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As a solution polymer, MSA Varnish is clear when wet . The rate of coverage for these products is approximately 75-150 sq. Most curing will occur within two weeks. Another quick check may be made by mixing the solvent into the wet varnish. if varnish is not properly thinned, or is shaken or stirred excessively, air bubbles may become trapped within the dry film, causing a loss of clarity. Properly applied, it creates a durable, even film with the same features as Golden brushable MSA varnish plus, excellent wet/dry state clarity. MSA VARNISHES MUST BE THINNED BEFORE USE. Apply varnish as evenly and as smoothly as possible. The size of the piece to be varnished will determine the size of the varnish brush. Website prices are only applicable to online orders unless otherwise stated. The latter will take longer to cure, staying soft for some time, and could result in drips or a cloudy film. After a single treatment over the complete surface of the painting, some residual varnish may remain. It resists yellowing over time, and when properly applied, is removable. Unfortunately, there is no way of knowing without trying. Namcos tempus turpis at metus scelerisque placerat nulla eu sollicitudin felis. Golden's Mineral Spirit Acrylic (MSA) Varnish with Ultraviolet Light Stabilisers (UVLS) is a mineral spirit based acrylic resin system that can be applied to acrylic, oil, and alkyd painted surfaces. Find helpful customer reviews and review ratings for Golden Archival Varnish Gloss 10 oz Spray Can at Amazon.com. The varnish/solvent mixture was not thoroughly mixed. Brush: 3 parts varnish to 1 part solvent. improper mix of varnish. Odorless or low odor solvents are often not strong enough. Repeat the procedure, and continue doing so until the varnish has been sufficiently removed. It offers excellent dirt-, dust-, and moisture-resistance, and … Handling and storage Precautions for safe Usehandling only in well-ventilated areas. Archival Aerosol Varnish MSA with UVLS (7731 Gloss, 7736 Satin, 7741 Matte) is formulated with 100% solvent-based, reversible acrylic co-polymer resin. It is removable with mineral spirits after drying and can be used for interior or exterior applications. ft. per quart, depending on the type of substrate and method of application. It resists changes in appearance, remains flexible. GOLDEN Mineral Spirit Acrylic Varnishes with UVLS (Ultra Violet Light Stabilizers) dry to a tough, yet flexible protective finish. If possible, work with the painting in a horizontal position, on a table or floor. MSA Varnishes : Is a Mineral Spirit Acrylic-borne resin system. It is preferable to brush or spray apply Golden varnishes. What we like about it. The varnish solution should wet only the lower 25-30% of the length of the bristles. The 100 percent acrylic polymer in mineral spirit vehicle goes on clear and stays clear, with a fan spray tip for precise … It is an easy to use spray varnish made with fast drying acetone and a propellant. Available in Gloss, Satin and Matte. Paint & Decorating Paint Wood Finishes Wood Finishes 696 results for Wood Finishes. The solvent soaked cloth and leftover solvent should be handled and disposed of carefully. On acrylic paintings an isolation coatis helpful if future conservation or varnish removal is ever needed. This product is intended for a final picture varnish only! Good smudge protection after 1 coat for graphite. May be mixed with oils or alkyds to modify viscosity, drying time or improve resistance to cracking. solvent is not strong enough to be compatible. Because it is not recommended to apply several coats of a satin or matte finish, underlying layers should be established using a gloss varnish. This could be caused by insufficient thinning (add more solvent), an extremely dry environment (add humidity, reduce heat, limit air flow) or by excessive air flow (reduce air pressure). GOLDEN MSA Varnish should be cleaned from tools with the same solvent used for thinning, followed by soapy water wash and clear water rinse. It has an adjustable fan spray tip that allows precise application and reduced overspray. Maintain uniform distance from the surface, and avoid the tendency to use an arcing motion. Stronger solvents in turpentine presents additional health concerns and increase the risk of sagging and brush drag. Golden Archival Spray Varnish provides a protective finish layer for fine artwork created with a wide variety of mediums, including acrylics, oils, pastels, watercolours, temperas, and inkjet prints. Archival Aerosol Varnish MSA with UVLS is formulated with 100% solvent-based, reversible acrylic co-polymer resin. Golden MSA Varnish films remain soluble in such solvents as full strength, commercial mineral spirits, distilled or rectified turpentine, acetone, benzene, toluene, naphtha and some alcohols and esters. The varnish produces an extremely level finish, and is able to coat slick supports including glass and most plastics and metals . It’s a good option to have if you wish to do any retouches to your painting in the future. Golden Varnishes Polymer Varnish : With (Ultra Violet Light Stabilizers) is a waterborne acrylic polymer varnish that dries to a protective, flexible, dust resistant surface over acrylic paint.Removable with ammonia. Note that the matte and satin MSA varnishes will lighten dark value colors, which is typical of reduced sheen varnishes. Maintaining a wet edge when overlapping will yield the most even finish. This frosted appearance results from the varnish and solvent being absorbed into the support, while the matting agent remains exposed on the surface. As a topcoat for acrylics, it provides a harder, lower tack surface that is much less susceptible to dirt and is more mar resistant. the surface is too absorbent. For best results, apply to a test piece that is similar in composition as the artwork to be varnished. In either case, to minimize solvent evaporation, use a plastic sheet to blanket the saturated cloth. For brush application, the appropriate isolating medium can be made by diluting Golden Soft Gel Gloss with water (2 parts by volume Soft Gel Gloss to 1 part water). The mural artist has a few choices on how to provide additional protection to the finished mural. Work from ashallow container to help control brush loading. Larger areas tend to become cumbersome and make thorough varnish removal difficult. It is always best to apply the varnish on a horizontal surface in order to minimize running or