see after it dries (couple of hours), you can always remove the varnish with Gamsol (mineral spirits). Then if you feel it's too mattte, add more Gamvar.

Terri,
I believe that Marvins advise is correct when followed from the start, that is gradually dissolving the wax by stirring.

But as you describe the look of it I think that the wax is not dissolved, so that is why you should follow Tom

Marvin, Allan, thank you both so much for such timely and helpful responses!

Yes, I mixed up the Gamvar a couple of days ago... but perhaps I rushed the slurry mix and the wax isn't sufficiently emulsified? Or maybe the whole thing just needs a couple of days to settle now that the bee's wax is mixed in? Opalescent could maybe describe what I've got, but so could murky... Certainly not so opaque as white gesso! I'll give some more time and agitation, and make sure it's warm enough -- then see what it looks like on a painting!

And Marvin, I will use glass to make the slurry in next time--Thanks!

Terri, I encourage you to email Gambin directly with your questions. I've found Robert Gamblin to be very responsive to queries.

Terri, I encourage you to email Gambin directly with your questions. I've found Robert Gamblin to be very responsive to queries.

Hi Michele, thanks so much! I didn't see a 'contact us' or email link on Gamblin's web site. But, I did find this:
"...Like damar, Gamvar has a high shine. To make Gamvar less shiny, dilute with up to 50% OMS. Also painters can make a matting agent from 2 fl oz of Gamsol OMS and 1 teaspoon of Cold Wax Medium. Dissolve the wax completely in Gamsol. Add this in place of a percentage of OMS to make Gamvar more matte.

..."

so I'm thinking that the reason my varnish is looking so milky is that maybe I've just got way too much Bee's Wax in there. I'm going to mix up a new batch using a teaspoon and some OMS rather than 2 tablespoons, and see if that looks better. I'm afraid that with as much wax as is in this batch, my darks would look streaky.

I should've majored in chemistry, my 'studio' is starting to look like a lab!

There is a contact e-mail on the Gamblin site, though it took me a while to find it the other day.

I found that cutting the Gamvar with OMS was just as satisfactory, at producing a more matte finish, as using the wax. However the varnish/OMS mixture is probably not as effective as protecting the surface as a varnish/wax mix would be.

Yoo hooo, Mike!
 

I'm quoting a post from 2003 I think, but I wanted to ask you, if I might... What was your negative experience with Damar, and have you taken up varnishing again, given the strings of advice?

I have an old commission on my easel (delivered to me yesterday) to be varnished, so I was reading up on the latest.

Cindy,

If I remember correctly my experiences with Damar probably had as much to do with my inexperience in application as with the product itself. I found that it would puddle up in places and was too shinny for my taste. The whole subject of varnish is a frightening one to me.

Because I like the finished look, and because I am so reluctant to change what seems to be working, I am now using a mixture of liquitex soluvar matte and glossy finish.

The mixture (tragedy), which includes cinnamon, sugar, turpentine, along with a cameo from Linda Brandon appearing as Ophelia (or was it Desdemona), can be found in the following thread:

http://forum.portraitartist.com/showthread.php?t=2895

Others have stronger views on the subject. I am no chemist, I don't enjoy diddling with these matters. I tend to park on something that works and turn off key.

I can totally relate to that.

I have never varnished, so I will definitely be practicing on my own pieces. Practice or no, it seems such a shame to risk ruining something on which I worked so hard (and would have to replace for free should I actually succeed in ruining it!) so I am very reluctant to get started on this aspect of oil painting.

Not to mention the fact that its framed, and I can't remove the painting from its prison. So, does one normally varnish in the frame? Employ taping or masking to protect the frame?

Thanks for the link, O Claudius, (or would that be Iago?) - I shall check it out forthwith, ere I err.

Cry pardon, sir. You were surely victim, not villian!

O fate, thy sweet pastry cast a pall. What of thy painting, sir?

