Yes, glossy and matt varnishes of the same type* can be mixed in any ratio to bring about the desired level of gloss.

When applying a varnish that contains a matting agent the last action should be to brush the varnish in a single direction to achieve an even matt finish.

* The same types are: Acrylic varnish matt and gloss or picture varnish matt and gloss.

Yes, this final varnish slows down the oxygen absorption and consequently the ageing process. This determines the eventual degree of gloss as well as protecting the paint from atmospheric contamination. 

Cobra water mixable oil colours dry like other traditional oil colours through the absorption of oxygen, which is a chemical process. Once the paint is entirely dry this oxidation process does not stop but continues in an ageing process. Eventually this can be visible as crackle. Once the paint is entirely dry (with layers of normal thickness this takes approximately one year, with very thin layers several months less, and with thicker layers several years) it is advisable to apply a final varnish. The oxygen absorption and consequently the ageing process are slowed down.  

Preparation:

• Ensure that the paint is fully dry; with thin to normal layer thicknesses this is up to approximately one year, with thicker layers this can be several years. 
• If a painting that is already a few years old is going to be varnished, the surface of the painting is first cleaned with a cloth with some white spirit. This removes dirt from the canvas and opens the paint film somewhat. The varnish will then bond better.

Steps invarnishing:

• The matt and the satin contain matting agents that fall to the bottom in the varnish and therefore have to be shaken well before use.
• Ensure that both the painting and the varnish are at room temperature.
• It is best to lay the painting flat (with ample space on a piece of cardboard or newspapers).
• Do not hold a spray can horizontally (do not point downwards) but spray forward so that a mist of varnish descends upon the painting. 

If the paint layer is too sealed, a varnish can bead when applied.

As soon as this is noticed the still wet varnish must be removed immediately with white spirit. To avoid this happening again the paint layer has to be opened up more by wiping the painting with white spirit first.

No, this cannot be done any earlier unless the paint film is very thin.

An oil painting of normal thickness can be varnished after approximately one year, very thin layers several months earlier, and thicker layers only after several years.

PLEASE NOTE:If the varnish is applied too early then there is the risk that the solvent of the varnish will dissolve the oil paint that has not yet dried, and bring this to the surface. If this happens, the painting may remain sticky for many months, even years, and it would be difficult to stop dust adhering.

Oil paintings – reasons and times for varnishing

Oil paintings must be varnished.

Varnish protects against ageing and dirt. When: after a drying time of at least 1 year.

Oil colours are a chemically drying (oxidative) paint; the oil dries through absorbing oxygen from the air. This helps to link the molecules together in chains. (Ultraviolet) light is necessary to provide the energy for this. The chemical drying of linseed oil takes much more time than the physical drying of the other types of paint.

Depending on the thickness of the layer and the type of pigment, the paint layer is dry to the touch in approximately one to six weeks. The entire film is completely dry between six to twelve months. Very thick layers may even take several years to dry.

Even then the uptake of oxygen does not stop; the ageing process now starts. Once the paint is completely dry it is therefore advisable to treat the painting with a final varnish. This helps to slow down the oxygen uptake and consequently the ageing process as well.

It is also important that the varnish protects the paint against dirt. Dirt and deposits in the course of time can nestle not only on the paint but also within it. If a painting is varnished, the varnish layer including the dirt can be removed without damaging the paint.

To ensure the durability of the paint layer, a painting may only be varnished once the paint is completely dry. It is not necessary to apply a provisional final varnish, but this may be desired if the painting shows any signs of differences in sheen and is exhibited before a final varnish is applied. What's more, the paint is then protected against dirt.

The matting agent in Amsterdam Acrylic Varnish Matt consists of silicas, which is similar to finely pulverised glass. If the varnish has not been used for some time, the matting agent will sink to the bottom of the varnish.

This varnish must always be shaken well before use until the matting agent is evenly distributed throughout the varnish.

Dammar varnish is a natural tree resin dissolved in turpentine and is practically the only traditional varnish that is still used today.

Dammar varnish gives a high gloss. May show signs of ageing after some time such as yellowing and crackling.

Dries in a few hours.

