How do I preserve my painting from dust ,grime, and the elements. What are conservators struggle with old paintings The blog willed let you in on David Leffel’s method of varnishing a painting and what mediums other artists and conservators are using today.
This Blog will describe different types of varnishes . What there benefits are .
Below the video will interview David Leffel , talking about mastic varnish , when he uses it .
Mastic Varnish is clearer than dammar and can be applied more easily. However, it does tend to bloom (develop a chalky surface) in humid climates, as well as yellow more than dammar. Mastic and mastic varnishes are much more expensive and harder to come by than dammar. Today, mastic is usually used as a mixing varnish and rarely as a picture varnish.
Retouch Varnish –
Dammar Varnish is the most popular of all varnishes and is used as a retouch, a mixing, and a picture varnish. It does not bloom (develop a chalky appearance) and it yellows less than most natural resins. Dammar varnish can be readily purchased already prepared or you can prepare it according to the following recipe.
Copal Varnish and copal medium are becoming increasingly difficult to find because amber has become semiprecious and rare. It is being replaced by such synthetics as alkyds or unspecified tree-root resins.
Copal varnish makes an excellent isolating varnish, when used in moderation, and a very hard-surface final varnish. However, copal varnish is more often produced as a convenient source of liquid copal for use in media than as a final protective varnish. Since it has been found that copal varnish darkens and often cracks with age, even without the driers that are commonly added, most recipes call for the use of stand oil or sun-thickened oil to reduce the risk of cracking. The following is a recipe for copal-oil varnish.