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How to paint permanent pictures

Chapter 23: AMBER VARNISH
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About This Book

The work presents practical guidance for artists on selecting and using pigments, vehicles, supports, and varnishes to produce durable paintings. It explains simple and complex palettes, permanent foundations, preparation of wood and metal supports, and the properties of oils, tempera, watercolors, waxes and mediums. The author discusses common causes of deterioration—fading, darkening, cracking, peeling—and prescribes materials and techniques to prevent them, including labeling and sequence of application. Chapters cover specific problem pigments to avoid, varnishes and blooms, repainting, restoration and cleaning, and framing. Advice is technical but conveyed in plain language to help painters and collectors produce and preserve long-lasting work.

AMBER VARNISH

MANY painters believe that, owing to the fact that Amber is the hardest resin there is, the varnish made from it should retain its gloss the longest, and be just as free from cracking and bloom as the natural resin itself.

An examination of several of the amber varnishes on the market reveals the fact that there probably is no such varnish made. Although Amber can be fused and melted, it takes such a high heat that even the lightest gum Amber becomes exceedingly dark and then it must be diluted with so much oil that there is very little gum Amber in the varnish itself. Most of the Amber Varnishes on the market are Copal Varnishes that contain little or no Amber at all.

It is very wise for the painter to keep away from materials of this type; and, if a hard drying varnish is desired, any good Copal Varnish will answer the purpose, although for varnishing pictures, it must be continually borne in mind that a simple varnish like Damar, Mastic or Sandarac should be used; for only those simple varnishes can be easily removed without destroying the painting itself.