Addictions 

Master classes "Oil Painting" from the artist Olga Bazanova. Painting varnishes Fir varnish for painting properties

Painting varnishes are 30 percent solutions of resins in pinene, with the exception of copal varnish, where copal resin is dissolved in linseed oil. The following types of varnishes are produced, used as additives to oil paints: mastic, dammar, pistachio, acrylic-pistachio and copal.
Mastic varnish. A 30% solution of mastic resin in pinene. Mastic varnish can serve not only as an additive to paints, but also as a wiper for intermediate layers during layer-by-layer painting, replacing retouch varnish in this. Mastic varnish is also used as a topcoat for oil and tempera painting. It tends to turn a little yellow over time. Gives your work a glossy finish. Very elastic.
Dammar varnish. A 30% solution of dammar resin in pinene with the addition of ethyl alcohol. Dammar varnish is used as an additive to paints and as a topcoat. During storage, it sometimes loses transparency, but when it dries, when pinene evaporates, the varnish film becomes transparent. Pinene is used to dilute the varnish. When aging, dammar varnish turns yellow less than mastic.
Copal varnish represents an “alloy” of copal resin and refined linseed oil, diluted with pinene. Dark varnish. Approximate composition of varnish (in ppm): copal - 20, oil - 40, pinene - 40. The varnish is used as an additive to paints. The dried film of copal varnish is insoluble in organic solvents.
In addition to the above varnishes, the following are available: balsam-oil, cedar, balsam-penta-oil and fir varnish

Coating varnishes

Coating varnishes are used for coating, oil and tempera painting.
Pistachio varnish is a solution of pistachio resin (23%) in pinene with a slight addition of white spirit (thinners No. 2) and butyl alcohol. The advantage of pistachio varnish is the almost complete colorlessness of the varnish film, which is highly elastic. The drying speed of pistachio varnish is significantly lower than that of other topcoat varnishes.
Acrylic pistachio varnish is a synthetic polybutyl methacrylic resin with the addition of a small amount of pistachio resin. The resins are dissolved in pinene, to which about two percent butyl alcohol has been added. The film of acrylic-pistachio varnish is almost colorless, has great elasticity and is superior in strength to films of mastic and dammar varnish. Drying occurs more slowly than mastic varnish.
Retouch varnish used to prevent fading during multi-layer oil painting, as well as to enhance the adhesion of paint layers. The varnish can be applied with a brush or swab.
The varnish consists of 1 part mastic varnish and 1 part acrylic-pistachio varnish, dissolved in 8-10 parts of aviation gasoline.

Varnishing paintings

Varnishing paintings painted with oil or tempera paints is extremely important. The tones of colors in a painting coated with varnish become more intense. The paint layer, covered with varnish, acquires a pleasant shine, at the same time the picture is perceived more clearly, small pictorial details, often invisible in matte painting, are highlighted and emphasized.
The varnish film plays not only a purely optical role, but also protects the paint layer from the action of aggressive reagents in the air. Such aggressive reagents include hydrogen sulfide and sulfur dioxide gases, which cause a sharp darkening of some paints.

The painting should be varnished no earlier than one year from the date of completion of the work. During this entire time, the painting must be protected from dust, dirt, tobacco smoke, etc. To cover the painting, one of the topcoat varnishes is used: acrylic-pistachio, mastic or dammar. The best topcoat varnish is acrylic pistachio. This varnish has special transparency, high elasticity and does not lose its properties over time. The varnish used must be fresh; no more than three months have passed since its release, which is checked by checking the composter on the label.
Before applying varnish, the painting must be cleaned of dust and dried. To apply varnish, wide bristled flute brushes are used, and the width of the flute is selected depending on the size of the painting. For a medium-sized painting, a flute is usually used, the width of which is at least 100 mm, and for a small-sized painting - 45-50 mm wide. The flute brush you choose should have short, uncut bristles. The thicker the varnish, the shorter the bristles of the flute should be so that it “tightens” the varnish, i.e., makes it possible to apply it in a fairly thin layer. In addition to a flute brush, varnish is sometimes applied with a nylon swab or even just by hand.
For better polishing of the varnish, it should be applied heated, for which a water bath with a water temperature of no more than 40° is used. Sometimes the painting is heated with a reflector, also to a temperature not exceeding 40°, but this method does not provide uniform distribution of heat over the painting layer, and the heat of the reflector is difficult to regulate.