sagging. Spray Varnish, Gloss $0.00 Golden Archival Spray Varnish provides a protective finish layer for fine artwork created with a wide variety of mediums, including acrylics, oils, pastels, watercolors, temperas, and inkjet prints. While we have carefully selected the matting agent that is in Golden varnishes to be as transparent as possible, it is still a dry particulate material. The nozzle gives a very fine, "fan" shaped spray. It is important to state upfront that the MSA Varnish, by filtering UV light, may help slow down the rate at which dye-based alcohol inks may fade, but it will not transform the dyes themselves into more lightfast materials. High humidity or a damp surface under the varnish layer, often causes loss of clarity. However if varnish has already been applied, the surface must be sealed by applying 1 or more additional coats of gloss varnish, followed by the desired sheen varnish. The Da Vinci Cosmotop Spin brushes are an example of this type. Krylon Spray - UV Archival Gloss Varnish 311g. Coverage: 400-500 sq. Do not repaint surface. This may require two or more brush applied coats or three or more spray applications. This will help ensure that all variables are accounted for, and a successful varnish application will be achieved. Compared to aqueous varnishes, this allows for better visual properties during application. This may be indicated by an extremely tacky or gummy surface. In either case, it is better to apply two or three thin coats with sufficient drying time in between, rather than one thick coat of varnish. Excessive force may damage the paint layers below the varnish. Paint applied over the varnish would also be potentially removable, and would pose a difficult problem in conservation or restoration attempts. If multiple coats are desired, start with the gloss varnish to build up and establish the multiple layers, then finish with one or two coats of the satin or matte finish. When the matting agent is deposited onto the surface, and is not a part of a continuous varnish layer, it appears as a white solid. Proceeding with more solvent exposure may result in some swelling of the paint layer. Identification Product identifier GOLDEN Archival Varnish (Gloss, Matte or Satin Finish) Other means of identification Not available. Avoid heavy build-ups. Clean all equipment immediately following application. However, isolation coats are also significant and permanent additions to a painting and inevitably will cause changes in the painting"s surface qualities. Praesent eu odio ut nisi ullamcorper ultricies. Maintain an even application by working from the center of each region outward. The Gloss MSA Varnish, unlike the Archival Spray Varnish did not disturb the alcohol inks, but how effective is the MSA Varnish in lightfast testing? apply a gloss or satin finish of the same kind of varnish already applied. Do not handle until all safety precautions have been read and understood. To restore the depth of the dark colors, apply a higher gloss to restore some of the sheen. To achieve a uniform finish, start with a fresh mixture of varnish/solvent (thoroughly stirred) and apply another coat (may also consider removing the existing varnish layers). Let varnish cure several days before packing or transporting art. Excessive dilution of varnish may also result in this problem. MSA Varnishes should not be mixed with acrylic emulsion polymer paints or mediums. If the work must be done vertically, as on a wall, a method would have to be devised for keeping the saturated cloth in contact with the varnished surface. Drying/Curing Time: Usually becomes tack-free and suitable for recoating after 3-6 hours. The UVLS system provides increased resistance to the harmful effects of ultraviolet radiation, making the product suitable for exterior as well as interior application. Varnish removal requires the use of solvents, thus requiring proper personal protective equipment. Do not use an isolation coat on oil paintings. if a "frosted" area appears, a satin or matte varnish may have been applied over an absorbent surface (this is common for spray applications). The task is often best left to a professional conservator, particularly with works of special significance or unknown composition. Always check local and state VOC regulations as these may include additional restrictions. Good smudge protection after 2 coats for all else except heavy charcoal which took 3 coats. $26.95. If vertical application cannot be avoided, as with a mural, it is extremely important that the varnish be thinly applied. © 1991-2020 Michelangelo Fine Art*, a lifestyle of creativity - Powered by Michelangelo Fine Art... Michelangelo Fine Art*, a lifestyle of creativity. They also have excellent weatherability, and thus require less maintenance than some of the other choices. MSA Varnish can be used over a wide variety of paints, including acrylic, oil, alkyd, egg tempera, watercolor, and casein. If the varnish becomes thinner, the solvent is compatible. For restoration purposes, the varnish may be removed with full strength commercial mineral spirits ( i. e. : paint thinner or white spirits ), or distilled or rectified turpentine. However, there are times, as when something has gone amiss in the application, that it may be appropriate for the artist to do the work. The best way to achieve an even coating of varnish is to spray apply. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. GOLDEN Archival Spray Varnish GOLDEN Archival Varnish is a solvent-based polymer spray, which forms a clear, flexible film that protects art work against dust, moisture and light. Removing a varnish is a very consequential process that should not be taken lightly, as the appearance of the artwork can be changed or damage could result from improper handling. It is produced with clear, 100% acrylic solution polymer and contains UltraViolet Light filters and Stabilizers (UVLS) to provide archival protection, inhibiting light damage. These may be based on a systematic grid-like sequence or may follow natural boundaries of the piece. If the diluted varnish is used over a long period of time without restirring, it may be separating (matting agents settling). A good procedure for removing the varnish is to start with a soft, low lint cloth (50/50 cotton/polyester T-shirt material works well). They have been made thicker than the traditional application viscosity to maintain an even suspension of the solids within the varnish. 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