Gloss varnishing without glare

[David Clemons]

I believe the origin of the controversy with a gallery finish is related to a practice by the National Gallery in the 19th century to add a varnish mixture that included boiled linseed oil and litharge mixed with mastic. The oil content in the varnish was the issue.

I've managed to get a similar effect when applying a glossy spirit varnish (MSA.) Essentially, it's just a matter of disturbing the surface with the brush tip, as Richard mentioned, without resorting to using matting agents, although, I've done that too.

[Raymond Smith]

Richard-I believe what you've described is the technique I must have read about somewhere. Whatever it was, it also mentioned that 'people don't take the time to do this anymore.'

However-this forum is the place where 'people do take the time!'

I will try the laying off technique. I assume that the strokes should be at right angles to each other, when the time is right.

Chris-I am also going to try the beeswax technique. My concern here is that I've read (in Mayer, pg 241) that adding wax to a natural resin solution causes 'the dried films (to) will be tender and susceptible to polishing.' Have you found this to be the case with your synthetic (Gamvar) finishes?

Richard & David-is there a 'wait time' window you can recommend for the varnish to sit before I do the dragging?!

Thank you all for your time and attention!

[Richard Bingham]

Hi, Raymond ! I can only relate what I have found through experience. As noted above, the varnish of choice may or may not be "ideal", and other materials ultimately may be found to be superior. I like a 60/40 proportion of damar and mastic, both varnishes at a 5# cut (i.e., the resin crystals dissolved in good pure spirits of gum turpentine to the proportion of five pounds to the gallon) before mixing them.

Damar retouch varnish sold in art stores is too light in solids; damar alone "flashes" a bit too quickly to manipulate in this manner. You may encounter some difficulty obtaining Chios Mastic (resin of the pistachio trees peculiar to that Greek island (pistachia lentiscus). Looking for it through ethnic food suppliers is a better bet than art materials, it is used in Greek pastries.

It's more difficult to work very large pieces, (over 3' in one dimension) because the varnish may reach a tackiness conducive to "laying off" where you began, before you've applied varnish to the whole thing, so you need to keep working across, following up as needed.

There is no specific time factor, all depends on temperature and humidity where you are working, and the absorbency of the painting being varnished. Apply the varnish sparingly, working it well into the surface, and . . . just keep brushing . . . as you return to the areas of initial application, eventually you'll note how the brush begins dragging, and this is the time to "lay off" the sheen . . . a light source oblique to the surface of the painting is useful, so you can see "wet" areas, and the results of your "distressing" the finish as it tacks up.

I don't follow a specific pattern for brushing, obviously it's more effective to follow a regular pattern so as not to leave "holidays". Something of a random pattern of overlapping strokes works well for me. Keep the varnish brush perpendicular to the surface, using only the flagged tip of the brush. This is why a badger brush is especially nice to use, and a fair-sized one (2") at that . . . makes it all much easier!

At least in theory, this technique could be employed with any varnish at the point of "tack", but success will depend on each varnish's open working time, how rapidly it reaches that point, and whether it is formulated to flow out rather than "stack". Last, as Dave points out, the "bad press" the Nat'l Gallery varnish got was for using a varnish that would not be readily re-soluble and hence, removable. Don't try anything for a "final varnish" that contains drying oils, or forms an insoluble film. Good luck!

[David Clemons]

Originally Posted by Raymond Smith

... I assume that the strokes should be at right angles to each other, when the time is right...

That's the general idea. Lightly drag a dry brush across the inital layer of gloss varnish at a right angle to distrupt the gloss sheen. You won't get a matte surface, just less glossy. You only need to wait a few minutes for some of the solvent to evaporate, and keep the brush dry. Test it on a scrap with dry darkly painted areas to get the hang of it.

[Raymond Smith]

I can see that the size of the piece would also be a factor. I have a large 36" X 60" painting that i've wanted to varnish, but held off until I felt informed.
It's my 9/11 painting, and it's full of darks.

Thanks for your highly informed advice, guys!