Art Supplies

GOLDEN Varnishes

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Golden Varnishes provide a lasting finish to your artwork.

Please note that there are certain varnishes from Golden that we do not stock, but can be special ordered. There is no additional charge for this service. The time frame is generally 2-3 weeks to acquire special orders. Please contact us for more information.

SKU: GAC07710-8

GOLDEN Polymer Varnish with UVLS (Ultra Violet Light Stabilizers) is a water-based acrylic polymer varnish formulated to provide additional protection from ultraviolet radiation. This helps delay the inevitable fading that occurs in materials that may be fugitive in nature.

Polymer Varnish is designed as a topcoat for acrylic paints and offers a removable protective surface to the relatively soft acrylic paint layer. It has a harder film than most acrylic paints, which diminishes the susceptibility of the surface to dust and dirt, and provides increased protection from scratching, marring and moisture. It has adequate flexibility to withstand normal handling conditions, including loose rolling. For interior use only. The product is not recommended for use on furniture or other surfaces subject to physical contact during use.

Polymer Varnish remains soluble in alkaline solvents, such as ammonia. This means the varnish can be easily removed; taking with it any accumulated surface contamination without damaging the painting surface. The use of such a removable varnish provides a valuable tool to anyone trying to restore or clean a painting.

Polymer Varnish (Gloss) dries to a highly reflective finish. Polymer Varnish (Satin) offers moderate reflection, similar to most matte varnishes. The Matte is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note: Polymer Varnish (Satin) and (Matte) will lighten dark value colors, which is typical of non-gloss varnishes.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes the use of an isolation coat prior to varnishing is recommended. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While Golden has carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

POLYMER VARNISHES MUST BE THINNED BEFORE USE. They have been formulated thicker than the traditional application viscosity to maintain an even suspension of matting agents in the Satin and Matte finishes, which ensures more consistency in surface reflectance as the varnish is used. It also allows the varnish to be applied with minimal foam generation. Foaming can be a major problem with most water-borne acrylics, but when properly thinned, the Polymer Varnish is able to release all foam before drying.

It is preferable to brush or spray apply Golden varnishes. Other methods, such as sponging or rolling, are not recommended, as they may result in problems such as: foaming, loss of film clarity, non-uniform coverage, excessive film build, sagging, or deposition of materials from the application tool.

Brush Application

Use a stiff, white hair, Chinese bristle brush with split ends. The split ends and memory of this type of brush will result in a smooth, even coat of varnish. The size of the piece to be varnished will determine the size of the varnish brush. Work from a shallow container to help control brush loading. The varnish solution should wet only the lower 25-30% of the length of the bristles. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. Apply the varnish in a manner that allows it to be brushed out to the most uniform, thinnest film possible. Mentally divide the work into regions to be covered by each loading of the brush. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. Maintain an even application by working from the center of each region outward. Lightly overlap into still wet, adjacent sections. When applying a satin or matte varnish, never apply more than two coats. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. A thick film of these reduced sheen varnishes will result in film cloudiness, and loss of clarity.

Spray Application

The best way to achieve an even coating of varnish is to spray apply. This is particularly true for impasto surfaces. Spray application is required for any surface where the paint film is fragile, such as gouache, and should not be touched by application tools. Spraying is also a useful technique for creating a matte surface. The size of the surface to be sprayed will determine the best type of spray equipment to use. These varnishes can be sprayed from an airbrush, airless or air pressured spray equipment, or refillable aerosol equipment. In preparation for spraying, make sure all equipment is free of dirt. Work in an area free of dust and dirt and keep work off the ground when spraying. Spray three to four light even coats instead of one or two thicker applications, allowing enough time for drying between coats (1-4 hours, until surface is tack free). Release the spray trigger if the motion of the airbrush is stopped during application in order to avoid an uneven build of varnish in one spot. Maintain uniform distance from the surface, and avoid the tendency to use an arcing motion. Make straight passes across the work, changing direction once the spray has cleared the edge of the piece being varnished. Slightly overlap the spray pattern with each pass, until the entire piece has been covered. To aid in achieving a more even application, turn the painting 90 degrees in order to apply the subsequent coat perpendicular to the previous one. A typical spray application lays down a film only 1/6 to 1/4 the thickness of a brush coat application. If maximum protection is required of the varnish layer, apply multiple coats. This is especially important when protecting colorants that are not inherently lightfast, as the thicker the total varnish film, the greater the protection from ultraviolet radiation. Because it is not recommended to apply several coats of a satin or matte finish, underlying layers should be established using a gloss varnish.

Cleanup

Clean all equipment immediately following application. If tools are wet, Golden Polymer Varnish can be removed with water. Ammoniated glass cleaner or a 1:1 solution of household ammonia to water may be use if the varnish has set.

Drying Time

The isolation coat should cure for 1 day before varnishing. When building up multiple coats, allow for 3 - 6 hours in between coats. Gently inspect the surface for tack, which may signify that the coat is not sufficiently dry. Let varnish cure several days before packing or transporting art. During transportation and storage, avoid contact of the surface with packing materials, including glassine, bubble wrap or any other plastic. NEVER STACK PAINTINGS, whether varnished or not.

Care and Storage

As Golden Varnishes are removable, it is important that they not be painted over. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. Another negative about painting over the varnish is that it does not bond sufficiently, which may result in adhesion failure over time.

In Stock In Stock
List Price: $18.79
Rex Price:
$13.53
Save 28%!
add to cart
add to wishlist

SKU: GAC07715-8

GOLDEN Polymer Varnish with UVLS (Ultra Violet Light Stabilizers) is a water-based acrylic polymer varnish formulated to provide additional protection from ultraviolet radiation. This helps delay the inevitable fading that occurs in materials that may be fugitive in nature.

Polymer Varnish is designed as a topcoat for acrylic paints and offers a removable protective surface to the relatively soft acrylic paint layer. It has a harder film than most acrylic paints, which diminishes the susceptibility of the surface to dust and dirt, and provides increased protection from scratching, marring and moisture. It has adequate flexibility to withstand normal handling conditions, including loose rolling. For interior use only. The product is not recommended for use on furniture or other surfaces subject to physical contact during use.

Polymer Varnish remains soluble in alkaline solvents, such as ammonia. This means the varnish can be easily removed; taking with it any accumulated surface contamination without damaging the painting surface. The use of such a removable varnish provides a valuable tool to anyone trying to restore or clean a painting.

Polymer Varnish (Gloss) dries to a highly reflective finish. Polymer Varnish (Satin) offers moderate reflection, similar to most matte varnishes. The Matte is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note: Polymer Varnish (Satin) and (Matte) will lighten dark value colors, which is typical of non-gloss varnishes.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes the use of an isolation coat prior to varnishing is recommended. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While Golden has carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

POLYMER VARNISHES MUST BE THINNED BEFORE USE. They have been formulated thicker than the traditional application viscosity to maintain an even suspension of matting agents in the Satin and Matte finishes, which ensures more consistency in surface reflectance as the varnish is used. It also allows the varnish to be applied with minimal foam generation. Foaming can be a major problem with most water-borne acrylics, but when properly thinned, the Polymer Varnish is able to release all foam before drying.

