Warning! Don't use damar as a final picture varish

[Scott Bartner]

This is something to think about. I'm certain I'm not the only artist who retouches before a painting goes out the door. I appreciate the information.

[Lacey Lewis]

This has been a great source of information for me. Unfortunately, I learned to paint with oils before I learned anything about oils.

It was only a year ago that I thought it was O.K. to use Turpenoid Natural as a medium!

[Michele Rushworth]

When I want to deliver a recently completed commission that has sunken-in dull areas, I "oil out" those parts of the painting with a 50% linseed/50% OMS mixture, rather than using any type of retouch varnish. That evens out the surface quite well and dries to a nice semi gloss finish.

Virgil, does this seem like a sound practice?

[Virgil Elliott]

Originally Posted by Michele Rushworth

When I want to deliver a recently completed commission that has sunken-in dull areas, I "oil out" those parts of the painting with a 50% linseed/50% OMS mixture, rather than using any type of retouch varnish. That evens out the surface quite well and dries to a nice semi gloss finish.

Virgil, does this seem like a sound practice?

Michele,

Maybe. It depends on how much you leave on the surface, and on the percentage of oil there is in the paint making up the painting. If everything is right, the oiling-out oil will soon be absorbed into the paint layer, and become part of it. The painting should still be varnished after it has cured for six months to one year. If there are any heavy passages or impasto, one year would be better. I assume you always arrange to get the painting back for varnishing at the appropriate time. I make sure my portrait clients understand the importance of a final varnish, and agree to let me have the painting back a year after I've delivered it.

When oiling out, it's very important to wipe as much of the oil off as will come off, with a soft cloth, immediately after the oil is applied. Enough will remain on the surface of the painting to accomplish the purpose.

I hope that helps.

Virgil

[Michele Rushworth]

Thanks, Virgil!

[Tricia Migdoll]

What about the Amber medium? - and Amber Varnish.?

I did believe that amber was not a resin. Is this true.?

I certainly like using it.

[Scott Bartner]

I would also be interested in your opinion on amber medium and varnish Virgil. I guess Tricia is referring to the Blockx product, a very expensive darkish liquid packaged in a slender glass tube sealed with a cork and red sealing wax. It's a joy to get open.

One part amber medium is mixed with 5 parts cold pressed linseed oil. Very little of the amber is needed.

Unfortunately I was unable to experiment fully with this medium being allergic to solvents, but I know a few artists who swear by it.

[Virgil Elliott]

Originally Posted by Tricia Migdoll

What about the Amber medium? - and Amber Varnish.?

I did believe that amber was not a resin. Is this true.?

I certainly like using it.

Tricia,

Amber is indeed a resin. It is a fossil resin because it is very old. It started out as tree sap.

Virgil Elliott

[Anthony Emmolo]

You guys are frightening me. I have been using retouch varnish almost each morning at the beginning of my painting day. It brings the freshness of the painting back to light. It is the only way that I can add new paint to the canvas. Without it, the fresh paint looks different than the paint that I applied the day before. Especially in the shadow areas which dry chalky. Then, I apply a thin layer of painting medium by Falens, which is the medium I use throughout the painting to loosen up my paints after squeezing them from the tubes. After that, I apply a final coat of Damar varnish and have never experienced cloudiness. My work is sold in galleries for the past four years, and I haven't received any phone calls about yellowing.

1- Am I using retouch varnish wrong? If so, how can I work with the chalkiness of a painting when I want to add new paint to the painting and cannot accurately see the values and temperature of chalky paint compared to fresh paint?
2- How long after use does the yellowing of Damar varnish begin?

[William Whitaker]

Virgil,

Thanks so much for responding to my email and contributing to my post. Once again, I'm amazed by the effort and care you give to provide us good and useful information. Everybody who reads this post on damar varnish should copy your contribution and save it for reference.

All you folks out there in Oil Painting Land, Virgil really knows his stuff. Pay attention.

In 1973, I was painting without the addition of any painting/glazing medium at all. For a while I used Ralph Mayer's concoction -- stand oil plus damar resin -- but I found it very difficult to use when I wanted to do sensitive high finish detail work.

In my case, I would not have messed with the little painting at all if it had been done by anybody else. Since it was mine, I was none too careful, knowing I could repair any damage I would inflict.

Naturally, acetone cut the damar, as did denatured alcohol. It never occured to me to use mineral spirits to stop the solvent action. Oh well.

I was pretty rough on the painting when I removed the varnish. In spite of being beaten up, the painting actually held up pretty well. Paint is tougher than we expect sometimes.

I recently cleaned another painting, done in 1976 and varnished with damar. In that case, I got the varnish off without too much trouble. I don't know why. It too had appreciably yellowed -- was beginning to take on a golden tone.

Anthony,
I too use damar retouch varnish from time to time. I don't think it contains much damar, for the gloss doesn't last very long. I believe it might be mostly solvent.
You won't notice any yellowing in the final damar varnish for maybe two decades. Remember too that in the past collectors were fond of that yellowing. They called it "gallery tone." I wouldn't worry much about it. Perhaps you can get Virgil to jump in again and give you the authoritive word.

Bill