By Jim
Hingst
Hingst
A
finished acrylic painting often has some areas with a matte finish and other
areas with a gloss finish. This look is usually off-putting. Varnishing your painting provides the surface
with a uniform finish.
finished acrylic painting often has some areas with a matte finish and other
areas with a gloss finish. This look is usually off-putting. Varnishing your painting provides the surface
with a uniform finish.
Commercially
available varnishes come in gloss, satin and matte finishes. Varnishes usually
with alter the appearance of your painting. A gloss finish will typically
increase color saturation. On the other hand, matte finishes will soften your
colors.
available varnishes come in gloss, satin and matte finishes. Varnishes usually
with alter the appearance of your painting. A gloss finish will typically
increase color saturation. On the other hand, matte finishes will soften your
colors.
Varnish
also provides your painting with a protective coating. Acrylic paint, which is
comprised of very large molecules, has pores or spaces between these molecules.
These pores allow the paint to breathe. They
also allow one coating to better adhere to a subsequent coating layer, ensuring
good intercoat adhesion.
also provides your painting with a protective coating. Acrylic paint, which is
comprised of very large molecules, has pores or spaces between these molecules.
These pores allow the paint to breathe. They
also allow one coating to better adhere to a subsequent coating layer, ensuring
good intercoat adhesion.
The
soft, porous surface of an acrylic painting also allows other substances to
bond to it, including dirt, fly specs, pet hair, smoke and oils. To prevent
these contaminants from soiling our painting, you need to protect it. That’s what
the varnish coat does. It protects the surface of your painting from dirt and
those other contaminants. It also protects the pigments of the paint from UV
degradation.
soft, porous surface of an acrylic painting also allows other substances to
bond to it, including dirt, fly specs, pet hair, smoke and oils. To prevent
these contaminants from soiling our painting, you need to protect it. That’s what
the varnish coat does. It protects the surface of your painting from dirt and
those other contaminants. It also protects the pigments of the paint from UV
degradation.
The
Isolation Coat
Isolation Coat
As the
name suggests, an isolation coat creates a permanent barrier that separates your
painting from the varnish. The purpose of this coating is that it allows easier
removal of varnish when needed.
name suggests, an isolation coat creates a permanent barrier that separates your
painting from the varnish. The purpose of this coating is that it allows easier
removal of varnish when needed.
While a
pre-mixed isolation coat is commercially available, you can mix your own using
Golden’s Open Acrylic Gel Gloss and water. (There are many different products
on the market. My choice is the Golden line of paints, mediums and varnish.)
pre-mixed isolation coat is commercially available, you can mix your own using
Golden’s Open Acrylic Gel Gloss and water. (There are many different products
on the market. My choice is the Golden line of paints, mediums and varnish.)
The
isolation coat provides a glossy surface. Before applying this coating, sign
your work. Photographing your artwork before varnishing is also easier because
you do not have to contend with reflections.
isolation coat provides a glossy surface. Before applying this coating, sign
your work. Photographing your artwork before varnishing is also easier because
you do not have to contend with reflections.
Pictured
above is my version of Sandro Botticelli’s Portrait of a Young Man, painted on
aluminum composite material with Golden brand acrylic paints. In varnishing an
acrylic painting, an isolation coat is not absolutely necessary but it is
recommended because it allows for removal of varnish in the case that the work
needs restoration.
above is my version of Sandro Botticelli’s Portrait of a Young Man, painted on
aluminum composite material with Golden brand acrylic paints. In varnishing an
acrylic painting, an isolation coat is not absolutely necessary but it is
recommended because it allows for removal of varnish in the case that the work
needs restoration.
Procedure. Before
coating the painting with an isolation coat, make sure that the paint is
thoroughly dry and cure. A recommended practice is to wait a month before
applying the isolation coat and varnishing.
coating the painting with an isolation coat, make sure that the paint is
thoroughly dry and cure. A recommended practice is to wait a month before
applying the isolation coat and varnishing.
Mix the
Open Acrylic Soft Gel Gloss with distilled water at a ratio of 2 parts gel with
1 part water in a clean jar. Do not alter this ratio by adding extra water. When
you are mixing an isolation coat, stir very carefully so you do not induce air
into the mixture. Bubbles in the coating can result in pinholes in the finish.
Open Acrylic Soft Gel Gloss with distilled water at a ratio of 2 parts gel with
1 part water in a clean jar. Do not alter this ratio by adding extra water. When
you are mixing an isolation coat, stir very carefully so you do not induce air
into the mixture. Bubbles in the coating can result in pinholes in the finish.