It is preferable to brush or spray apply Golden varnishes. Other methods, such as sponging or rolling, are not recommended, as they may result in problems such as: foaming, loss of film clarity, non-uniform coverage, excessive film build, sagging, or deposition of materials from the application tool.

Brush Application

Use a stiff, white hair, Chinese bristle brush with split ends. The split ends and memory of this type of brush will result in a smooth, even coat of varnish. The size of the piece to be varnished will determine the size of the varnish brush. Work from a shallow container to help control brush loading. The varnish solution should wet only the lower 25-30% of the length of the bristles. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. Apply the varnish in a manner that allows it to be brushed out to the most uniform, thinnest film possible. Mentally divide the work into regions to be covered by each loading of the brush. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. Maintain an even application by working from the center of each region outward. Lightly overlap into still wet, adjacent sections. When applying a satin or matte varnish, never apply more than two coats. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. A thick film of these reduced sheen varnishes will result in film cloudiness, and loss of clarity.

Spray Application

The best way to achieve an even coating of varnish is to spray apply. This is particularly true for impasto surfaces. Spray application is required for any surface where the paint film is fragile, such as gouache, and should not be touched by application tools. Spraying is also a useful technique for creating a matte surface. The size of the surface to be sprayed will determine the best type of spray equipment to use. These varnishes can be sprayed from an airbrush, airless or air pressured spray equipment, or refillable aerosol equipment. In preparation for spraying, make sure all equipment is free of dirt. Work in an area free of dust and dirt and keep work off the ground when spraying. Spray three to four light even coats instead of one or two thicker applications, allowing enough time for drying between coats (1-4 hours, until surface is tack free). Release the spray trigger if the motion of the airbrush is stopped during application in order to avoid an uneven build of varnish in one spot. Maintain uniform distance from the surface, and avoid the tendency to use an arcing motion. Make straight passes across the work, changing direction once the spray has cleared the edge of the piece being varnished. Slightly overlap the spray pattern with each pass, until the entire piece has been covered. To aid in achieving a more even application, turn the painting 90 degrees in order to apply the subsequent coat perpendicular to the previous one. A typical spray application lays down a film only 1/6 to 1/4 the thickness of a brush coat application. If maximum protection is required of the varnish layer, apply multiple coats. This is especially important when protecting colorants that are not inherently lightfast, as the thicker the total varnish film, the greater the protection from ultraviolet radiation. Because it is not recommended to apply several coats of a satin or matte finish, underlying layers should be established using a gloss varnish.

Cleanup

Clean all equipment immediately following application. If tools are wet, Golden Polymer Varnish can be removed with water. Ammoniated glass cleaner or a 1:1 solution of household ammonia to water may be use if the varnish has set.

Drying Time

The isolation coat should cure for 1 day before varnishing. When building up multiple coats, allow for 3 - 6 hours in between coats. Gently inspect the surface for tack, which may signify that the coat is not sufficiently dry. Let varnish cure several days before packing or transporting art. During transportation and storage, avoid contact of the surface with packing materials, including glassine, bubble wrap or any other plastic. NEVER STACK PAINTINGS, whether varnished or not.

Care and Storage

As Golden Varnishes are removable, it is important that they not be painted over. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. Another negative about painting over the varnish is that it does not bond sufficiently, which may result in adhesion failure over time.

In Stock In Stock
List Price: $18.79
Rex Price:
$13.53
Save 28%!
add to cart
add to wishlist

SKU: GAC07720-8

GOLDEN Polymer Varnish with UVLS (Ultra Violet Light Stabilizers) is a water-based acrylic polymer varnish formulated to provide additional protection from ultraviolet radiation. This helps delay the inevitable fading that occurs in materials that may be fugitive in nature.

Polymer Varnish is designed as a topcoat for acrylic paints and offers a removable protective surface to the relatively soft acrylic paint layer. It has a harder film than most acrylic paints, which diminishes the susceptibility of the surface to dust and dirt, and provides increased protection from scratching, marring and moisture. It has adequate flexibility to withstand normal handling conditions, including loose rolling. For interior use only. The product is not recommended for use on furniture or other surfaces subject to physical contact during use.

Polymer Varnish remains soluble in alkaline solvents, such as ammonia. This means the varnish can be easily removed; taking with it any accumulated surface contamination without damaging the painting surface. The use of such a removable varnish provides a valuable tool to anyone trying to restore or clean a painting.

Polymer Varnish (Gloss) dries to a highly reflective finish. Polymer Varnish (Satin) offers moderate reflection, similar to most matte varnishes. The Matte is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note: Polymer Varnish (Satin) and (Matte) will lighten dark value colors, which is typical of non-gloss varnishes.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes the use of an isolation coat prior to varnishing is recommended. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While Golden has carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

POLYMER VARNISHES MUST BE THINNED BEFORE USE. They have been formulated thicker than the traditional application viscosity to maintain an even suspension of matting agents in the Satin and Matte finishes, which ensures more consistency in surface reflectance as the varnish is used. It also allows the varnish to be applied with minimal foam generation. Foaming can be a major problem with most water-borne acrylics, but when properly thinned, the Polymer Varnish is able to release all foam before drying.

It is preferable to brush or spray apply Golden varnishes. Other methods, such as sponging or rolling, are not recommended, as they may result in problems such as: foaming, loss of film clarity, non-uniform coverage, excessive film build, sagging, or deposition of materials from the application tool.

Brush Application

Use a stiff, white hair, Chinese bristle brush with split ends. The split ends and memory of this type of brush will result in a smooth, even coat of varnish. The size of the piece to be varnished will determine the size of the varnish brush. Work from a shallow container to help control brush loading. The varnish solution should wet only the lower 25-30% of the length of the bristles. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. Apply the varnish in a manner that allows it to be brushed out to the most uniform, thinnest film possible. Mentally divide the work into regions to be covered by each loading of the brush. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. Maintain an even application by working from the center of each region outward. Lightly overlap into still wet, adjacent sections. When applying a satin or matte varnish, never apply more than two coats. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. A thick film of these reduced sheen varnishes will result in film cloudiness, and loss of clarity.

