You have two choices when you paint with watercolors on alternative support, such as clay or watercolor canvas: you can be stuck behind the glass like with traditional watercolor, taking the same precautions that the picture itself does not come into direct contact with the glass, and that there is a space between the image and the glass, or you can seal your work and frame like an oil or acrylic painting. Since the paint is so easily removed from these surfaces, I, for my part, feel safe and lacquer.

Later, definitely there is an advantage. If you paint on large surfaces, a matte pattern framed by glass can be an expensive purchase and hard for hanging. Some artists note that the paintings on a large watercolor canvas, sealed and lacquered, are sold better, because they are easier to frame and frame, easier without glass. There is a school of thought, which also recognizes the fact that oils are sold at higher prices than watercolors. Perhaps this is a long tradition of oil painting, which adds a certain mysticism to the works. Or, perhaps, this advantage is that you can recover without a frame. Victorian watercolors have made great efforts using body painting and gum arabic to “strengthen” the picture so that it looks like butter to get higher prices for their work. For me, I looked at the frame without glass, since the vehicle makes it easier to show, not to mention that it’s safer.

I’ve experimented with several different approaches to come up with the compaction method that I’m using now. Now I must say that I like the glossy finish, so the products I mention refer to this goal. For paintings of clay and canvas, I first start with a clay clamp. I use about three layers, allowing enough time to dry out between layers. After that I use a three-layer transparent glaze of Krylon. “Triple thickness” refers to the fact that one layer of this product is equal to three layers of other transparent acrylic fixatives. I will put on at least two layers, until I have reached the final result. I follow this with UV-resistant varnish, also Krylon. I usually spray six thin coatings to complete the process. It should be borne in mind a few things: first of all, make sure that you have a large space that is covered for actual spraying. Make sure that nothing is nearby, it can get a little spray. You want to remove glasses if you wear them. Found this difficult path. Make sure that the room is well ventilated. There will be a lot of spraying, so be sure and take precautions.

Another approach recommended “Golden” for varnishing acrylic. This method requires an insulating layer to protect acrylic layer, if necessary, to remove the varnish. The insulating layer is a golden soft gel-gel, mixed with two parts of gel on one part of water and polished. I put this layer on the watercolor canvas. Despite the fact that it was glossy, it was not as glossy as I liked, but perhaps if you are looking for a more matte finish, you can appreciate its look. I also did not like to use it with a brush. The mixture is fairly watery and brushes easily, but I prefer spraying. This layer is followed by the MSA archival lacquer. For prints, this is up to eight thin layers. I draw at least six layers for paintings and engravings. This is a simple precaution to protect your work. Since I used the MSA archive lacquer for printing, I now used it instead of Krylon lacquer.

I tried both of these approaches with watercolor works on paper. I started work on the mats before the start. I can not say that I was satisfied with the results and will still use it for alternative support. The most pleasant thing is that you varnish your work, so this is what you get a really nice product when finished. I believe that the glossy finish really adds a lot, and the picture looks like watercolor when the paints were first applied, juicy and wet.