Extra fine paint varnish with a high-gloss finish. It is made of synthetic resin with UV filter and odorless solvent. The synthetic resin is from the patented Relgarez® which was developed from a chemical recipe developed by laboratory specialists in collaboration with art conservators at the National Gallery in Washington, USA. The result was a flexible but at the same time strong film which could be a protective membrane on several paintings worthy of preservation of national and international interest.
In other words, it’s a finish of quality. The resin in this varnish does not yellow and crack, as the traditional Dammar does over time. It is also gently reversible, which means that the paint can be removed or renewed in the future without the painting suffering visible damage. It is not the cheapest resin to use in the production of varnish, but we think that your best paintings, deserve to be protected behind a layer of paint varnish like this type.
High gloss is the most popular varnish. It gives a really nice finish, especially for deep and dark tones which get extra glow. But throws so much light back that sensitive digital cameras capture a lot of glare unless you are a skilled photographer.
Incidentally, the same varnish is found in Satin, and Mat where you can give the painting a surface that lifts the visual appeal of your painting in exactly the same way, just with less glare.
Why use varnish at all?
Fernis has been around as long as oil painting has been around and there are many good reasons to use it. Any oil painting will show matte parts after some time of drying. It is said that the color “is turned on”. What happens is that part of the paint’s binder (linseed oil and / or paint containing linseed oil and resin) is sucked into the paint base and the paint in question is thereby deprived of exactly what gives it its special gloss and depth effect. In addition, different dyes, when they lose their binder, either become lighter or change hue. By varnishing, the painting regains its original appearance, as when the artist put the finishing touches on the work and at the same time recreates the optical connection that was between binder and color. Whether you prefer a high-gloss lacquer, semi-matte (satin) or matt lacquer is partly a matter of temperament, but matte lacquer usually works best on light images while in very dark images it can give a grayish film. Satin can be used to advantage in both light and dark images. Both semi-matt lacquer and matt lacquer have the same “revitalizing” properties as high-gloss lacquer when applied to matt surfaces in the painting.
This varnish can be applied with a wide soft brush or sprayed over oil paintings, acrylic paintings, mixed media and tempura.