Spray Application

The best way to achieve an even coating of varnish is to spray apply. This is particularly true for impasto surfaces. Spray application is required for any surface where the paint film is fragile, such as gouache, and should not be touched by application tools. Spraying is also a useful technique for creating a matte surface. The size of the surface to be sprayed will determine the best type of spray equipment to use. These varnishes can be sprayed from an airbrush, airless or air pressured spray equipment, or refillable aerosol equipment. In preparation for spraying, make sure all equipment is free of dirt. Work in an area free of dust and dirt and keep work off the ground when spraying. Spray three to four light even coats instead of one or two thicker applications, allowing enough time for drying between coats (1-4 hours, until surface is tack free). Release the spray trigger if the motion of the airbrush is stopped during application in order to avoid an uneven build of varnish in one spot. Maintain uniform distance from the surface, and avoid the tendency to use an arcing motion. Make straight passes across the work, changing direction once the spray has cleared the edge of the piece being varnished. Slightly overlap the spray pattern with each pass, until the entire piece has been covered. To aid in achieving a more even application, turn the painting 90 degrees in order to apply the subsequent coat perpendicular to the previous one. A typical spray application lays down a film only 1/6 to 1/4 the thickness of a brush coat application. If maximum protection is required of the varnish layer, apply multiple coats. This is especially important when protecting colorants that are not inherently lightfast, as the thicker the total varnish film, the greater the protection from ultraviolet radiation. Because it is not recommended to apply several coats of a satin or matte finish, underlying layers should be established using a gloss varnish.

Cleanup

Clean all equipment immediately following application. If tools are wet, Golden Polymer Varnish can be removed with water. Ammoniated glass cleaner or a 1:1 solution of household ammonia to water may be use if the varnish has set.

Drying Time

The isolation coat should cure for 1 day before varnishing. When building up multiple coats, allow for 3 - 6 hours in between coats. Gently inspect the surface for tack, which may signify that the coat is not sufficiently dry. Let varnish cure several days before packing or transporting art. During transportation and storage, avoid contact of the surface with packing materials, including glassine, bubble wrap or any other plastic. NEVER STACK PAINTINGS, whether varnished or not.

Care and Storage

As Golden Varnishes are removable, it is important that they not be painted over. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. Another negative about painting over the varnish is that it does not bond sufficiently, which may result in adhesion failure over time.

In Stock In Stock
List Price: $18.79
Rex Price:
$13.53
Save 28%!
add to cart
add to wishlist

SKU: GAC07730-8

GOLDEN Mineral Spirit Acrylic Varnishes with UVLS (Ultra Violet Light Stabilizers) dry to a tough, yet flexible protective finish. The UVLS system provides increased resistance to the harmful effects of ultraviolet radiation, making the product suitable for exterior as well as interior application. For restoration purposes, the varnish may be removed with mineral spirits or turpentine.

MSA Varnish can be used over a wide variety of paints, including acrylic, oil, alkyd, egg tempera, watercolor, and casein. As a topcoat for acrylics, it provides a harder, lower tack surface that is much less susceptible to dirt and is more mar resistant. It can also be mixed with oil and alkyd paints to accelerate drying and improve flexibility. For recommended ratios of MSA Varnish and oil/alkyd paints, please refer to our MSA Gel (Mineral Spirits) Product Information Sheet.

MSA Varnish (Gloss) dries to a highly reflective finish. MSA Varnish (Satin) offers moderate reflection, similar to most matte varnishes. MSA Varnish (Matte) finish is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note that the matte and satin MSA varnishes will lighten dark value colors, which is typical of reduced sheen varnishes.

As a solution polymer, MSA Varnish is clear when wet . Compared to aqueous varnishes, this allows for better visual properties during application. It also suffers significantly less from foam generation and pinholes that can detract from the clarity and appearance of the finish. The varnish produces an extremely level finish, and is able to coat slick supports including glass and most plastics and metals .

MSA Varnishes must be thinned before use . They have been made thicker than the traditional application viscosity to maintain an even suspension of the solids within the varnish. Often, particularly in matte finishes, settling can result in streaking within the varnish film.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes the use of an isolation coat prior to varnishing is recommended. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While Golden has carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

MSA Varnishes must be thinned before use . They have been made thicker than the traditional application viscosity to maintain an even suspension of the solids within the varnish. Often, particularly in matte finishes, settling can result in streaking within the varnish film.

Thinning : Material can be thinned with mineral spirits or turpentine as needed (do not use “odorless” solvents). A 20% to 30% dilution provides ease of brushing (a 3:1 mixture of varnish to thinner is a good starting point). For spray application further thinning may be required (adding up to equal parts varnish and thinner).

Stir thoroughly before using . Apply only to rigid substrates. Apply varnish as evenly and as smoothly as possible. Avoid heavy build-ups. Maintaining a wet edge when overlapping will yield the most even finish. If applying multiple coats, avoid overworking the wet varnish to minimize resolubilizing of the previous coats. Allow previous coats to dry thoroughly before recoating.

Drying/Curing Time: Usually becomes tack-free and suitable for recoating after 3-6 hours. Most curing will occur within two weeks. May be mixed with oils or alkyds to modify viscosity, drying time or improve resistance to cracking.

Coverage: 400-500 sq. ft. per gallon if by brush application; 800-1000 sq. ft. per gallon for spray application.

This product is intended for a final picture varnish only! Do not repaint surface. MSA Varnishes should not be mixed with acrylic emulsion polymer paints or mediums. Clean tools with mineral spirits or other appropriate solvent immediately after use.

It is preferable to brush or spray apply Golden varnishes. Other methods, such as sponging or rolling, are not recommended, as they may result in problems such as: foaming, loss of film clarity, non-uniform coverage, excessive film build, sagging, or deposition of materials from the application tool.

Brush Application

Use a stiff, white hair, Chinese bristle brush with split ends. The split ends and memory of this type of brush will result in a smooth, even coat of varnish. The size of the piece to be varnished will determine the size of the varnish brush. Work from a shallow container to help control brush loading. The varnish solution should wet only the lower 25-30% of the length of the bristles. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. Apply the varnish in a manner that allows it to be brushed out to the most uniform, thinnest film possible. Mentally divide the work into regions to be covered by each loading of the brush. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. Maintain an even application by working from the center of each region outward. Lightly overlap into still wet, adjacent sections. When applying a satin or matte varnish, never apply more than two coats. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. A thick film of these reduced sheen varnishes will result in film cloudiness, and loss of clarity.

Spray Application

The best way to achieve an even coating of varnish is to spray apply. This is particularly true for impasto surfaces. Spray application is required for any surface where the paint film is fragile, such as gouache, and should not be touched by application tools. Spraying is also a useful technique for creating a matte surface. The size of the surface to be sprayed will determine the best type of spray equipment to use. These varnishes can be sprayed from an airbrush, airless or air pressured spray equipment, or refillable aerosol equipment. In preparation for spraying, make sure all equipment is free of dirt. Work in an area free of dust and dirt and keep work off the ground when spraying. Spray three to four light even coats instead of one or two thicker applications, allowing enough time for drying between coats (1-4 hours, until surface is tack free). Release the spray trigger if the motion of the airbrush is stopped during application in order to avoid an uneven build of varnish in one spot. Maintain uniform distance from the surface, and avoid the tendency to use an arcing motion. Make straight passes across the work, changing direction once the spray has cleared the edge of the piece being varnished. Slightly overlap the spray pattern with each pass, until the entire piece has been covered. To aid in achieving a more even application, turn the painting 90 degrees in order to apply the subsequent coat perpendicular to the previous one. A typical spray application lays down a film only 1/6 to 1/4 the thickness of a brush coat application. If maximum protection is required of the varnish layer, apply multiple coats. This is especially important when protecting colorants that are not inherently lightfast, as the thicker the total varnish film, the greater the protection from ultraviolet radiation. Because it is not recommended to apply several coats of a satin or matte finish, underlying layers should be established using a gloss varnish.

