The history of the appearance of varnishes for artwork has its roots in deep antiquity. Then the artists could not go to the store of art goods and simply choose the varnish they liked by their properties and composition - they did everything on their own. And if at first everything was good with the homemade varnished work, then the varnish began to darken and acquire a pronounced brown tint, lose its properties and become dull. Because of this, after some time, the lacquer had to be cleaned. Unfortunately, this could only be done with a solvent, which adversely affected the paint layer under the varnish. Many paintings were damaged during restorations due to the removal of the lacquer layer with a solvent.

Such different varnishes for painting. What are varnishes and how to choose the right one.

Even at the very wide choice  varnishes for painting and paintings; it is not so difficult to choose the varnish that meets the artist’s needs Due to its composition, many modern lacquers have become universal and equally well suited for both oil painting and paintings painted with acrylic, tempera, gouache and other paints. Therefore, it is enough just to get acquainted with the individual characteristics of each varnish and choose the one that best suits the needs of the artist.   Talk about topcoats. These varnishes are covered with ready-made paintings to protect against various external factors: sunlight, dirt, dust, water. Usually there are several of the most common types of topcoats.

Dammar varnish

This varnish based on pistachio resin is very similar to acryl-pistachio in its properties. It forms a thin transparent film on the surface of the picture, which is the main protection of the work against all external factors. But such a lacquer is distinguished by an even less democratic price, in comparison with acryl-pistachio, it dries slowly and appears even less often in stores.

Acrylic Styrene Varnish

All these varnishes give the paintings a glossy shine. Far from all artists like this, and then mat varnishes come to the rescue. Possessing the same properties, they protect the picture in the same way as glossy ones, but do not make colors brighter and richer. In addition to coating varnishes, there are also so-called painting varnishes. They are mixed with oil paints and they paint pictures with this solution, making the paint layer more durable.

Copal varnish

This varnish is the strongest among the painting varnishes. Mixed with paint, it cannot be removed with solvents after drying. This varnish has a dark shade and can seriously change the original color of the paint. Dammar, mastic, pistachio and acryl-pistachio varnishes can also be used as paintings.

Acrylic lacquer

This water-based varnish can rightly be called the most universal among all varnishes. It is widely used not only in painting, but also for decorative works. In painting, acrylic lacquer is used as a topcoat, treating the finished image with it, and as a painting, mixing it with acrylic paints, and even as a primer for the paint layer, which makes the paint more resistant. Acrylic varnish is glossy, matte and semi-matte. Glossy lacquer gives the work an elegant shine, matte invisible film protects the paint. Semi-matt varnish has an average light reflectance: the gloss is very soft. Externally, acrylic lacquer has a milky hue, which facilitates the application process - the lacquered area is clearly visible and unpainted areas can be avoided. After drying, the acrylic varnish becomes completely transparent and perfectly protects the work from all adverse external factors.

In addition to varnishes for paints, there are also varnishes for fixing drawings made with soft and dry materials, such as pencil, pastel, coal, sanguine, sepia, etc. This is a lac-fixative based on polyvinyl acetate mixed with butyl and ethyl alcohols. Figure coated with a fixative, you can safely wipe from dust. In addition, the lacquer allows the drawings to maintain brightness and saturation for a long time, not to fade from time and the action of sunlight. This varnish is covered with paintings painted in oil, watercolor and gouache. The paint layer must be completely dry before applying.

Separately, it is worth noting retouching lacquer for oil painting. It is used to soften the upper dried layer of paint and the subsequent application of new paint. Varnish provides better grip layers. Thus, you can continue to work with the already dried picture and make adjustments. In addition, retouching varnish well helps to remove the matte spots that appear in the picture during the drying process. It is applied to the selected area before and after the work, which provides good protection against tarnishing of color in the future.

Thinners for paints and varnishes There are also thinners for paints and varnishes. Thinners make varnishes and paints more liquid, reduce viscosity, and also serve to clean the brushes after work. It is much easier to work with diluted materials. For varnishes usually use Thinner No. 4 and Thinner "Tee". But brushes with these thinners do not clear. To clean the brush from varnish, it is better to use Thinner No. 3 (it does not smell), No. 2 or No. 1. Each of these thinners is suitable for artistic paints, primarily for oils. For acrylic apply a special thinner for acrylic paints.