In coating
your artwork with an isolation coat and varnish, first lay the painting on a
flat horizontal work surface. Make sure that you work in a well-lit workspace. You
may wish to light the surface that you are coating with a clamp-on light
directed at the painting at a 45⁰ angle. With good lighting, you should see any
areas that you miss as you apply the isolation coat.
your artwork with an isolation coat and varnish, first lay the painting on a
flat horizontal work surface. Make sure that you work in a well-lit workspace. You
may wish to light the surface that you are coating with a clamp-on light
directed at the painting at a 45⁰ angle. With good lighting, you should see any
areas that you miss as you apply the isolation coat.
Using
a synthetic flat brush at least 2” wide, apply a uniform coating of the
mixture. Some painters recommend buying may one brush which you dedicate for
varnishing.
a synthetic flat brush at least 2” wide, apply a uniform coating of the
mixture. Some painters recommend buying may one brush which you dedicate for
varnishing.
Use overlapping
strokes to ensure complete coating of the surface. After coating the painting,
tip off the excess with a clean dry brush to eliminate brush marks. In applying
an isolation coat, you should work quickly before the coating gets tacky.
strokes to ensure complete coating of the surface. After coating the painting,
tip off the excess with a clean dry brush to eliminate brush marks. In applying
an isolation coat, you should work quickly before the coating gets tacky.
In most
cases, coating the surface with a brush works best. You can also spray this finish. Just remember,
that anytime that you atomize a fluid, a good portion of it is in the air, even
if you cannot see it. Some of the atomized fluid will get on surfaces where it
is unwanted. You can also breathe some of it. If you decide to spray, make sure
that it is in a well-ventilated area and that you wear an air respirator. Whether
you brush or spray the isolation coat, cover the artwork so dust does not
settle on it while it is drying.
cases, coating the surface with a brush works best. You can also spray this finish. Just remember,
that anytime that you atomize a fluid, a good portion of it is in the air, even
if you cannot see it. Some of the atomized fluid will get on surfaces where it
is unwanted. You can also breathe some of it. If you decide to spray, make sure
that it is in a well-ventilated area and that you wear an air respirator. Whether
you brush or spray the isolation coat, cover the artwork so dust does not
settle on it while it is drying.
Spraying
the varnish is sometimes a better choice if your painting is highly textured. On
these surfaces, spraying deposits a uniform coating, minimizing the potential
for the coating to pool in the valleys on the painting surface.
the varnish is sometimes a better choice if your painting is highly textured. On
these surfaces, spraying deposits a uniform coating, minimizing the potential
for the coating to pool in the valleys on the painting surface.
Test,
Don’t Guess.
Don’t Guess.
Before
varnishing a prized painting and being shocked by unexpected results, a good practice
is to test the isolation coat and varnish on a test panel. Prepare your test panel the same way that you
prime and paint the substrates that you use.
varnishing a prized painting and being shocked by unexpected results, a good practice
is to test the isolation coat and varnish on a test panel. Prepare your test panel the same way that you
prime and paint the substrates that you use.
In painting
an isolation coat, it is usually better to apply two thin coats rather than
painting one thick one. In applying two thin isolation coats, you should generally
wait a minimum of six to eight hours between coatings.
an isolation coat, it is usually better to apply two thin coats rather than
painting one thick one. In applying two thin isolation coats, you should generally
wait a minimum of six to eight hours between coatings.
Types of
Varnish
Varnish
Acrylic
paints generally dry to a dull, matte finish. Coating your painting with a
varnish coat not only protects it, but also can make the colors shiny and vibrant
as when you first painted them.
paints generally dry to a dull, matte finish. Coating your painting with a
varnish coat not only protects it, but also can make the colors shiny and vibrant
as when you first painted them.
Ideally,
the varnish that you select will be removable. Keep in mind that not all are. The
removability characteristic allows either you or someone else to strip the varnish
at a later date without damage to the painting. Varnish is generally dry to the
touch within 24 hours of application. However, it can take the varnish several weeks
before fully curing.
the varnish that you select will be removable. Keep in mind that not all are. The
removability characteristic allows either you or someone else to strip the varnish
at a later date without damage to the painting. Varnish is generally dry to the
touch within 24 hours of application. However, it can take the varnish several weeks
before fully curing.
Two types
of varnish are available: polymer varnish (which is water-based) and solvent
based. Polymer varnishes are thinned with water. Mineral spirits, on the other hand,
are used to thin solvent-based finishes.
of varnish are available: polymer varnish (which is water-based) and solvent
based. Polymer varnishes are thinned with water. Mineral spirits, on the other hand,
are used to thin solvent-based finishes.