Use of retouching varnish

Retouching varnish (sometimes also called intermediate varnish) is used to revive sunken-in (matt) areas and provide temporary protection (temporary final varnish) of oil paintings not entirely dry.

Retouching varnish during the painting process:

Sunken in areas may occur while painting: the paint becomes matt and the intensity of the colour reduces. This cannot be avoided and is caused by a combination of the colour used, the type and amount of thinning agent added and the absorption of the ground.

The amount of oil in the paint as well as the amount of solvent that is added can vary per colour. If the paint contains relatively little oil,  some of which is absorbed by the ground, the colour may sink in.

It is now difficult to assess the colour harmony of the painting. Making the right decision on how to continue painting now becomes a problem. Treating the sunken-in areas (once they are thoroughly dry to the touch) with a very thin coat of retouching varnish restores their gloss and colour. If the sunken in areas are very absorbent it may be necessary to repeat the procedure (once dry) in order for the gloss and colour to be of a sufficient level.

The varnish dries in a few hours and leaves a porous film which in turn gives suitable adherence for a following coat of paint.

Please note: It is very important to apply retouching varnish very sparingly, as the paint, not yet completely dry, may dissolve in the solvent of the varnish. Preferably apply with a spray can.

Retouching varnish as provisional final varnish:

The retouching varnish can also be applied as a provisional final varnish to give the painting an even gloss and as a protection against dirt.

As the varnish (in a thin coat) is porous, the drying process of the paint can continue.

Please note: For this application it is highly recommended that the painting is left to dry for at least several months. Even if the paint is dry to the touch before then, the paint underneath will certainly not be. The solvent of the varnish would penetrate the lower layer and bring the oil that is not yet dry to the surface. If this happens the painting can remain tacky for many months, and contaminations will stick to the paint.

When fully dry, the final varnish can be applied over the retouching varnish.

Amsterdam Acrylic Varnish has been specially formulated to produce a durable finish to acrylic paintings.

The varnish consists of a solution of acrylic resin in white spirit and turpentine oil, is available glossy and matt and once dry forms a flexible film.

Amsterdam Acrylic Varnish Matt is matted with silicas (similar to pulverised glass) and must be shaken well before use. For a good adherence it is recommended to wipe an acrylic painting with white spirit before varnishing.  

A common mistake when applying retouching varnish is to apply it too soon or excessively.

The solvent in the varnish, if applied on oil paint that has recently become dry to the touch, would dissolve some of the oil in the paint which will lead to the oil reaching the surface, forming a sticky layer. If the retouching varnish is used as an intermediate varnish which is then painted over again, this will be no problem.

If the retouching varnish, however, is applied too soon as a provisional varnish the same phenomenon will occur, resulting in the exterior of the paint layer consisting of a mixture of oil and resin. This layer will stay sticky for months and patience is the only solution here.

To avoid this, it is advisable to wait for several months for the paint to dry out further before applying the varnish; for a very thin layer of paint, this is at least a month.

Moreover, it is very important to always apply retouching varnish very sparingly. The more varnish, the more solvent will be applied, thereby increasing the problem. What's more, only thin layers of retouching varnish are sufficiently porous to enable the adherence of subsequent paint layers (intermediate varnish) and the penetration of oxygen for the continued drying process of the paint (provisional final varnish).

It is not necessary to apply a provisional final varnish, but this may be desired if the painting shows any signs of differences in sheen and is exhibited before a final varnish is applied. What's more, the paint is then protected against dirt.  

Please note:If a painting was varnished before it had time to completely dry, the paint beneath the varnish will remain soft for quite some time, as the varnish layer will have sealed the paint from oxygen, making it difficult for the paint to continue drying. In this case, should the varnish be removed the paint would also be able to (partially) dissolve.

When removing old varnish layers, care must be taken to prevent any problems during cleaning.

Step 1:

Take a flat brush of a few centimetres wide, dip it into white spirit (use white spirit 090 ONLY) and brush it over a surface area of around 15 x 15 cm.

Step 2:

Wait until the varnish begins to swell. In the meantime, rinse the brush and repeat the procedure over the swollen varnish. This will now partially dissolve in the white spirit contained in the brush.

Step 3:

Continue the procedure with a rinsed brush until all the varnish on this area has been removed.