How to apply varnish on the finished picture

Before applying, the paint layer should dry completely. For oil painting, the drying time can be up to six months. Before working with varnish, remove dust with a dry brush or lint-free cloth from a painting. Apply varnish is best in a dusty, well-ventilated area. For drawing use a wide brush, for example, fleytsevy, but it is possible to use also any convenient wide brush.

After processing, the picture is left to dry for at least a day. During this time, it is better to avoid getting dust, dirt and water to work, do not expose to temperature and humidity changes. The picture can be leaned against the vertical surface of the image inside, thereby protecting it from pollution.

After work, brushes should be thoroughly cleaned without waiting for the lacquer to dry on the pile. The varnish on the unpolished brush hardens and makes the brush unsuitable for further use. Water-based varnishes, such as acrylic, can be washed off the brush with simple warm water and soap. The method of cleaning a brush after a varnish on a natural basis, for example, dammarny, acryl-pistachio and others, is slightly different. First, the lacquer is wiped off with a napkin with a napkin, then the brush is washed in thinner No. 3 (thinner No. 2 can also be used, but No. 3 does not smell). After that, the brush is thoroughly washed with soap and water.

Processing a finished painting with varnish is a very important stage of painting. Covered with lacquer film, the work becomes protected from adverse external factors, permanently retains color saturation and takes on a finished look. It is enough to remember the properties of each varnish - and the choice of material to cover the finished picture will not be a serious problem for you, and the result will please the eye for a long time.

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Oil paints are made of 30% resin solution in pinene, with the exception of copal varnish (copal resin dissolved in linseed oil).

There are the following types of varnishes:

• dammar
• mastic;
• pistachio;
• acryl-pistachio;
• copal
• retouching.

Dammar varnish  It is used as an additive to paint, or as a top coat. During storage, it sometimes loses its transparency, but when dried it gives a transparent film. With aging, it turns yellow less than mastic varnish.
Megilp  it is used for wiping intermediate layers in oil painting, as an additive to paints or as a coating in oil and surface painting.
Copal varnish  - It is a dark color lacquer, which is used as an additive to paints. The resulting dried film is resistant to organic solvents.

Coating varnishes

1. Pistachio varnish is almost completely colorless and its drying rate is much lower than that of other varnishes.
  2. Acrylic-pistachio lacquer is an almost colorless film and has great elasticity. This lacquer is superior in strength to mastic and dammar films, but dries much slower than mastic.
  3. Dammar varnish is hygroscopic, but it does not protect the picture from moisture, and in conditions of high humidity it may even become cloudy.
  4. Retouching varnish is used to prevent fading in multilayer oil painting and to enhance the adhesion of paint layers. Apply it better with a brush or swab.

Thinners oil paints.

Thinner number 1  - used for diluting sketched oil paints, embossed pastes and for various auxiliary purposes.
Thinner number 2  - used as a paint thinner for washing brushes and palettes.
  Diluent No. 2 is not suitable for dilution of varnishes due to its low solubility and higher permeability than pinene.
Thinner number 4  (aka pinene) - oxidizes significantly less than turpentine, but is prone to yellowing and pitch. It is better used as a thinner of paints and varnishes in oil painting, because when diluted with paints with pinene, the brilliance of paintings decreases.
  Thinner No. 1 and diluent No. 4 are prone to oxidize quickly when contacted with air, become cloudy with precipitation and turn yellow.

Basic rules for the use of oil thinners:

• apply in limited quantities;
• do not introduce oil in the underpainting;
• slowly drying paints should be diluted with varnishes only;
• quick drying paints should be diluted with compacted linseed oil;
• the excessive introduction of varnish into the paint layer makes it fragile.

Painting varnish

Painting varnish is quite important. The lacquer film plays not only a purely optical role, but also protects the paint layer from the action of aggressive reagents in the air.
  Varnish the painting is not earlier than half a year after the end of the work. During all this time, the painting should be protected from dust, pollution, the effects of tobacco smoke and direct sunlight.