Cleanup

Clean all equipment immediately following application. If tools are wet, Golden Polymer Varnish can be removed with water. Ammoniated glass cleaner or a 1:1 solution of household ammonia to water may be use if the varnish has set. Golden MSA Varnish should be cleaned from tools with the same solvent used for thinning, followed by soapy water wash and clear water rinse.

Drying Time

The isolation coat should cure for 1 day before varnishing. When building up multiple coats, allow for 3 - 6 hours in between coats. Gently inspect the surface for tack, which may signify that the coat is not sufficiently dry. Let varnish cure several days before packing or transporting art. During transportation and storage, avoid contact of the surface with packing materials, including glassine, bubble wrap or any other plastic. NEVER STACK PAINTINGS, whether varnished or not.

Care and Storage

As Golden Varnishes are removable, it is important that they not be painted over. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. Another negative about painting over the varnish is that it does not bond sufficiently, which may result in adhesion failure over time.

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List Price: $24.89
Rex Price:
$17.92
Save 28%!
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SKU: GAC07735-8

GOLDEN Mineral Spirit Acrylic Varnishes with UVLS (Ultra Violet Light Stabilizers) dry to a tough, yet flexible protective finish. The UVLS system provides increased resistance to the harmful effects of ultraviolet radiation, making the product suitable for exterior as well as interior application. For restoration purposes, the varnish may be removed with mineral spirits or turpentine.

MSA Varnish can be used over a wide variety of paints, including acrylic, oil, alkyd, egg tempera, watercolor, and casein. As a topcoat for acrylics, it provides a harder, lower tack surface that is much less susceptible to dirt and is more mar resistant. It can also be mixed with oil and alkyd paints to accelerate drying and improve flexibility. For recommended ratios of MSA Varnish and oil/alkyd paints, please refer to our MSA Gel (Mineral Spirits) Product Information Sheet.

MSA Varnish (Gloss) dries to a highly reflective finish. MSA Varnish (Satin) offers moderate reflection, similar to most matte varnishes. MSA Varnish (Matte) finish is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note that the matte and satin MSA varnishes will lighten dark value colors, which is typical of reduced sheen varnishes.

As a solution polymer, MSA Varnish is clear when wet . Compared to aqueous varnishes, this allows for better visual properties during application. It also suffers significantly less from foam generation and pinholes that can detract from the clarity and appearance of the finish. The varnish produces an extremely level finish, and is able to coat slick supports including glass and most plastics and metals .

MSA Varnishes must be thinned before use . They have been made thicker than the traditional application viscosity to maintain an even suspension of the solids within the varnish. Often, particularly in matte finishes, settling can result in streaking within the varnish film.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes the use of an isolation coat prior to varnishing is recommended. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While Golden has carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

MSA Varnishes must be thinned before use . They have been made thicker than the traditional application viscosity to maintain an even suspension of the solids within the varnish. Often, particularly in matte finishes, settling can result in streaking within the varnish film.

Thinning : Material can be thinned with mineral spirits or turpentine as needed (do not use “odorless” solvents). A 20% to 30% dilution provides ease of brushing (a 3:1 mixture of varnish to thinner is a good starting point). For spray application further thinning may be required (adding up to equal parts varnish and thinner).

Stir thoroughly before using . Apply only to rigid substrates. Apply varnish as evenly and as smoothly as possible. Avoid heavy build-ups. Maintaining a wet edge when overlapping will yield the most even finish. If applying multiple coats, avoid overworking the wet varnish to minimize resolubilizing of the previous coats. Allow previous coats to dry thoroughly before recoating.

Drying/Curing Time: Usually becomes tack-free and suitable for recoating after 3-6 hours. Most curing will occur within two weeks. May be mixed with oils or alkyds to modify viscosity, drying time or improve resistance to cracking.

Coverage: 400-500 sq. ft. per gallon if by brush application; 800-1000 sq. ft. per gallon for spray application.

This product is intended for a final picture varnish only! Do not repaint surface. MSA Varnishes should not be mixed with acrylic emulsion polymer paints or mediums. Clean tools with mineral spirits or other appropriate solvent immediately after use.

It is preferable to brush or spray apply Golden varnishes. Other methods, such as sponging or rolling, are not recommended, as they may result in problems such as: foaming, loss of film clarity, non-uniform coverage, excessive film build, sagging, or deposition of materials from the application tool.

Brush Application

Use a stiff, white hair, Chinese bristle brush with split ends. The split ends and memory of this type of brush will result in a smooth, even coat of varnish. The size of the piece to be varnished will determine the size of the varnish brush. Work from a shallow container to help control brush loading. The varnish solution should wet only the lower 25-30% of the length of the bristles. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. Apply the varnish in a manner that allows it to be brushed out to the most uniform, thinnest film possible. Mentally divide the work into regions to be covered by each loading of the brush. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. Maintain an even application by working from the center of each region outward. Lightly overlap into still wet, adjacent sections. When applying a satin or matte varnish, never apply more than two coats. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. A thick film of these reduced sheen varnishes will result in film cloudiness, and loss of clarity.

Spray Application

The best way to achieve an even coating of varnish is to spray apply. This is particularly true for impasto surfaces. Spray application is required for any surface where the paint film is fragile, such as gouache, and should not be touched by application tools. Spraying is also a useful technique for creating a matte surface. The size of the surface to be sprayed will determine the best type of spray equipment to use. These varnishes can be sprayed from an airbrush, airless or air pressured spray equipment, or refillable aerosol equipment. In preparation for spraying, make sure all equipment is free of dirt. Work in an area free of dust and dirt and keep work off the ground when spraying. Spray three to four light even coats instead of one or two thicker applications, allowing enough time for drying between coats (1-4 hours, until surface is tack free). Release the spray trigger if the motion of the airbrush is stopped during application in order to avoid an uneven build of varnish in one spot. Maintain uniform distance from the surface, and avoid the tendency to use an arcing motion. Make straight passes across the work, changing direction once the spray has cleared the edge of the piece being varnished. Slightly overlap the spray pattern with each pass, until the entire piece has been covered. To aid in achieving a more even application, turn the painting 90 degrees in order to apply the subsequent coat perpendicular to the previous one. A typical spray application lays down a film only 1/6 to 1/4 the thickness of a brush coat application. If maximum protection is required of the varnish layer, apply multiple coats. This is especially important when protecting colorants that are not inherently lightfast, as the thicker the total varnish film, the greater the protection from ultraviolet radiation. Because it is not recommended to apply several coats of a satin or matte finish, underlying layers should be established using a gloss varnish.