Step 4:

You can then treat the next area.

Please note: Once the varnish has been removed it will appear as if there is a white film on the painting. This disappears as soon as a new layer of varnish is applied.

Our Amsterdam acrylic varnishes are also suitable as final varnish for oil colours, but do have slightly different properties.
- The gloss is somewhat different
- They are more thermoplastic
- They are more flexible

Differences between the Talens Acrylic Varnishes and Picture Varnishes

The Acrylic Varnish (glossy 114 and matt 115, for both oil and acrylic colours) is a final varnish, but does not have the same properties as the Picture Varnish (glossy 002 and matt 003).

The Acrylic Varnish is a solution of acrylic resin in white spirit, the Picture Varnish a solution of low molecular weight resin in turpentine (in the spray can white spirit).

Both types of resin do not yellow.

The 002 is glossier than the 114, the 115 more matt than the 003 (glossy and matt varnishes of this type can be mixed with one another to the desired degree of gloss).

The matting agent in the 003 consists of waxes that are dissolved in the turpentine; in the bottle the varnish appears crystal clear, but once dry shows an eggshell gloss.

The matting agent in the 115 consists of silicas (similar to pulverised glass); this varnish must be shaken well before use as the matting agent sinks to the bottom of the bottle. In the spray can the matting agent for both varnishes is silica.

For an even (matt) degree of gloss a varnish that contains a matting agent and that has been applied with a brush has to be brushed in one direction. The Acrylic Varnish forms a more flexible film than the Picture Varnish. This is of particular importance when using on acrylic colours, as this paint also forms a flexible layer.

Before a final varnish is applied a very thin layer of oil paint must have dried for at least six months, a layer of normal thickness one year, and thicker layers several years. If a dry layer of oil paint contains a lot of oil, it is advisable to wipe it with white spirit before varnishing to ensure good adherence.

The matting agent in Talens Picture Varnish Matt is a type of wax that has been dissolved in the solvent and flocculates at low temperatures. By warming the varnish ('au bain marie' or under a hot water tap) the matting agent is evenly dissolved again and the varnish can be used again.  

The binder for both acrylic paint and acrylic mediums consists of a dispersion of acrylic resin particles in water. As long as the binder contains water, the binder is white. When all the water has evaporated after drying, the acrylic resin particles in the binder form a continuous colourless transparent film and the white will have disappeared.

This explains why the acrylic paint colours become darker as they dry. When mixed with a medium, the wet paint therefore also becomes a little lighter; once dry the colour is the same as pure dried paint.

All Royal Talens gels, pure or mixed with paint, due to their large adhesive capacity are ideally suited to incorporate materials such as sand, sawdust, paper, wood, stone etc in the paint.

Cobra painting medium can be added directly to the paint.

This makes the paint not only thinner but also fatter. Painting medium increases the durability of the paint.

This allows the artist to work according to the "wet-on-wet" principle; painting is continued as long as the paint is wet. If desired the medium can be made less fat with water; just like the paint, Cobra painting medium can be mixed with water.

Cobra painting medium can be used for layered painting. A next layer can only be applied once the previous layer is dry enough to ensure that it will definitely not dissolve.

In connection with the final durability of the paint film, layered painting has to follow the rule of 'fat over lean': each subsequent layer has to contain a little more oil.

Water makes the paint leaner, medium makes the paint fatter. The first layer can be thinned with water. The next layers are thinned with a combination of water and medium. As the mixture contains increasingly less water and more medium, each paint film becomes increasingly fatter.

Alkyd Medium can be used as both a glazing medium and painting medium. If used as a painting medium, the "fat-over-lean" technique must be used.

The medium is fairly 'fat' and can be made leaner through the addition of white spirit or turpentine. For the last layer and for glazing techniques, Alkyd Medium can be used pure.

It yellows somewhat, shortens the drying time and increases the durability of the paint film. It increases the gloss of the paint a little, and decreases the brush stroke.

Acrylic Medium, Gel Medium, Heavy Gel Medium and Extra Heavy Gel Medium can be added to the paint unlimitlessly. Only the Amsterdam Acrylic thickening medium must be added in very small amounts.