To cover the picture with varnish  use acryl-pistachio, mastic or dammar varnish. Acrylic-pistachio is considered the best coating varnish. This varnish has a special transparency, high elasticity and does not lose its properties over time. Varnish should be fresh, no more than 3 months from the date of issue.

Before applying lacquer painting  be sure to clean your picture of dust and let it dry. For applying lacquer apply wide fleytsevy brushes, whose width depends on the size of the painting or building. The brush should be with short, but not cut bristles. The thicker the lacquer is, the shorter the bristles of the fleetz should be so that it does not “tighten” the lacquer, i.e. made it possible to apply it in a rather thin layer. In addition to the flange brush, varnish is sometimes also applied with a nylon tampon or even with just a hand.

For better polishing varnishIt should be applied in a heated form, for which use a water bath with a water temperature of 40 ° C. To reduce the gloss of the lacquer coating that causes glare, the varnish is diluted with fresh pinene (diluent No. 4) in a 1: 1 ratio. After finishing the application of varnish, work in 10-15 minutes is set obliquely, painting a layer against the wall in order to protect the canvas from dust. At the same time, the painting, varnished, should be protected from moist air and low temperatures.

We hope that our article was useful for you and you can mark it below in the comments. Good luck in your work!

Gum arabic.

Additive for watercolor.
A pale solution of gum arabic (resin of the Arabian acacia), which increases the brilliance and transparency of watercolor paints. It is dissolved by water.

Composition:  gum arabic, water, anti-fungal additives.

Retouching varnish.

Retouching varnish designed to work with oil paints to protect the intermediate paint layer in the process,  as a temporary lacquer to complete the work.
Transparent liquid lacquer, which, drying out, does not give yellowness and shine. Gives temporary protection to newly completed oil painted paintings requiring long drying. Does not require removal before applying the final topcoat.

Luck dammarny.
A solution of tar of gondammar in turpentine and alcohol.
  It is used for the final coating, dilution of oil paints, as a result of which the oil layer, drying, takes on the character of a shiny enamel.
  The best varieties are colorless. It gives an elastic glossy reversible film, easily soluble in solvents (turpentine).
   Drying time up to 12 hours.
  Fire and explosive.
  Keep tightly closed at temperatures not higher than 30 degrees.
  Shelf life is 3 years.

Oil-dammar (tee).
  Transparent light yellow lacquer, made according to the classic recipe from dried turpentine, refined and bleached linseed oil and dammar resin obtained from hardwood trees growing on Sumatra.
  Properties:
  Light yellow liquid lacquer consistency;
  It has characteristic smell  turpentine;
  Drying forms an elastic glossy and absolutely transparent surface;
  After drying it forms a colorless, mechanically durable coating;
  It mixes well with any oil paints;
  Varnish is designed to dilute and dilute oil paints without disrupting the normal process of drying. Promotes more uniform one-time drying. Reduces vzhuhlokrasok and promotes better adhesion of the layers to each other. Increases the hardness and endurance of the painting layer. Gives paints greater transparency and beauty of tone.
  A lacquer for painting containing a hard dammar resin allows you to create a very durable painting layer, which has a positive effect on the durability of the work, as well as protects the work from being damaged when removing the picture lacquer for repainting or during restoration work.
  Application technology: If necessary, diluted with turpentine.
  The varnish is mixed to the paint directly, as this leads to a thinning of the paint, as well as to an increase in gloss after drying.
  Attention!
   Do not use varnish for painting as a cover! After the final drying, it gives an extremely durable, hard-to-remove layer and the reflux or restoration of the work will be fraught with considerable difficulty.

Auxiliary materials (oils, varnishes, thinners)

OILS

Refined linseed oil, not bleached.

Linseed oil, purified from non-fatty impurities by alkaline refining, followed by finishing with activated lands, settled for 6 months.

Linseed oils

They are homogeneous transparent liquids of light yellow color. They are used as a diluent for oil painting. When used, they use compacted oils during the layering layers. Oils are non-toxic, flammable. The painting uses flaxseed, walnut, hemp, poppy, sunflower oil.