To reduce the shine of the varnish coating, which causes glare, the varnish is diluted with fresh pinene (thinner - No. 4) in a ratio of 1: 1. The ratio between varnish and thinner can be changed depending on the time of year; in cold weather, more diluent is taken. To make the varnish dry more slowly during the work process, white spirit is added to it (thinner - No. 2), which makes it possible to slowly apply the varnish to the picture, but white spirit has greater permeability than pinene and can cause so-called varnish failures, which goes through microcracks into the depths of the painting layer, forming cloudy spots.
When applying varnish, the painting is placed on a table, and large paintings are varnished on an easel. Having installed the light source on the right side, they begin to coat the painting with varnish. Having collected a small amount of varnish on the brush, smoothly, with wide movements, move the flute in one direction, driving off the varnish. When the flute is moved quickly, the brush traps air and bubbles can form on the varnish film. The direction of the flute should be parallel to the bottom side of the painting. After applying the varnish, it is polished with a dry flute over the semi-damp varnish. Polishing is carried out until the flute begins to stick and linger on the varnish. Both application and polishing are done in one direction, without returning to the already dry areas of the painting. After applying the varnish, the gloss of the painting should be moderate.
In case of increased gloss of the varnish film, which is associated with excessive application of varnish, this deficiency is corrected by removing part of the varnish film. Why use a flute brush, well soaked in pinene. The film is blurred using the same brush movements as when coating. The varnish is periodically wrung out from the brush.

When varnishing large paintings, as indicated, they are placed on an easel and care is taken to ensure that there are no drips during the work.

Choosing a varnish for painting can turn into a real headache for a novice artist, while an experienced artist already knows exactly what product he needs.

Arriving at the store, a novice painter runs the risk of purchasing something that is not what he wanted, so first you need to clearly define the purpose of the varnish.

What are varnishes for?

The main purpose of painting varnish is to cover already completed works. Varnishes intended for this purpose are called covering . If the artist’s goal is to strengthen the coating or dilute the paint mass, as well as impart transparency to the coating, then he needs binder or liquefying varnish

Previously, varnishes were made mainly from natural resins, but over time this material was replaced by synthetic materials, which made it possible to make many varnishes universal in use.

The question of whether to use synthetic or natural varnish depends on the artist’s personal preferences, but it should be remembered that people with allergies should not inhale fumes from synthetic materials (for example, acrylic).

Interesting: some professionals do not trust manufacturers and make varnishes themselves, but for this you need to have all the necessary materials and a certain level of skill so that the varnish does not harm the painting.

A thin layer of varnish creates a protective film that will not only prevent the adverse effects of external factors, but will also make the colors deeper, brighter, and small details clearer and more textured.

For example, each of us has seen paints faded under the influence of the sun's rays (to be more precise, ultraviolet radiation) on various media (street banners, paper, cardboard, fabric). The same can happen with a drawing. Humidity also plays a big role: if it is high, the paint can simply fall off the canvas, and if it is low, it can crack and crumble. This is especially true for oil paints applied in a thick, thick layer.

Works of pictorial art are also susceptible to temperature changes, dust settling, and exposure to liquids and gases.

When added to paint, varnishes increase its strength and elasticity, can increase the depth and intensity of color, and give the coating transparency and the effect of a glass coating.

Types of varnishes for painting

Among modern varnishes there are: dammar, acrylic-pistachio, pistachio and acrylic-styrene. There are also retouch varnish, fixative varnish and fir varnish.

Dammarny varnish is the most common. Its advantages include low cost and the ability to protect the painting from sunlight. But, over time, this varnish turns yellow, so it is not advisable to use it for paintings done in cold colors.

Ideal for them acrylic-pistachio varnish It is characterized by transparency and elasticity of the coating, does not become cloudy over time, but is much more expensive and is not so widespread.

Pistachio The varnish received its name due to the main ingredient - pistachio resin. It is practically no different from the previous type of varnish, but is even less common on sale.