Cobra painting paste is a colourless and water mixable medium that can be mixed in any proportion with Cobra water mixable oil colours.

The thickness is the same as that of the paint, and so the paste can be described as a water mixable oil paint without pigment.

Cobra painting paste has various applications:

• Increasing the amount of paint. Cobra painting paste can be mixed with the paint in any proportion. So for the Impasto techniques of more expensive colours more paint can be made without any change in the colour. The more paste that is added, the more transparent the result; this however is not, or hardly, visible in heavy layers, depending on the type of pigment.
• In combination with transparent pigments, transparent layers can be added with a glazing effect. 
• Decreasing the tinting strength. The tinting strength of a colour will decrease, proportionate to the amount of paste that is added. This can particularly be relevant with the alla prima (wet-on-wet) technique, if colours with a strongly different tinting strength are mixed on the painting. By adding more Cobra painting paste to a stronger colour, its dominance will be reduced.   

A quick-drying medium consists of the same ingredients as a normal medium, but with the addition of siccatives.

Linseed oil dries chemically. The oil absorbs oxygen from the air, resulting in the molecules linking to one another in firm chains. This process takes a long time and explains why it takes oil paint so long to dry. 

If we want the paint to dry more quickly then we have to add something to the paint to enable it to take up oxygen more quickly. This is done with solutions of certain metal compounds, called siccatives, that can be added directly or via a medium.

Siccatives can also be bought pure and can cause problems if used in high concentrations. The amount in Talens Painting Medium Quick-drying 084 is safe for the durability of the painting. 

Acrylic retarder may be added to the paint up to a maximum of 5% and increases the drying time by a maximum of 20%. If you want to add more retarder, it is better to use Amsterdam Slow drying medium.

The purpose of a medium is to affect one or more properties of the paint and make the paint suitable for a certain application. This includes consistency, gloss, flow, drying time, transparency and durability of the paint film.

A siccative is a solution of metal compounds that is used to speed up the chemical drying process of oil paints.

Use it very sparingly and minimise its use.

Read more 

In general, the use of siccatives should be kept to a minimum. Apart from the drying process, the addition of a siccative also speeds up a painting's ageing process.

To avoid problems, never add more than 2% Siccative Courtrai to the paints and never more than 5% of Siccative Harlem. In general, the use of siccatives should be kept to a minimum.

The drying of oil paints can occur on the surface and deep in the paint itself. Depending on the metal compounds that make up a siccative, either the depth drying or the surface drying will be stimulated.

The light siccative, Siccative Courtrai, increases the drying in depth in particular, whereas the darker Siccative Harlem increases the surface drying.

Venetian turpentine owes its name to its history. This turpentine balsam that is extracted from an Austrian larch used to be traded via Venice.

This traditional glazing medium is valued for its ability to positively influence the gradual transition of colours as well as the durability of the paint layer.

The medium increases the flow as well as the gloss of the paint, shortens the drying time a little, is slightly yellowing and can be thinned with white spirit and turpentine. Only to be used in the final layers. 

Painting Paste is an unpigmented (colourless) oil paint.

The medium can be mixed with oil paint in any proportion without the paint losing its colour and consistency. This allows more paint to be made from very expensive colours. 

Painting Paste can also be used to prevent certain colours from wrinkling on the surface when applied in thick layers. A mixture combination in the ratio 1:1 is sufficient for this. Painting paste does not yellow and increases the durability of the paint layer. The paint becomes a little more matt and the drying time decreases a little.

Royal Talens supplies Gel Medium, Heavy Gel Medium and Extra Heavy Gel Medium, all in both glossy and matt varieties. These Gel mediums can be added to achieve 3D effects/structure.

Mediums are used to change the properties of the paint, such as thickness, gloss, flow, drying time, transparency and durability.

A lot of painters only use water with acrylics, but this does not always produce the best results. Mediums can be used to achieve better and more durable results with less paint.

The addition of too much water can separate the pigment in the paint from the binder; the pigment is then unprotected on the painting and may run.

Talens glazing medium is the modern replacement for traditional glazing mediums such as stand oil and Venetian turpentine. Differences are mainly reflected in a more durable and non-yellowing paint film. The medium increases the flow as well as the gloss of the paint, does not affect the drying time and can be thinned with white spirit or turpentine. Only to be used in the final layers.