LUCKY

Lucky oil.

Luck dammarny. Lac mastic. Pistachio varnish. Cedar lacquer. Fir varnish. Retouching varnish.

They are solutions of the corresponding resins and balsams in pinene or turpentine.

Retouching varnish contains other additives. Drying time of oil resin varnishes:

dammarnogo - 12 o'clock

pistachio - 20 hours

mastic -6 hours

cedar - 18 hours

fir - 4 hours

retouch - 0.5 hours

Lucky oil resin

Copal varnishit is a copal alloy with oil diluted with pinene (turpentine) with the addition of desiccant. Varnish of dark color. Drying time no more than 24 hours.

Varnish balsam-penta oil  is a solution of a mixture of Siberian cedar balsam with PE in Whites Spirit. Oil-resin lacquer films are irreversible, they do not dissolve in solvents after drying. Drying time not more than 48 hours.

Varnishesvarnish the painting no earlier than one year from the date of completion of the work. During this time, the painting should be preserved from dust and dirt. Before applying the varnish, the surface must be free from dust and dried. For applying lacquer used bristle fleylevye brush. The higher the viscosity of the varnish, the shorter the bristle should be in order to apply it in a sufficiently thin layer. For better polishing, the varnish is applied heated in a water bath at a temperature not higher than 40 degrees C.

  Acrylic pistachio varnishit is a solution of pibutylmethacrylic and pistachio gums in pinene or turpentine with the addition of butanol. Bright varnish after drying gives a reversible film that is resistant to water. Drying time no more than 24 hours.

  Lac-fixativeis a solution of polyvinyl acetate in a mixture of ethyl and butyl alcohols. Almost colorless, quick-drying. Drying time no more than 15 minutes. The lac-fixative is intended for fixing drawings made with pencil, charcoal, pastel.

Lac masticcan also be used as a top coat. They are flammable and explosive, toxic, due to the properties of solvents in their composition.

Varnish AK-575is a solution of polybutyl alkylate in a mixture of pinene and white spirit. This lacquer is designed to transfer printed pattern from paper (decal) to porcelain products to be fired.

Diluents

Thinners for art and painting works.

Thinner №1- a mixture of filtered dehydrated turpentine and white spirit.

Thinner number 2  - filtered dehydrated white spirit.

Thinner number 4  - filtered and dehydrated pinene.

It is a colorless transparent liquid without mechanical impurities. Used for the breeding of artistic oil paints and washing brushes.

Thinner for oil art paints  (sketch) - is a solution of bilge refined bleached oil and white spirit with the addition of cobalt desiccant. Thinner is a homogeneous transparent liquid without mechanical impurities, intended for the dilution of oil art paints (sketch). They are fire and toxic.

Remover for artistic tempera polyvinyl acetate paintsis a mixture of an aqueous solution ethyl alcohol  with ethyl acetate. Washing - colorless homogeneous transparent liquid without mechanical impurities, designed to remove artistic tempera polyvinyl acetate paints from canvases, palettes and brushes. The wash is flammable, explosive, moderately toxic.

The value of lacquer in painting is difficult to overestimate - it emphasizes the tone and color of the paint layer, gives the picture gloss, highlights nuances and texture, and also performs a protective function, saving the work of art from fading and darkening colors, protects from moisture and negative environmental influences.

How to choose a varnish for painting?

A person taking the first steps in painting may be confused by the abundance of goods displayed in the store. In order to choose exactly what you need, it is important to know the classification of varnishes. So, for painting using lacquers of two types - either covering or painting.

Coating varnishes are used as a finish work after drying oil and tempera paints. For dilution of thick paints, giving strength to the coating, visual effects, for example, for transparency of the image, painter lacquers are used.

Thanks to the use of synthetic materials in the manufacturing process, many paints for painting became universal, although even now artists often use compositions made from natural resins. Of course, they do not have such a wide scope of application as synthetic analogs, but they are less hypoallergenic. Some artists prefer to make lacquers themselves - at home, but here it is important not to disturb the proportions so that the composition does not spoil the canvas.