I'm no chemist either, nor do I like taking risks with important paintings. So I use the varnish that the National Gallery uses: Gamvar, by Gamblin. Easy, simple, looks great. (Hey, that ought to be a tv commercial!)

Damar varnish yellows dramatically over time and because it needs strong solvents when conservators try to remove it, sometimes a bit of the top layer of paint comes off with it. (You can see some before and after varnish removal pictures on some museum websites.) I try to stay away from it, even retouch varnish made with Damar.

With Gamvar, if you make a terrible mess of it (though I don't see how) you can take it all off with a more gentle solvent like odorless mineral spirits. Gamvar is glossy but it's easy to cut that glossiness by thinning the varnish with mineral sprits when you put it on, or with Gamblin Cold Wax medium in whatever proportion you like, to get a less glossy surface if that's your preference.

I always take the paintings out of the frames before varnishing, and wait til the varnish is very dry before putting the frames back on.

Thanks Michele. Looks like a trip to Utrecht (in the snow & freezing rain!) is in order.

I was afraid you were going to say you take the paintings out of the frames. The framers put the brown paper on the back! Grrr. Now I guess I need to get an exacto and remove that paper. Or - this just occurred to me - I have a great relationship with the framers that did this job - maybe I can have THEM remove the painting!

So, it is the usual custom to remove the painting, then? Does noone varnish in the frame?

Oh - and one more question (sorry to be a pest) - how long usually is that "fully dry" drying time?

I could never muster the courage to completely strip the painting of the varnish and begin again. Luckily the painting was mine. If you look directly at it you can't detect the offending section, but from the side, with my one good critical eye, it doth stink to high heaven.

How long it takes something to "dry", whether it's paint or varnish, depends on so many factors: what type, how thick, type of support used for the painting, ambient temperature, humidity, light, etc.

Cindy,

If you left it in the frame there is no way to keep the varnish from reaching right up to the frame. It would end up gluing the frame to the canvas. If ever removed - the frame would take part of the varnish (and paint) with it I bet. See if you can get the framers to take it out for you and put it back in for you - along with that nifty brown paper. Heck - see if the framers want to varnish it also. ;)

Cindy,

I

Hi Cindy--

I recently dealt with all of these same questions myself... For future, you can instruct your clients to have the framer leave off the backing paper (or ask the framer directly if you've got a relationship with them) so that the painting is easy to remove 6 months later. (You may also want to check at the same time that your framer is using rabbet 'frame sealing' tape along the rabbet of the frame to prevent acid migration from the frame to the canvas....) The framer may be willing to just apply the backing for you 6 months later once the painting's varnished... Or you can get acid free frame backing paper from Dick Blick (and double sided tape) and put it on yourself. It's also good to put some vents or a cut-out in the back so that the painting can breathe.

If you're trying the GamVar for the first time, it's pretty straight forward to make... and the mixture with the 2 teaspoons of beeswax that I was so stressed out about earlier in this thread, I did wind up testing and using on a couple of my favorite paintings and they turned out beautifully. I've been offering clients a choice of finish... Glossy (straight GamVar), 'Satin' (the GamVar/2tsp Beeswax mix), and 'Matte' (which is actually the Golden's 'Satin' spray varnish but sure looks matte to me!) I've made up little sample cards of each finish on 5x7" gessobords and let the clients choose from there. So far every client has chosen the GamVar/beeswax mix.

The GamVar seems much more forgiving than other varnishes I've worked with... so I no longer stress out as much about applying the varnish itself, just dust/vacuum real well first and keep the cats out of the room while it's drying to prevent unintended little additions to the finish!. :bewildere

Good luck!

Just an update - I have an appointment to take the painting to the framers on monday for them to remove if trom the frame. They'll store the frame for me, so I just have to bring the painting home, varnish it, let it dry for that indeterminate amount of time, then take it back and they'll reframe it. They said "for a nominal fee."

Nominal is such a subjective thing, isn't it? One woman's nominal is another woman's astronomical, I always say.

No, really, I do. ;)