Acrylic-styrene varnish is recognized as the most effective. In addition to the fact that it creates a thin, transparent coating that does not change color or yellow, it has good water-resistant properties.

All of these varnishes give glare, so if the painting is under bright lighting, there is reason to give preference to matte varnishes. Their properties do not differ from glossy ones, except that they are not able to increase the depth and saturation of color.

When choosing a varnish, pay attention to the production date and expiration date. For most products it is no more than six months, and for some varnishes it is no more than three.

If the varnish is expired, it will stick even after drying, attracting dust and dirt, and can soften when exposed to high humidity.

Retouch varnishes should not be confused with coatings, since their operating principle is the opposite: they are used to dissolve the paint layer in order to continue working on the dried painting. It is applied to the desired area before starting work. After drying, the varnish is applied again to the work area. Retouching varnish, slightly dissolving the top dried layer of paint, strengthens the adhesion of the new layer. In this way, “protection” against shrinkage is obtained.

Tip: a simple and effective method from the old masters - cutting a head of garlic - perfectly replaces retouching varnish.

Varnish fixative used for fixing drawings with pencil, charcoal, pastel, etc. After drying, it forms a film that allows you to remove dust from the picture. In addition to physical “protection”, this varnish allows you to preserve the richness of the color.

Fir varnish similar to dammar, that is, it is also made from resins. Less common, as dammar varnish, or “tee” (a mixture of thinner, varnish and linseed oil) is usually used.

Varnish manufacturers

Among varnish manufacturers, the most famous is the company SONNET. The varnishes from this manufacturer are not expensive, but at the same time they have good functionality, but are difficult to apply, so they are ideal for experienced artists.

Varnish is more suitable for beginners REVEES . It's identical in price SONNET , but is applied much easier and creates an even coating.

A more expensive and durable option is a product from a French manufacturer Lefranc Bourgeous . It will truly preserve the beauty of your work for many years to come.

Varnishes for oil painting are divided into 4 main groups according to their purpose. These include: topcoat varnishes, intended for treating the surfaces of finished paintings, binders - to strengthen the painting layer, thinning varnishes - used to dilute the paint mass, and universal ones, having a multifunctional purpose. Let us dwell in more detail on the features of topcoat dammar varnish, one of the most popular and widespread.

Color fading in the sun

It is known that the disadvantage of most dyes, both used in everyday life and used in industrial production, is their poor resistance to sunlight. The result of this is faded and faded wallpaper of rooms, street banners and many other things around us. They usually say about them: “Burned in the sun.”

A similar fate will befall them if the artist does not take care of preserving their original appearance. The traditional method, used since time immemorial, is to coat finished paintings with special varnishes that can protect them from exposure to sunlight. They were invented a long time ago, and their composition has changed and improved many times over the centuries.

These days, the chemical industry offers painters a wide range of means to protect their works. One of the most common among them, as mentioned above, is dammar varnish. Applied in a thin layer, after drying it not only creates a protective film that protects the painting layer from the unwanted effects of ultraviolet rays of the solar spectrum, but also gives the overall color of the picture greater brightness and depth. In addition, thanks to it, small details depicted on the canvas look more clear and textured.

Another important feature of dammar varnish is its ability to resist moisture. If the painting is stored in a room where its air content is high, the paint may begin to peel off the canvas and fall off. No less detrimental is the effect on the unprotected pictorial layer of excessively low indoor humidity. In this case, it may crack and begin to crumble. Canvases on which the paint is applied in a thick, thick layer are especially susceptible to this danger.

In addition to all of the above, they may also be subject to such negative influences as sudden temperature changes, dust settling, as well as liquids and gases entering their surface. Thus, covering the finished painting with dammar or some other coating is an integral part of the overall process of creating a painting.

Legacy of past centuries

The main component of dammar varnish is a resin of plant origin, which gives it its name. It belongs to the group of soft, alcohol-soluble resins, on the basis of which the production of varnishes was mastered back in the 17th century. It is known that artists often used them not only to cover finished works, but also added them to oils, thereby ensuring that the paints dried as quickly as possible.

