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?

[Steven Sweeney]

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

[Pam Phillips]

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.

[David Dowbyhuz]

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).

[Tom Edgerton]

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.

[Mike McCarty]

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?

[Cindy Procious]

Originally Posted by Mike McCarty

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?

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.

[Mike McCarty]

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.

[Cindy Procious]

Originally Posted by Mike McCarty

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.

[Cindy Procious]

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

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