As ground for acrylic paint, Gesso can be coloured with acrylic paint in any proportion.

Modelling paste can be regarded as a thick Gesso. The paste can be applied under the paint to create a relief, and can be mixed in any proportion with acrylic paint.

Cobra painting paste is a colourless and water mixable medium that can be mixed in any proportion with Cobra water mixable oil colours.

The thickness is the same as that of the paint, and so the paste can be described as a water mixable oil paint without pigment.

Cobra painting paste has various applications:

• Increasing the amount of paint. Cobra painting paste can be mixed with the paint in any proportion. So for the Impasto techniques of more expensive colours more paint can be made without any change in the colour. The more paste that is added, the more transparent the result; this however is not, or hardly, visible in heavy layers, depending on the type of pigment.
• In combination with transparent pigments, transparent layers can be added with a glazing effect. 
• Decreasing the tinting strength. The tinting strength of a colour will decrease, proportionate to the amount of paste that is added. This can particularly be relevant with the alla prima (wet-on-wet) technique, if colours with a strongly different tinting strength are mixed on the painting. By adding more Cobra painting paste to a stronger colour, its dominance will be reduced.   

Oil colours can be thinned with white spirit or turpentine. 

Boiled linseed oil is a linseed oil heated with siccatives that can be used in a self-made medium for oil colours to allow the paint to dry faster.

Read more about oils for oil colour.

It is a very fat oil and is consequently particularly suited for the final layers. 

Read more about oils for oil colours.

Odourless white spirit has had as many substances (aromats) as possible removed from it that are responsible for the odour and the hazards, and is therefore the least aggressive of the solvents.

As these aromats are also responsible for the fat-dissolving property odourless white spirit is not as effective, but sufficient to thin the paint and to clean materials. 

Odourless white spirit is not suitable for removing dry varnish layers and less suitable for making your own painting medium. Odourless white spirit is very pure, 100% volatile and evaporates a little more slowly than Artists' Quality white spirit. 

Bleached linseed oil differs from purified linseed oil only in terms of colour. As the colour of linseed oil is influenced by the conditions (light, oxidation) the difference in colour between both oils will largely disappear in time.

White spirit and turpentine are two different kinds of solvent.

Turpentine is a natural product, white spirit is a distillate of petroleum.

Talens rectified turpentine is distilled to remove any form of contamination and is practically 100% volatile. Although turpentine is a natural product and the resin-like odour is enjoyed by many, it poses greater hazards than white spirit. It also has a greater (fat dissolving) effect.

Talens Artists' Quality white spirit, a distillate of petroleum, is very pure and 100% volatile. As it poses less of a hazard than turpentine and is cheaper, it is advisable to use white spirit to clean materials.
Odourless white spirit has had as many substances (aromats) as possible removed from it that are responsible for the odour and the hazards, and is therefore the least aggressive of the solvents. As these aromats are also responsible for the fat-dissolving property it is not as effective, but sufficient to thin the paint and to clean materials.
Odourless white spirit is not suitable for removing dry varnish layers and less suitable for making your own painting medium.

Odourless white spirit is very pure, 100% volatile and evaporates a little more slowly than Artists' Quality white spirit.

Underpainting White is a quick-drying white alkyd oil paint that has been specially developed for making underpaintings in relief.

Due to the high concentration of dry materials (a balanced ratio of Titanium white pigment and extenders), after drying Underpainting White provides optimal adherence for oil colours.

Underpainting White can also be mixed with oil colours in every ratio, and can only be used on a ground prepared for oil paint.

In comparison with linseed oil, poppy oil dries more slowly, is paler, yellows less and there is less risk of the paint wrinkling. Due to these properties, a self-made medium based on poppy oil can be used in combination with light colours using the alla prima technique.

Poppy oil, however, forms a weaker layer than linseed oil, and if used in the lower layers can cause problems for the adhesion of linseed oil paint in the subsequent layers. It is therefore advisable with layered painting to use poppy oil only in the final layer.

Read more about oils for oil colour

Oil colours have a fat and smooth surface, on which the Gesso does not adhere properly.