It is known from the history of art that many masters of past centuries used balms and essential oils (resin) made from soft resins (including dammar) in their work. The most famous among them are Venetian, as well as Strasbourg terpine and copai balsam. All of them gave a positive effect when used with regular drying oils.

Effect achieved with resin ingredients

It has long been noted that resin ingredients, which have high transparency and reflective properties, can give paintings additional brightness and depth. In addition, they significantly improved the performance characteristics of oil paints, opening up new possibilities for creating spectacular lasses on canvas.

This term refers to a technique in which, by applying translucent paints over the base color, the effect of deep color tints is achieved. Among the masters of the past, such luminaries of painting as Velazquez, Titian, Rembrandt and Leonardo da Vinci achieved the greatest perfection in it.

Making your own varnish

Dammar varnish can be purchased in stores specializing in products of this profile. One of its undeniable advantages is its accessibility and low cost. However, many artists prefer to make it with their own hands, introducing their own innovations to the standard technology. Without touching on their professional secrets, we will consider only the generally accepted version of this process.

The main component of the varnish is dammara resin, supplied to Russia from Singapore. Externally, it looks like small transparent straw-colored granules, coated on the outside with a thin layer of crushed powdery substance.

A recipe available to everyone

Having previously crushed the resin, it is placed in a small bag made of thin cotton fabric (for example, an old stocking is quite suitable), and then dipped into a solution of artistic turpentine for several hours. It is important to note that the container with turpentine must be tightly closed during this entire period.

While in turpentine, the pre-crushed granules dissolve, and all solid impurities settle at the bottom of the bag. The result is a solution of dammar resin, which should then be carefully filtered through muslin or cotton cloth.

An important role is played by the ratio of the amount of dissolved resin to the volume of turpentine, since the concentration of the finished product depends on this. According to generally accepted standards, it is 600 ml of turpentine per 300 g of resin, however, many of those who prefer to prepare the solution with their own hands create the proportions of the components based on personal experience. In the future, if during the process of applying the varnish to the surface of the painting it turns out to be too thick, it can be diluted with alcohol.

When can a painting be coated with dammar varnish?

This issue is extremely important, since violations of technology caused by ignorance or negligence can lead to damage, and in some cases, to the death of a painting. First of all, after completing the painting, you should not rush, since the linseed oil contained in the paints must have time to polymerize, that is, when completely dry, it must turn into a solid polymer. How long does it take?

Even in the recent past, it was customary to cover paintings with dammar, and equally with any other varnish, no earlier than a year after their completion. During all this long time, the canvases had to be carefully protected not only from dust and dirt, but even from tobacco smoke.

Our paints are made using modern technologies, providing them with greater durability and reducing drying time. In view of this, the minimum period of time between finishing the painting and coating it with varnish has been reduced and ranges from one to one and a half months.

The basic rule is that when applying a layer of varnish, you should not rush, since with rapid movements the brush inevitably captures air, leaving microbubbles on the canvas, forming cloudy whitish stripes. If this does happen, it is recommended to remove the unsuccessfully applied layer of varnish using thinner and then try again.

After varnishing is completed, the painting should be placed on a flat horizontal surface and applied for 10-15 minutes. Allow the still liquid varnish to spread evenly and harden slightly. Then it is hung in a room with good ventilation. The drying time for dammar varnish is 12 hours. Accordingly, during this period it is better not to touch the painting and protect it from dust.

There is one more important detail that may escape the attention of a novice artist - this is the shelf life of dammar varnish. If you do not make it with your own hands, as described in one of the previous sections of our article, but buy it in a store, then you should take into account that after 3 years from the date of release it largely loses its properties.

As a result, the varnish layer may not dry completely and the surface will remain sticky for a long time. Dust will settle on it and cannot be removed. To avoid this problem, you need to make sure that the varnish you purchase is fresh, since it could last indefinitely in an art salon. Old varnish can be added to paint to achieve painterly effects, one of which was discussed above.

At the end of the article, it should be mentioned, firstly, that dammar varnish is fire and explosive, therefore it should be handled with the necessary precautions in such cases. And secondly, it has a very negative property of turning yellow over time. In view of this, they are not recommended to cover paintings made in cold colors. This effect is shown in the last photo.