Cleanup

Clean all equipment immediately following application. If tools are wet, Golden Polymer Varnish can be removed with water. Ammoniated glass cleaner or a 1:1 solution of household ammonia to water may be use if the varnish has set. Golden MSA Varnish should be cleaned from tools with the same solvent used for thinning, followed by soapy water wash and clear water rinse.

Drying Time

The isolation coat should cure for 1 day before varnishing. When building up multiple coats, allow for 3 - 6 hours in between coats. Gently inspect the surface for tack, which may signify that the coat is not sufficiently dry. Let varnish cure several days before packing or transporting art. During transportation and storage, avoid contact of the surface with packing materials, including glassine, bubble wrap or any other plastic. NEVER STACK PAINTINGS, whether varnished or not.

Care and Storage

As Golden Varnishes are removable, it is important that they not be painted over. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. Another negative about painting over the varnish is that it does not bond sufficiently, which may result in adhesion failure over time.

In Stock In Stock
List Price: $24.89
Rex Price:
$17.92
Save 28%!
add to cart
add to wishlist

SKU: GAC07740-8

GOLDEN Mineral Spirit Acrylic Varnishes with UVLS (Ultra Violet Light Stabilizers) dry to a tough, yet flexible protective finish. The UVLS system provides increased resistance to the harmful effects of ultraviolet radiation, making the product suitable for exterior as well as interior application. For restoration purposes, the varnish may be removed with mineral spirits or turpentine.

MSA Varnish can be used over a wide variety of paints, including acrylic, oil, alkyd, egg tempera, watercolor, and casein. As a topcoat for acrylics, it provides a harder, lower tack surface that is much less susceptible to dirt and is more mar resistant. It can also be mixed with oil and alkyd paints to accelerate drying and improve flexibility. For recommended ratios of MSA Varnish and oil/alkyd paints, please refer to our MSA Gel (Mineral Spirits) Product Information Sheet.

MSA Varnish (Gloss) dries to a highly reflective finish. MSA Varnish (Satin) offers moderate reflection, similar to most matte varnishes. MSA Varnish (Matte) finish is exceptionally flat. The different finishes can be intermixed, or used sequentially, to achieve the desired sheen. Note that the matte and satin MSA varnishes will lighten dark value colors, which is typical of reduced sheen varnishes.

As a solution polymer, MSA Varnish is clear when wet . Compared to aqueous varnishes, this allows for better visual properties during application. It also suffers significantly less from foam generation and pinholes that can detract from the clarity and appearance of the finish. The varnish produces an extremely level finish, and is able to coat slick supports including glass and most plastics and metals .

MSA Varnishes must be thinned before use . They have been made thicker than the traditional application viscosity to maintain an even suspension of the solids within the varnish. Often, particularly in matte finishes, settling can result in streaking within the varnish film.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes the use of an isolation coat prior to varnishing is recommended. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While Golden has carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

MSA Varnishes must be thinned before use . They have been made thicker than the traditional application viscosity to maintain an even suspension of the solids within the varnish. Often, particularly in matte finishes, settling can result in streaking within the varnish film.

Thinning : Material can be thinned with mineral spirits or turpentine as needed (do not use “odorless” solvents). A 20% to 30% dilution provides ease of brushing (a 3:1 mixture of varnish to thinner is a good starting point). For spray application further thinning may be required (adding up to equal parts varnish and thinner).

Stir thoroughly before using . Apply only to rigid substrates. Apply varnish as evenly and as smoothly as possible. Avoid heavy build-ups. Maintaining a wet edge when overlapping will yield the most even finish. If applying multiple coats, avoid overworking the wet varnish to minimize resolubilizing of the previous coats. Allow previous coats to dry thoroughly before recoating.

Drying/Curing Time: Usually becomes tack-free and suitable for recoating after 3-6 hours. Most curing will occur within two weeks. May be mixed with oils or alkyds to modify viscosity, drying time or improve resistance to cracking.

Coverage: 400-500 sq. ft. per gallon if by brush application; 800-1000 sq. ft. per gallon for spray application.

This product is intended for a final picture varnish only! Do not repaint surface. MSA Varnishes should not be mixed with acrylic emulsion polymer paints or mediums. Clean tools with mineral spirits or other appropriate solvent immediately after use.

It is preferable to brush or spray apply Golden varnishes. Other methods, such as sponging or rolling, are not recommended, as they may result in problems such as: foaming, loss of film clarity, non-uniform coverage, excessive film build, sagging, or deposition of materials from the application tool.

Brush Application

Use a stiff, white hair, Chinese bristle brush with split ends. The split ends and memory of this type of brush will result in a smooth, even coat of varnish. The size of the piece to be varnished will determine the size of the varnish brush. Work from a shallow container to help control brush loading. The varnish solution should wet only the lower 25-30% of the length of the bristles. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. Apply the varnish in a manner that allows it to be brushed out to the most uniform, thinnest film possible. Mentally divide the work into regions to be covered by each loading of the brush. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. Maintain an even application by working from the center of each region outward. Lightly overlap into still wet, adjacent sections. When applying a satin or matte varnish, never apply more than two coats. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. A thick film of these reduced sheen varnishes will result in film cloudiness, and loss of clarity.

Spray Application

The best way to achieve an even coating of varnish is to spray apply. This is particularly true for impasto surfaces. Spray application is required for any surface where the paint film is fragile, such as gouache, and should not be touched by application tools. Spraying is also a useful technique for creating a matte surface. The size of the surface to be sprayed will determine the best type of spray equipment to use. These varnishes can be sprayed from an airbrush, airless or air pressured spray equipment, or refillable aerosol equipment. In preparation for spraying, make sure all equipment is free of dirt. Work in an area free of dust and dirt and keep work off the ground when spraying. Spray three to four light even coats instead of one or two thicker applications, allowing enough time for drying between coats (1-4 hours, until surface is tack free). Release the spray trigger if the motion of the airbrush is stopped during application in order to avoid an uneven build of varnish in one spot. Maintain uniform distance from the surface, and avoid the tendency to use an arcing motion. Make straight passes across the work, changing direction once the spray has cleared the edge of the piece being varnished. Slightly overlap the spray pattern with each pass, until the entire piece has been covered. To aid in achieving a more even application, turn the painting 90 degrees in order to apply the subsequent coat perpendicular to the previous one. A typical spray application lays down a film only 1/6 to 1/4 the thickness of a brush coat application. If maximum protection is required of the varnish layer, apply multiple coats. This is especially important when protecting colorants that are not inherently lightfast, as the thicker the total varnish film, the greater the protection from ultraviolet radiation. Because it is not recommended to apply several coats of a satin or matte finish, underlying layers should be established using a gloss varnish.

Cleanup

Clean all equipment immediately following application. If tools are wet, Golden Polymer Varnish can be removed with water. Ammoniated glass cleaner or a 1:1 solution of household ammonia to water may be use if the varnish has set. Golden MSA Varnish should be cleaned from tools with the same solvent used for thinning, followed by soapy water wash and clear water rinse.