Paint, diluted with varnish, becomes more elastic and resistant, there is saturation and color depth. The picture becomes resistant to fading, moisture, dust and temperature changes.

Types of varnishes for painting

Dammar varnish

Dammar varnish  - this is perhaps the most popular composition among artists, it is inexpensive and protects the canvas from exposure to sunlight. However, over time it becomes muddy and yellow, so it is better not to use it for canvases painted in cold shades. For such paintings, acryl-pistachio lacquer is a much more suitable option - it gives paints the necessary elasticity, is completely colorless and does not turn yellow with time. It costs much more than the dammar one, as a result, it is used less frequently.

Pistachio varnish

Pistachio varnish  - made from pistachio resin with the addition of alcohol, as well as acryl-pistachio, it creates a transparent, elastic film, dries for a long time, is expensive and rarely on sale. Acrylic-styrene varnish is considered to be the optimal replacement for acryl-pistachio, it does not change color, does not become cloudy, creates a transparent thin film, has a water-repellent effect.

All these varieties of lacquer give the canvas shine, which is not always satisfied with the artist. In order not to glow, you should use matte counterparts, which by their properties do not differ from the glossy models, also protect the picture.

Megilp

Megilp  used as an additive to oil paints, as well as a kind of layer in layer-by-layer painting. It can also be used for the final coating of the finished picture - it gives a glossy gloss and elasticity to the surface, but with time it becomes cloudy and turns yellow much more than dammar varnish.

Copal varnish

Copal varnish  It is used to add to paints, it is very durable and when dried it can not be removed by solvents. By itself, it is of a dark color, and when mixed with paints it can distort their original shade.

Lac-fixative

Lac fixative It is applied on pencil, pastel and coal drawings, performs protective functions - as a result, the picture can be easily wiped from dust. In addition, the drawing does not fade with time and retains its brightness for a long time. It can be used for oil, watercolor and gouache painting, but only after the paint has completely dried.

Retouching varnish

Separately worth noting retouching varnish: it is not used for finishing the finished picture, its purpose is exactly the opposite. Thus, the composition is used to dissolve the intermediate layer of paint and to bond the layers together. After drying, its film is easily dissolved by white spirit.

When making a purchase, it is important to pay attention to the shelf life of the lacquer - no more than three months should pass from the date of manufacture, otherwise it may dry for a very long time, be sticky or viscous, attracting dirt and dust.

It is necessary to apply a varnish in a very thin layer, rather quickly, not lingering on one place, evenly, if necessary, you can apply a layer again. It is advisable to cover the painting with a varnishing compound in a dust-free room, and dust, dust and hairs should be removed with a dry brush before applying the product. If, on the picture itself, small soils appear, then they can be removed with a wet cloth, wait for the fragment to dry, and then coat the surface with varnish.

It is necessary to varnish a painting after its complete drying - as a rule, somewhere in six months / year after its writing. Paint dries in different ways - it all depends on the thickness of the layer, on the quality and type of dye. If, however, varnish painting too early, then it can penetrate into the depth of the layer - without the possibility of further removal!

In a world where everything can be bought, handicraft is especially appreciated. To make the painting of the bottle with acrylic paints, it is not necessary to finish art school. You can find templates for ready-made drawings on the Internet or master the not very complicated techniques of creating your own sketch from a textbook on painting. Of course, your own fantasy will be important, but listen to some simple tips.

A large number of artists prefer oil painting over all other types of painting. "Blame" in this property oil paints. Thanks to them, oil paints more than other paints, are suitable for the disclosure of complex designs. Oil paintings, durable, light-resistant - they are stored for centuries.

In oil painting, artists often dilute paints with so-called “doubles” or “tees”. But, before you understand what they are, you need to learn more about painting paints, oils and thinners.

Varnishes for oil painting: painting varnishes and coating varnishes.