Many beginning artists have a lot of questions about choosing and applying varnish for paintings. In this article we will try to understand many important points in varnishing your painting.
Coating a painting with varnish can be called the most final stage of painting, so to speak. the last Art is a finishing touch. It’s like an epilogue at the end of a novel or the final bow that actors take after a performance. Well, what would we do without it!

However, until now, in the Art world there are those who consider it necessary to varnish a painting and there are those who consider it unnecessary. Why are there so many different opinions? regarding whether it is worth covering the painting with varnish?

Protective film on the painting

Some artists claim that they use a tee for painting, which already contains a varnish that provides brightness, shine and depth of color. And the paintings have been stored perfectly for several years, the colors do not fade or crack. Perhaps I won’t argue too much.

For example, my elderly French teacher Christian Geai did not coat his paintings with a protective varnish, but used a glossy medium for painting. I have seen his paintings and I will say that they have been in excellent condition for 30-40 years! In any case, it’s up to you to decide whether to apply a protective film on top or not!

Artist Christian Geai and his triptych painting 251 x 116 cm, oil

Reasons why you should varnish a painting:

Internal destruction. Varnish protects the painting layer from exposure to air, moisture, tobacco smoke and other aggressive factors that cause darkening or fading of paints.

External factors. The varnish film gives the artistic canvas a pleasant shine, the tones of the colors become more intense and saturated. The picture becomes more sonorous and deeper!

Uniformity and integrity of the fabric. The varnish coating evens out the uneven shine of multilayer oil painting. Indeed, often in a picture painted with translucent glazes, withered or matte areas may appear. This is because the previous coat of paint has drawn out the oil from the fresh coat of oil paints.

Resistance to mechanical damage. The varnished canvas is resistant to minor scratches and damage.

Longevity of the painting! It is unlikely that many masterpieces would have survived to this day if not for the protective coating. Throughout the centuries, artists have used different types of varnishes according to their own recipes for the finishing coating of paintings. It is thanks to this that we can see masterpieces that are several centuries old in almost their original form, without restoration or damage. In those days, they painted in oils, that is, they diluted paints with different oils, therefore, a protective film on the canvas was a necessary thing. You can see some sophisticated paintings by French artists in a special article about .

Below we will consider the most pressing issues aspiring artists on the topic “How to properly varnish a painting”

1.How long after painting can I apply varnish?

It is impossible to answer the question unambiguously, since it depends on whether the paints were used transparent or impasto? What brushes were used, in what room the painting is kept to dry. Did you use pure oil when working on the painting, and if so, in what quantity...
If pure linseed oil was used for painting, which takes quite a long time to dry, then it is recommended to wait about a year

My painting using pure oil

On a note:
Not all lonely oil paint colors dry out. For example, white and shades of blue-blue on canvas take much longer to dry. Why is this happening? It all depends on the pigment of the paint. In this case, premature coating of the painting with varnish may cause damage to the paint layer. The painting may crack in places, if the paint is not completely dry. If, of course, you deliberately would like to get a crackling effect, a kind of craquelure, then no questions asked.

If you think that 8-12 months is too long for drying, you can check it at your own risk. If you decide to take such a desperate action, make sure that the top layer of the painting is not washed off during varnishing. After all modern varnish contains a solvent

If you used a tee, double or medium for liquefaction, then the paint dries a little faster. The painting can be varnished after 4-6 months. You can also see special drying accelerators on sale - driers, but it is better not to get carried away with them, since the paint layer dries quickly and may crack. What can I say, it’s a double-edged sword!

My painting using a medium with a drier

There is an opinion that modern oil paints already contain driers, that is, substances that accelerate drying, and therefore the canvas dries completely in 2-3 months. Perhaps, but I will say that many foreign manufacturers adhere to the traditional method and mix paints using old technologies without adding chemicals.

As a rule, such oil paints are much more expensive and rightly so! It’s like bread baked using technology with sourdough in a few days and bread quickly baked with chemical yeast. Agree that the taste, quality and benefits to the body will be greater from bread baked according to the old recipes of our great-great-great grandmothers.