Drying Time

The isolation coat should cure for 1 day before varnishing. When building up multiple coats, allow for 3 - 6 hours in between coats. Gently inspect the surface for tack, which may signify that the coat is not sufficiently dry. Let varnish cure several days before packing or transporting art. During transportation and storage, avoid contact of the surface with packing materials, including glassine, bubble wrap or any other plastic. NEVER STACK PAINTINGS, whether varnished or not.

Care and Storage

As Golden Varnishes are removable, it is important that they not be painted over. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. Another negative about painting over the varnish is that it does not bond sufficiently, which may result in adhesion failure over time.

In Stock In Stock
List Price: $24.89
Rex Price:
$17.92
Save 28%!
add to cart
add to wishlist

SKU: GAC7731

GOLDEN Archival Varnish is formulated with 100% solvent-based, reversible acrylic co-polymer resins. It is designed to produce a flexible, clear film to protect against environmental concerns such as ultraviolet light, dirt and moisture. The cured coating is resistant to yellowing.

GOLDEN Archival Varnish Mineral Spirit Acrylic Aerosol w/UVLS is made by reducing standard GOLDEN MSA Varnish (w/UVLS) with fast drying acetone and a propellant to create an easy to use spray product. Properly applied, it can create a durable, even film.

GOLDEN Archival Varnish should adhere well to most non-oily surfaces. It may exhibit poor adhesion to fresh oil paint films or if residual surfactants are present with water-based paint films. It has excellent wet and dry state clarity. Over time, the MSA film resists changes in appearance and remains flexible. The UV protection is achieved from a blend of Hindered Amine Light Stabilizer (HALS) and an ultraviolet absorber (substituted benzotrizole compound). The unique adjustable fan spray tip allows precise application with reduced overspray. Coverage is approximately 30-35 sq. ft. per can.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes we recommend the use of an isolation coat prior to varnishing. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While we have carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

General Aerosol Directions

  • USE ONLY IN WELL VENTILATED AREAS.
  • For best results, both can and spraying area should be 65-75 o F.
  • Shake can 2 minutes prior to initial use.
  • Re-shake 10 seconds after each minute of use.
  • Avoid spraying in crosswind, direct sun or heat.
  • Ensure nozzle is pointing safely away from face before starting.
  • After spraying, turn can upside-down and flush out spray varnish (5 to 8 seconds).
  • Allow for sufficient curing time to prevent materials from sticking to the surface.

Proper Spraying Technique

  • The adjustable fan tip comes set for a side-to-side spraying motion. Adjust for other spraying directions, such as diagonal or up and down.
  • Start and stop spraying beyond area to be varnished, and sweep across surface.
  • Generally a light spray (achieved with light tip pressure) is preferred. Fully depressing the nozzle tip creates a heavier spray, which can be beneficial on larger objects.
  • Spray several light coats in a consistent manner.
  • Singular heavy coats may result in unevenness.
  • Maintain a consistent distance (9-12 inches from substrate surface) and an even 90 o angle.
  • The surface should feel tack-free before recoating.
  • Allow a minimum of 15-20 minutes between coats.
  • Change spray direction or turn object between coats to minimize lap marks.
  • Coats may be built up indefinitely depending upon needs. After last coat, allow several hours before handling.

Adjusting and Cleaning Spray Tip

  • The fan tip starting position is for a side-to-side spraying motion.
  • Use needle nose pliers to carefully adjust nozzle for the intended direction of spray pattern.
  • Dried product may be cleaned from the tip with a soft cloth and pure mineral spirits or turpentine.
  • If tip clogs, remove from can and soak in pure mineral spirits or turpentine for 10 minutes.
  • Never insert pins or needles into nozzle.
  • VARIOUS MEDIA APPLICATION METHODS

    Different paints and substrates have unique circumstances. GOLDEN Archival Varnish w/UVLS should be used in accordance with these individual requirements. ALWAYS TEST ON SCRAP PIECES OR INCONSPICUOUS AREAS BEFORE USE ON FINAL ARTWORK. Absorbent substrates require several gloss layers to seal the surface. Listed below are general application guidelines for common substrates. For more thorough information regarding specific media concerns, review artist handbooks and other information sources.

    Acrylic Paints – isolation coat(s) should be applied as per MSA Varnish directions located in the main GOLDEN Varnish document. Allow 24 hours for the final isolation coat layer to cure and then build layers of Archival Aerosol Varnish w/UVLS as needed.

    Oil Paints – allow minimum curing time of 6-12 months when used as a final picture varnish and allow the painting to become touch-dry before use as a temporary varnish on fresh oil paint films. Heavy layers on fresh oil paint films impede the oxidation process, which may result in failure. Build layers of Archival Varnish w/UVLS as needed.

    Graphite/Pastels/Colored Pencil/Marker/Watercolor/Gouache – due to the varying effects and changes that can occur when using the Archival Spray Varnish over Pastel, various drawing media, Watercolor and Gouache, it is recommended that you do NOT use it for fixing, top coating, or varnishing these mediums, unless first testing and experimenting thoroughly.

    The effects and changes noted above are primarily a darkening of the work due to changes in the nature of the surface and consequently, the refractive index. While there may be ways to fine tune the process by using a combination of satin or matte varnish over an initial gloss coat, or very light coats of varnish, we feel that the significant darkening observed in many cases, may constitute unacceptable changes for many artists.

    If deciding to continue with this varnish application, both the media and the substrate should be taken into consideration. Test all brands and colors to avoid bleeding or darkening of colorants. Begin by applying very light coats of gloss varnish as a fixative. Once enough light layers create a dried glossy film, begin layers of desired sheen in subsequent coats.

    Ink Jet Prints – generally, GOLDEN Archival Varnish w/UVLS may be applied directly to prints; however consider substrate absorbency (see above notes) and intended level of protection (refer to UV protection section below). Several thin coats are sufficient for moisture resistance, but testing should be conducted if water-based gels are going to be applied over the varnish for brush-stroke texture.

    VARNISHING FOR UV PROTECTION

    GOLDEN Archival Varnish contains Ultra Violet Light Stabilizers (UVLS) to protect materials from damaging light sources. However, spray coats are very thin compared to brush coats. The amount of varnish above the substrate and colorants is directly related to the level of UV resistance and the degree of fading due to light sources. When UV protection is required from this product, allow time to build up multiple coats. Testing shows 6 Archival Varnish w/UVLS coats are required to impede color shift of fugitive materials. When multiple spray coats is impractical, consider brush applying 2 or more coats of GOLDEN MSA Varnish (Gloss) if considerable UV protection is critical. After sufficient coats are built up, use GOLDEN Archival Varnish to develop the desired sheen.

In Stock In Stock
List Price: $23.89
Rex Price:
$17.20
Save 28%!
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SKU: GAC7736

GOLDEN Archival Varnish is formulated with 100% solvent-based, reversible acrylic co-polymer resins. It is designed to produce a flexible, clear film to protect against environmental concerns such as ultraviolet light, dirt and moisture. The cured coating is resistant to yellowing.