Water-based
Varnish
Varnish
Golden’s
waterborne acrylic polymer varnish with UVLS (Ultra Violet Light Stabilizers)
applies easily and cleans up with water. Polymer varnish is formulated for
application on acrylic paintings. Golden’s polymer varnish is available in
gloss, satin and matte finishes. It is removeable using ammonia.
waterborne acrylic polymer varnish with UVLS (Ultra Violet Light Stabilizers)
applies easily and cleans up with water. Polymer varnish is formulated for
application on acrylic paintings. Golden’s polymer varnish is available in
gloss, satin and matte finishes. It is removeable using ammonia.
While some
painters prefer a matte appearance, coating with a matte varnish can lighten
dark colors and sometimes can result in a milky appearance. This is exactly the
reason that you should test components before using to prevent unexpected
surprises.
painters prefer a matte appearance, coating with a matte varnish can lighten
dark colors and sometimes can result in a milky appearance. This is exactly the
reason that you should test components before using to prevent unexpected
surprises.
Solvent-based
Varnish
Varnish
Some artists
prefer solvent-based varnishes, such as Golden’s MSA (Mineral Spirit Acrylic)
Varnish with UVLS (Ultra Violet Light Stabilizers). This mineral spirit-based
acrylic resin coating is compatible for use in protecting acrylic, oil and
alkyd paintings. This varnish is tougher than waterborne acrylic polymer
varnish, yet it creates a flexible and removeable protective coating for use in
both interior and exterior applications. Because the solvent based varnish is
less porous than the polymer variety, it is less likely to trap dirt and dust.
prefer solvent-based varnishes, such as Golden’s MSA (Mineral Spirit Acrylic)
Varnish with UVLS (Ultra Violet Light Stabilizers). This mineral spirit-based
acrylic resin coating is compatible for use in protecting acrylic, oil and
alkyd paintings. This varnish is tougher than waterborne acrylic polymer
varnish, yet it creates a flexible and removeable protective coating for use in
both interior and exterior applications. Because the solvent based varnish is
less porous than the polymer variety, it is less likely to trap dirt and dust.
Compared
to waterborne varnishes, Golden’s MSA varnish is easier to apply and self-levels
to a smoother finish. It also has a longer open time, so you don’t need to work
so quickly as you do when coating with a polymer varnish.
to waterborne varnishes, Golden’s MSA varnish is easier to apply and self-levels
to a smoother finish. It also has a longer open time, so you don’t need to work
so quickly as you do when coating with a polymer varnish.
While MSA
varnishes provide slightly better clarity and finished appearance, they require
thinning with mineral spirits, which might concern some amateur painters
working in their homes. If you select a solvent-based varnish, use it in a well-ventilated
room. Golden’s MSA varnish is available in gloss, satin and matte finishes. It is
removeable using mineral spirits.
varnishes provide slightly better clarity and finished appearance, they require
thinning with mineral spirits, which might concern some amateur painters
working in their homes. If you select a solvent-based varnish, use it in a well-ventilated
room. Golden’s MSA varnish is available in gloss, satin and matte finishes. It is
removeable using mineral spirits.
A Final Note. Always
read the manufacturer’s literature before varnishing your artwork. In putting
on your varnish, it is recommended that you apply very thin coats. Some people
apply as many as four to six coats to achieve a desired look. Do not be alarmed
if the varnish does not look the way you expect while it is wet. Matte finishes
will usually look glossy until they dry. Some finishes appear cloudy but clear
up after drying.
read the manufacturer’s literature before varnishing your artwork. In putting
on your varnish, it is recommended that you apply very thin coats. Some people
apply as many as four to six coats to achieve a desired look. Do not be alarmed
if the varnish does not look the way you expect while it is wet. Matte finishes
will usually look glossy until they dry. Some finishes appear cloudy but clear
up after drying.
If you use different types of
varnish or vary your application procedures, write a description on the back of
your painting explaining what you did. This
tells someone who is restoring your painting in the future, what they need to
do to remove the varnish.
varnish or vary your application procedures, write a description on the back of
your painting explaining what you did. This
tells someone who is restoring your painting in the future, what they need to
do to remove the varnish.
About Jim Hingst: Sign business authority on vehicle wraps, vinyl graphics, screen printing, marketing, sales, gold leaf, woodcarving and painting.
After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 190 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 500 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.
© 2019 Jim Hingst, All Rights Reserved.