GOLDEN Polymer Varnish with UVLS (Ultra
Violet Light Stabilizers) is a water-based acrylic polymer
varnish formulated to provide additional protection
from ultraviolet radiation. This helps delay the inevitable
fading that occurs in materials which may be fugitive
Polymer Varnish is designed as a topcoat
for acrylic paints and offers a removable protective
surface to the relatively soft acrylic paint layer.
It has a harder film than most acrylic paints, which
diminishes the susceptibility of the surface to dust
and dirt, and provides increased protection from scratching,
marring and moisture. It has adequate flexibility to
withstand normal handling conditions, including loose
rolling. For interior use only. The product is not recommended
for use on furniture or other surfaces subject to physical
contact during use.
Polymer Varnish remains soluble in alkaline
solvents, such as ammonia. This means the varnish can
be easily removed, taking with it any accumulated surface
contamination without damaging the painting surface.
The use of such a removable varnish provides a valuable
tool to anyone trying to restore or clean a painting.
Polymer Varnish (Gloss) dries to a highly reflective
finish. Polymer Varnish (Satin) offers moderate reflection,
similar to most matte varnishes. The Matte is exceptionally
flat. The different finishes can be intermixed, or used
sequentially, to achieve the desired sheen. Note: Polymer
Varnish (Satin) and (Matte) will lighten dark value
colours, which is typical of non-gloss varnishes.
POLYMER VARNISHES MUST BE THINNED BEFORE
USE. They have been formulated thicker than the traditional
application viscosity to maintain an even suspension
of matting agents in the Satin and Matte finishes, which
ensures more consistency in surface reflectance as the
varnish is used. It also allows the varnish to be applied
with minimal foam generation. Foaming can be a major
problem with most water-borne acrylics, but when properly
thinned, the Polymer Varnish is able to release all
foam before drying.
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Adheres to most porous, non-oily surfaces.
Accelerated aging of a 2.5 mil thick film, under fluorescent
UVA lamps for 400 hours resulted in no visible colour
change It will remain soluble.
Translucent when wet, clears upon drying.
Recommended for interior use only, as a varnish for
acrylic paints. Also works well as a removable topcoat
for GOLDEN Mineral Spirit Acrylic Paints.
400-500 sq. ft. per gal. by brush application; 800-1000
sq. ft per gal. by spray application.
Dries to the touch within 30 minutes. May be recoated
after 1-3 hours.
ASTM D 522, Test Method B - Cylindrical Mandrel Test
at 70o F., 3 mil thick film passes at 4" diameter
mandrel. Adequate flexibility to withstand loose rolling
and restretching at room temperature. Varnish film becomes
more brittle below 50oF, and should not be bent or flexed
under such conditions. Withstands expansion and contraction
caused by changes in temperature and humidity.
After 400 hours UVA exposure, Polymer Gloss Varnish
retained 95% of initial gloss.
Relative to acrylic paint, varnish yields a slightly
harder, lower tack surface which is less susceptible
to imbedding dirt. ASTM D 3363, Film Hardness By Pencil
Test, Scratch Hardness is "HB".
Satin and Matte finishes are inherently
more marble than the gloss varnish.
Reichert Abbe Mark 2 Refractometer at 22oC:
Easily removable with household ammonia (avoid using
any sudsing or scented grades).
Acrylic/Styrene copolymer solution
Typical values when applied as a draw down over a nonabsorbent
Required prior to use. Start with a ratio of 3 parts
varnish to 1 part distilled water for brushing; and
between 1 and 2 parts varnish per part water for spraying.
Hindered Amine Light Stabilizer and Ultraviolet Absorber
(substituted benzotriazole compound.) The thicker the
film of GOLDEN varnish w/ UVLS, the greater the protection.
Brookfield RV, range as supplied; 1200-2500 cps.
ASTM D 1653, Test Method B, Condition C; 16 perms. Will
not fog or turn cloudy when exposed to high humidity
or low temperature.
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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. The task is often best left
to a professional conservator, particularly with works
of special significance or unknown composition. 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.
GOLDEN Artist colours Polymer Varnish
films remain soluble in alkaline solutions, the most
common being household ammonia. Avoid products that
have a scent added and sudsing varieties, which may
Before embarking on a varnish removal
mission, carefully consider the materials that are to
be used, and how they can be used in a safe, controlled
manner. Polymer Varnish removal requires the use of
ammonia, thus requiring proper personal protective equipment.
Such equipment may include, an ammonia respirator, latex
gloves and aprons, and chemical splash goggles or face
shield. Also, work in an area with good ventilation.
First, test the solvent on a small area
of the painting, or preferably on a test piece, to determine
its effectiveness at dissolving the varnish.
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). Saturate this cloth in
ammonia and lay over an area of the varnished surface.
If possible, work with the painting in a horizontal
position, on a table or floor.
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.
In either case, to minimize evaporation, use a plastic
sheet to blanket the saturated cloth.
Work in areas no larger than 2 square
feet per application. Larger areas tend to become cumbersome
and make thorough varnish removal difficult. Allow the
saturated cloth to lie on the painting for 2-5 minutes.
Before removing it, use a clean ammonia-dampened cloth
to gently pat the surface to remove the varnish. Note:
excessive force may damage the paint layers below the
varnish. Repeat this process until the entire painting
surface has been treated.
After a single treatment over the complete
surface of the painting, some residual varnish may remain.
Repeat the procedure, and continue doing so until the
varnish has been sufficiently removed. Additional ammonia
exposure may result in some swelling of the underlying
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