GOLDEN Archival Varnish Mineral Spirit Acrylic Aerosol w/UVLS is made by reducing standard GOLDEN MSA Varnish (w/UVLS) with fast drying acetone and a propellant to create an easy to use spray product. Properly applied, it can create a durable, even film.

GOLDEN Archival Varnish should adhere well to most non-oily surfaces. It may exhibit poor adhesion to fresh oil paint films or if residual surfactants are present with water-based paint films. It has excellent wet and dry state clarity. Over time, the MSA film resists changes in appearance and remains flexible. The UV protection is achieved from a blend of Hindered Amine Light Stabilizer (HALS) and an ultraviolet absorber (substituted benzotrizole compound). The unique adjustable fan spray tip allows precise application with reduced overspray. Coverage is approximately 30-35 sq. ft. per can.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes we recommend the use of an isolation coat prior to varnishing. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While we have carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

General Aerosol Directions

  • USE ONLY IN WELL VENTILATED AREAS.
  • For best results, both can and spraying area should be 65-75 o F.
  • Shake can 2 minutes prior to initial use.
  • Re-shake 10 seconds after each minute of use.
  • Avoid spraying in crosswind, direct sun or heat.
  • Ensure nozzle is pointing safely away from face before starting.
  • After spraying, turn can upside-down and flush out spray varnish (5 to 8 seconds).
  • Allow for sufficient curing time to prevent materials from sticking to the surface.

Proper Spraying Technique

  • The adjustable fan tip comes set for a side-to-side spraying motion. Adjust for other spraying directions, such as diagonal or up and down.
  • Start and stop spraying beyond area to be varnished, and sweep across surface.
  • Generally a light spray (achieved with light tip pressure) is preferred. Fully depressing the nozzle tip creates a heavier spray, which can be beneficial on larger objects.
  • Spray several light coats in a consistent manner.
  • Singular heavy coats may result in unevenness.
  • Maintain a consistent distance (9-12 inches from substrate surface) and an even 90 o angle.
  • The surface should feel tack-free before recoating.
  • Allow a minimum of 15-20 minutes between coats.
  • Change spray direction or turn object between coats to minimize lap marks.
  • Coats may be built up indefinitely depending upon needs. After last coat, allow several hours before handling.

Adjusting and Cleaning Spray Tip

  • The fan tip starting position is for a side-to-side spraying motion.
  • Use needle nose pliers to carefully adjust nozzle for the intended direction of spray pattern.
  • Dried product may be cleaned from the tip with a soft cloth and pure mineral spirits or turpentine.
  • If tip clogs, remove from can and soak in pure mineral spirits or turpentine for 10 minutes.
  • Never insert pins or needles into nozzle.
  • VARIOUS MEDIA APPLICATION METHODS

    Different paints and substrates have unique circumstances. GOLDEN Archival Varnish w/UVLS should be used in accordance with these individual requirements. ALWAYS TEST ON SCRAP PIECES OR INCONSPICUOUS AREAS BEFORE USE ON FINAL ARTWORK. Absorbent substrates require several gloss layers to seal the surface. Listed below are general application guidelines for common substrates. For more thorough information regarding specific media concerns, review artist handbooks and other information sources.

    Acrylic Paints – isolation coat(s) should be applied as per MSA Varnish directions located in the main GOLDEN Varnish document. Allow 24 hours for the final isolation coat layer to cure and then build layers of Archival Aerosol Varnish w/UVLS as needed.

    Oil Paints – allow minimum curing time of 6-12 months when used as a final picture varnish and allow the painting to become touch-dry before use as a temporary varnish on fresh oil paint films. Heavy layers on fresh oil paint films impede the oxidation process, which may result in failure. Build layers of Archival Varnish w/UVLS as needed.

    Graphite/Pastels/Colored Pencil/Marker/Watercolor/Gouache – due to the varying effects and changes that can occur when using the Archival Spray Varnish over Pastel, various drawing media, Watercolor and Gouache, it is recommended that you do NOT use it for fixing, top coating, or varnishing these mediums, unless first testing and experimenting thoroughly.

    The effects and changes noted above are primarily a darkening of the work due to changes in the nature of the surface and consequently, the refractive index. While there may be ways to fine tune the process by using a combination of satin or matte varnish over an initial gloss coat, or very light coats of varnish, we feel that the significant darkening observed in many cases, may constitute unacceptable changes for many artists.

    If deciding to continue with this varnish application, both the media and the substrate should be taken into consideration. Test all brands and colors to avoid bleeding or darkening of colorants. Begin by applying very light coats of gloss varnish as a fixative. Once enough light layers create a dried glossy film, begin layers of desired sheen in subsequent coats.

    Ink Jet Prints – generally, GOLDEN Archival Varnish w/UVLS may be applied directly to prints; however consider substrate absorbency (see above notes) and intended level of protection (refer to UV protection section below). Several thin coats are sufficient for moisture resistance, but testing should be conducted if water-based gels are going to be applied over the varnish for brush-stroke texture.

    VARNISHING FOR UV PROTECTION

    GOLDEN Archival Varnish contains Ultra Violet Light Stabilizers (UVLS) to protect materials from damaging light sources. However, spray coats are very thin compared to brush coats. The amount of varnish above the substrate and colorants is directly related to the level of UV resistance and the degree of fading due to light sources. When UV protection is required from this product, allow time to build up multiple coats. Testing shows 6 Archival Varnish w/UVLS coats are required to impede color shift of fugitive materials. When multiple spray coats is impractical, consider brush applying 2 or more coats of GOLDEN MSA Varnish (Gloss) if considerable UV protection is critical. After sufficient coats are built up, use GOLDEN Archival Varnish to develop the desired sheen.

In Stock In Stock
List Price: $23.89
Rex Price:
$17.20
Save 28%!
add to cart
add to wishlist

SKU: GAC7741

GOLDEN Archival Varnish is formulated with 100% solvent-based, reversible acrylic co-polymer resins. It is designed to produce a flexible, clear film to protect against environmental concerns such as ultraviolet light, dirt and moisture. The cured coating is resistant to yellowing.

GOLDEN Archival Varnish Mineral Spirit Acrylic Aerosol w/UVLS is made by reducing standard GOLDEN MSA Varnish (w/UVLS) with fast drying acetone and a propellant to create an easy to use spray product. Properly applied, it can create a durable, even film.

GOLDEN Archival Varnish should adhere well to most non-oily surfaces. It may exhibit poor adhesion to fresh oil paint films or if residual surfactants are present with water-based paint films. It has excellent wet and dry state clarity. Over time, the MSA film resists changes in appearance and remains flexible. The UV protection is achieved from a blend of Hindered Amine Light Stabilizer (HALS) and an ultraviolet absorber (substituted benzotrizole compound). The unique adjustable fan spray tip allows precise application with reduced overspray. Coverage is approximately 30-35 sq. ft. per can.