2. Varnishes for oil painting: how to choose?

Varnish from TALENS, for covering acrylic paintings

CONCLUSION:
Coating a painting with varnish will not only preserve the aesthetic beauty and brightness of your painting, but will also protect it from harmful factors for many years. It is important to remember that painting varnish provides comprehensive protection for your painting, and whether to varnish it or not is, of course, up to you!

Friends, save the article to your bookmarks, so that it does not get lost among many other articles. This way you can always return to it if necessary.

Ask your questions below in the comments, I usually answer all questions quickly

Varnishes for oil painting consist of a 30% solution of resins in pinene, with the exception of copal varnish (copal resin is dissolved in linseed oil).

The following types of varnishes exist:

  • dammar;
  • mastic;
  • pistachio;
  • acrylic-pistachio;
  • copal;
  • retouched.

Dammar varnish used as an additive to paint or as a coating. When stored, it sometimes loses transparency, but when dried it gives a transparent film. When aging, it yellows less than mastic varnish.
Megilp used for rubbing intermediate layers in oil painting, as an additive to paints or as a topcoat in oil and cover painting.
copal varnish is a dark-colored varnish that is used as an additive to paints. The resulting dried film is resistant to organic solvents.

Topcoat varnishes

1. Pistachio varnish is almost completely colorless and its drying speed is much lower than that of other varnishes.
2. Acrylic-pistachio varnish has an almost colorless film and has great elasticity. This varnish is stronger than mastic and dammar films, but dries much slower than mastic.
3. Dammar topcoat varnish is hygroscopic, but it does not protect the painting from moisture, and in conditions of high humidity it can even become cloudy.
4. Retouch varnish is used to prevent fading during multi-layer oil painting and to enhance the adhesion of paint layers. It is better to apply it with a brush or swab.

Oil paint thinners.

Thinner No. 1— used for diluting sketch oil paints, relief pastes and for various auxiliary purposes.
Thinner No. 2— used as a paint thinner for washing brushes and palettes.
Thinner No. 2 is not suitable for diluting varnishes due to its low dissolving ability and greater permeability than pinene.
Thinner No. 4(aka pinene) - oxidizes much less than turpentine, but is prone to yellowing and tarring. It is better used as a thinner for paints and varnishes in oil painting, because diluting paints with pinene reduces the shine of the paintings.
Thinner No. 1 and thinner No. 4 tend to quickly oxidize when in contact with air, become cloudy with precipitation and turn yellow.

Basic rules for using oil thinners:

  • use in limited quantities;
  • do not introduce oil into the underpainting;
  • slow-drying paints should be diluted only with varnishes;
  • quick-drying paints should be diluted with compacted linseed oil;
  • Excessive introduction of varnish into the paint layer makes it brittle.

Varnishing paintings

Varnishing paintings is quite important. The varnish film plays not only a purely optical role, but also protects the paint layer from the action of aggressive reagents in the air.
The painting should be coated with varnish no earlier than half a year after completion of the work. During this entire time, painting must be protected from dust, dirt, tobacco smoke and direct sunlight.

To coat a painting with varnish use acrylic pistachio, mastic or dammar varnish. The best topcoat varnish is acrylic pistachio. This varnish has special transparency, high elasticity and does not lose its properties over time. The varnish must be fresh, no more than 3 months from the date of release.

Before applying varnish the picture Be sure to clean your painting from dust and let it dry. To apply varnish, wide fluted brushes are used, the width of which depends on the size of the painting, or stand-alone brushes. The brush should have short, but not trimmed, bristles. The thicker the varnish, the shorter the bristles of the flute should be so that they do not “tighten” the varnish, i.e. made it possible to apply it in a fairly thin layer. In addition to a flange brush, varnish is sometimes also applied with a nylon swab or even just by hand.

For better polishing of varnish, it should be applied heated, for which a water bath with a water temperature of 40°C is used. To reduce the gloss of the varnish coating, which causes glare, the varnish is diluted with fresh pinene (thinner No. 4) in a 1:1 ratio. Having finished applying the varnish, after 10-15 minutes the work is installed obliquely, with a picturesque layer against the wall, to protect the canvas from dust. At the same time, the painting coated with varnish should be protected from humid air and low temperatures.

We hope that our article was useful to you and you can note it below in the comments. Good luck with your creativity!