Painted varnishes  used as an additive for art oil paints and are solutions of resins in pinene. Megilp  It is made of resin mastic and can be used not only as an additive for paints, but also as a retouching varnish for wiping paint layers, as well as a top coat. Dammar varnish is a dammar resin solution in pinene with the addition of alcohol. Dammar varnish  It can be used both as a paint thinner and as a top coat varnish. Dammar has both pros and cons. The main disadvantage is the turbidity of the varnish during long-term storage. However, in comparison with the mastic varnish, dammar turns yellow less when aging than mastic. Copal varnish  is a mixture of copal gum, linseed oil and pinene. Varnish is used as an additive to paints, but its color is dark, which can affect the paint mixture. Fir varnish  - transparent in appearance and has a pleasant fir aroma. Used as an additive to paints.

Coating varnishes  they are used to cover the oil painting in order to protect it, as well as to give the paint layer a saturation and shine. When the paints lose their sound, or wither, or become dull from an excess of thinner, the lacquer coating corrects the situation. But varnish is used not only to correct errors or protect the paint layer during long-term storage of painting. Varnish can simply enhance the sound of colors, make the colors more saturated. Therefore, its use is not limited to one reason. Today on the market are various varnishes. But the main and traditional are the following. Pistachio varnish.  It has an important advantage - its film is almost colorless. Such transparency makes it indispensable for coating a painting with a protective lacquer layer. Retouching varnish  - made of mastic resin, solvents and acrylic. Retouching lacquer is used in multilayer painting, but not only. The varnish is relatively liquid, therefore it penetrates well into the paint layer and, thus, prevents the paints from drying out. They can simply paint over the layers of paint for their greater saturation. Also retouching varnish increases the strength of the paint layer. Acrylic lacquer  consists of synthetic acrylic resin and solvents. Its film is colorless and elastic.

Oil for oil painting.

The most common oil for painting is linseed oil. It dries relatively quickly and is transparent. However, some artists prefer to write on sunflower oil. It is believed that over time it becomes less yellow. I myself write in refined sunflower oil. The result more than suits me. In addition to flaxseed and sunflower oils, of course, there are other oils, for example nutty  or cotton. But they are rarely used. In addition, you need to be careful, because some types of oils do not dry well or do not dry at all. For example - olive oil. It is not suitable for painting, as it is not able to completely dry out and leaves the painting sticky.

Oil for painting brightens, soaking in ultraviolet light. This procedure can be done at home. Oil put in the sun and stand for a long time. This removes yellowness from them and they become more transparent. Also produced and compacted oil for painting. In Soviet times, it was produced under the number 1 and number 2. This oil is polymerized during heating without air. It becomes more dense, and therefore dries faster. In general, the average drying time for regular sunflower oil is about one week. In some sources it is written that the complete hardening of the oil film occurs only after 12 months. Linseed oil dries on average for 5 - 6 days. Under favorable conditions, it can dry in three days. But here it means drying to a tack-free look, i.e. the paint ceases to stick.

Thinners for art oil paints.

In painting, solvents are used, which were produced in Soviet industry under No. 1, No. 2, No. 4. But their essence has not changed over time.
Thinner number 1  It is a mixture of turpentine turpentine and white spirit. It is used in less important works, for example in sketches. Thinner number 2  in essence is white spirit and is used to wash brushes. Thinner number 4 or pinen.  This is a fraction of gum turpentine. It is considered the best thinner and is used in important paintings.

Well, now, you can return to where I started this article - to the "twins" and "tees" in painting. “Twin” is a mixture of pinene and oil (or varnish). "Tee" is a mixture of both pinene, and oil, and varnish. Depending on the task, you can use both. Thinner pinene - dissolves paint. Oil fills the lack of a binder in the pigment paints, when diluted with a solvent. Varnish - makes the paint layer more “dense” and more saturated in color, as well as quickly thickening and glossy. This feature of his is used in podmalevke and letter glaze. The paint layer dries faster, colors retain saturation, and the semi-transparent paint layer is more dense and shiny. If it is necessary to make the painting dull, then, on the contrary, you need to write on a pure thinner. The paint layer will become dull and softer in color. Most often, artists use a mixture of thinner and oil. This mixture is universal, it is suitable for most tasks in oil painting.