TEST FOR YOUR APPLICATION

Prior to actual use, it is very important to experiment with Golden varnishes on test pieces to become aware of how they perform and how they alter the surface appearance of paintings. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved.

ISOLATION COAT

Only intended for acrylic paintings, do not use on oil paintings.

For future conservation and varnish removal purposes we recommend the use of an isolation coat prior to varnishing. An isolation coat is a permanent, non-removable coating that serves to physically separate the paint surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, even if painted with delicate washes or large areas of colors that could potentially bleed, a clear barrier would safely cover the painted surface. It will also seal absorbent areas, which will result in a more even application of the varnish. In the event that no varnish gets applied, the isolation coat serves to decrease the water sensitivity of the paint surface, affording protection during routine cleaning/dusting.

Given the current state of conservation science, the use of an isolation coat is considered to provide the most protection. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting's surface qualities. Whether these changes are acceptable is an aesthetic decision that each artist needs to make after sufficient testing. In addition, since it is non-removable, any mistakes or problems during this procedure cannot be easily corrected and there is always an element of risk that needs to be considered.

For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). If a spray application is desired, a 2:1 mixture of Golden GAC-500 to Transparent Airbrush Extender can be applied with an airbrush, touch-up spray unit or commercial spray equipment. The absorbency of the surface will dictate the number of isolation layers required. For relatively non-absorbent surfaces, as is the case with a uniform paint layer, one coat brush applied or two coats spray applied are recommended. For more absorbent surfaces, which tend to be very matte, it is recommended to apply sufficient isolation coats to achieve a satin sheen on the surface. This may require two or more brush applied coats or three or more spray applications.

The isolating layer is of critical importance when applying a matte varnish over an absorbent surface to prevent a cloudy or "frosted" appearance from occurring. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. While we have carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. If varnishing water-soluble paints, including watercolor, gouache and tempera, the isolation coat must be sprayed on in very light layers to avoid solubilizing the paints, which could cause loss of distinctness of the underlying image.

PRODUCT APPLICATION

General Aerosol Directions

  • USE ONLY IN WELL VENTILATED AREAS.
  • For best results, both can and spraying area should be 65-75 o F.
  • Shake can 2 minutes prior to initial use.
  • Re-shake 10 seconds after each minute of use.
  • Avoid spraying in crosswind, direct sun or heat.
  • Ensure nozzle is pointing safely away from face before starting.
  • After spraying, turn can upside-down and flush out spray varnish (5 to 8 seconds).
  • Allow for sufficient curing time to prevent materials from sticking to the surface.

Proper Spraying Technique

  • The adjustable fan tip comes set for a side-to-side spraying motion. Adjust for other spraying directions, such as diagonal or up and down.
  • Start and stop spraying beyond area to be varnished, and sweep across surface.
  • Generally a light spray (achieved with light tip pressure) is preferred. Fully depressing the nozzle tip creates a heavier spray, which can be beneficial on larger objects.
  • Spray several light coats in a consistent manner.
  • Singular heavy coats may result in unevenness.
  • Maintain a consistent distance (9-12 inches from substrate surface) and an even 90 o angle.
  • The surface should feel tack-free before recoating.
  • Allow a minimum of 15-20 minutes between coats.
  • Change spray direction or turn object between coats to minimize lap marks.
  • Coats may be built up indefinitely depending upon needs. After last coat, allow several hours before handling.

Adjusting and Cleaning Spray Tip

  • The fan tip starting position is for a side-to-side spraying motion.
  • Use needle nose pliers to carefully adjust nozzle for the intended direction of spray pattern.
  • Dried product may be cleaned from the tip with a soft cloth and pure mineral spirits or turpentine.
  • If tip clogs, remove from can and soak in pure mineral spirits or turpentine for 10 minutes.
  • Never insert pins or needles into nozzle.
  • VARIOUS MEDIA APPLICATION METHODS

    Different paints and substrates have unique circumstances. GOLDEN Archival Varnish w/UVLS should be used in accordance with these individual requirements. ALWAYS TEST ON SCRAP PIECES OR INCONSPICUOUS AREAS BEFORE USE ON FINAL ARTWORK. Absorbent substrates require several gloss layers to seal the surface. Listed below are general application guidelines for common substrates. For more thorough information regarding specific media concerns, review artist handbooks and other information sources.

    Acrylic Paints – isolation coat(s) should be applied as per MSA Varnish directions located in the main GOLDEN Varnish document. Allow 24 hours for the final isolation coat layer to cure and then build layers of Archival Aerosol Varnish w/UVLS as needed.

    Oil Paints – allow minimum curing time of 6-12 months when used as a final picture varnish and allow the painting to become touch-dry before use as a temporary varnish on fresh oil paint films. Heavy layers on fresh oil paint films impede the oxidation process, which may result in failure. Build layers of Archival Varnish w/UVLS as needed.

    Graphite/Pastels/Colored Pencil/Marker/Watercolor/Gouache – due to the varying effects and changes that can occur when using the Archival Spray Varnish over Pastel, various drawing media, Watercolor and Gouache, it is recommended that you do NOT use it for fixing, top coating, or varnishing these mediums, unless first testing and experimenting thoroughly.

    The effects and changes noted above are primarily a darkening of the work due to changes in the nature of the surface and consequently, the refractive index. While there may be ways to fine tune the process by using a combination of satin or matte varnish over an initial gloss coat, or very light coats of varnish, we feel that the significant darkening observed in many cases, may constitute unacceptable changes for many artists.

    If deciding to continue with this varnish application, both the media and the substrate should be taken into consideration. Test all brands and colors to avoid bleeding or darkening of colorants. Begin by applying very light coats of gloss varnish as a fixative. Once enough light layers create a dried glossy film, begin layers of desired sheen in subsequent coats.

    Ink Jet Prints – generally, GOLDEN Archival Varnish w/UVLS may be applied directly to prints; however consider substrate absorbency (see above notes) and intended level of protection (refer to UV protection section below). Several thin coats are sufficient for moisture resistance, but testing should be conducted if water-based gels are going to be applied over the varnish for brush-stroke texture.

    VARNISHING FOR UV PROTECTION

    GOLDEN Archival Varnish contains Ultra Violet Light Stabilizers (UVLS) to protect materials from damaging light sources. However, spray coats are very thin compared to brush coats. The amount of varnish above the substrate and colorants is directly related to the level of UV resistance and the degree of fading due to light sources. When UV protection is required from this product, allow time to build up multiple coats. Testing shows 6 Archival Varnish w/UVLS coats are required to impede color shift of fugitive materials. When multiple spray coats is impractical, consider brush applying 2 or more coats of GOLDEN MSA Varnish (Gloss) if considerable UV protection is critical. After sufficient coats are built up, use GOLDEN Archival Varnish to develop the desired sheen.

In Stock In Stock
List Price: $23.89
Rex Price:
$17.20
Save 28%!
add to cart
add to wishlist