Thanks for the kind words! And, yes, the board and tape would work great and spraying vertical would help, too, but I do this infrequently and I usually do it when there's no wind and I'm working fast for the vid so I'd have to be switching out every few seconds. If I'm spraying some piece that I took a long time on, I would secure it, but not for these, mostly, quarter page cards. I take it, you're using the Kamar first and then the UV over the top of it? Curious if the sprays ever put any of your alcohol back into solution and make them spread at all before the spray sets up? I'm about to test some sprays on oil based pigment inks on non porous foil papers. I don't think I'll be able to use the triple thick with that combination of media (as I think the spray will put that oil back into solution) but will see.

How soon after your labels are being printed that you find the yellowing starting to occur? I ask as I wasn't sure if it was an acid component in your media that, over a long period, is causing the yellowing or if it could be the media/surface combination that's causing the yellowing. If it's an archival issue, I don't know if these three cans would be the way to go but rather an archival art spray. Krylon also makes a museum series archival varnish as well as Lascaux, Windsor Newton, Golden, and probably a couple others. I don't know if they would stop arrest yellowing (if it's an acid issue) from occurring but the sprays themselves wouldn't yellow. The one thing that you'd just have to read up on with each individual spray is that it would be compatible with something like sticker paper and your inkjet ink. I'm assuming they would be but not sure as the binder in these sprays, if sprayed too thickly on your inkjet ink, could possibly put it back into solution briefly and blur the quality. I would think, thin and quick drying spray layers would work but I don't know for sure.

saw a video from LZM that warns of the workable fixative will not work on inkjet ink or delusion inks. kzfaq.info/get/bejne/gc2RqdKknNamlGg.html

It can but there are so many clear coats that are designed specifically for automotive exterior usage to choose from. Type in something like "auto clear coat spray" into Amazon and many will come up. I've used this one before and it's pretty good but take your time to read the instructions on these types of sprays and don't get impatient and cut corners. With your car, you want to do it right so you won't get peeling/blistering after a short time. Wash the area, spray in the right conditions, mask off areas you don't want the spray to cover, etc.. Read a lot of reviews too. But, this is the one that I've bought before and it worked well but it's the only one so I don't have anything to compare to directly as far as auto sprays go. amzn.to/4eRF6Oc

@@stampscapes thank you for your reply. I normally do use the automotive clear .I looked repeatedly for the 1K automotive clear at Walmart and there wasn't any . I bought it ,not knowing it's intended purposes , I then did research and watched videos and from what I can tell is , the triple thick is for craft's and paintings . I have decided to return it and get the proper 1K clear at a local auto parts store .

@@thaddeauscaldwell7101 Yeah, you're better off with the auto spray for car purposes. If the Krylon were to be used for something outdoors like some kids bicycle or a painted metal chair, it would probably be okay as the Krylon's cheaper.

Hi Bob. Thanks for checking out the vid. Yeah, I know what you mean with fading. I use a lot of dye inks and most of them are not light fast and will fade between fairly quickly to within a few months if exposed to any light. That's a great idea with the double coated surface. It's probably a good idea, too, to seal with the thinner UV and then hit it, after completely dry, with the triple thick. The triple thick, directly applied to alcohol, I would be concerned that the liquid in the spray could potentially put the alcohol back into solution briefly until it set up completely. Have you experienced any running of the alcohol inks? On spray sealing, I haven't done a light fastness comparison tests of any type but, I'm guessing that if you're displaying your pieces in an area without any UV rays, the UV spray wouldn't matter. So, for example, I think most newer windows have built in UV protection these days but I don't know what % they block out. Then, how much light is on that side of the house probably plays a role. Some rooms, maybe very little UV so it wouldn't matter? I'm guessing that light, even w/o UV rays, could fade media as well though. On the handle, enter "spray can grip" on Amazon or a general search engine and many brands will come up. The one I have right now is the Rust-Oleum (amzn.to/3NJ1BY0) which is probably from a Home Depot. Most hardware stores will have them but only one type. I've had a few over the years and some I've been rough with and the trigger broke or the connection to the can part but they usually last for a few years. Don't be lazy like me and sometimes shake the can up by holding the grip as I've broke one doing that before. If I needed one, I'd probably just get the cheapest one with a good review rating. If I'm spraying one or two pieces, not having a handle is no big deal but the handles to me are a must-have as I tend to group a lot of pieces and might hit 20+ cards at one time. Easier to get an even coat and my hand is farther away from the spray so I don't get it on my fingers, arm, etc.. It's like a cheap home version of a professional car painter's spray handle. If you get one just do some practice sprays/swipes before hitting your pieces to get the feel of it --especially with that super thick Triple Thick so you won't get a blob/run. Okay, so all of this being said with light sensitive media, the one thing I do if I really like some piece and it's going on display and if it's small enough, I usually just scan the piece and I'll print out a copy of it and put that version on display. Or, if your work is too large, maybe a well photographed photo could do it with the right lighting. The prints would never quite as nuanced as originals but that's better than having the original faded. Or, if the original is really precious and you want to display as well, maybe get a good frame with UV glass on it in addition to the UV spray of the original. Then, you can use that frame to change pieces out to new ones that you want to display over time.

I haven't. Are you thinking about going for something a lot thicker for effect than a traditional damar for the painting? I would think the Triple Thick would be fine but I would apply it in fast drying coats if there's anything that could potentially be put back into solution by applying a very thick coat with the spray.

I haven't done a test with the UV-Resistant clear across different art media but I wouldn't recommend depending on a spray like that, with any light sensitive colors, with a piece in a heavily sunlit area (if the piece has a lot of value to you). How much it would prevent would probably depend on the light fastness rating of the media and specific colors to begin with. For example, if it's a really low light fastness rating, maybe the spray wouldn't do much but if it's a high rating, maybe it's very effective. I use it because it probably has more UV resistance than the others and the price point of it is close enough to the other sprays of this type if not equal so I figure I might as well get that extra protection. I should do a test with them sometime especially with the dyes that I use lot.

With cans like this, what you is to turn the can upside down and spray out the passageway clear of the media when you're done. That wastes a little media but it will prevent the media from drying and clogging the tip as well as passage/pipe. This is if one's not using it frequently where there's a possibility of it clogging.

Thanks but this happened on the first painting, l tried immediately unblocking with turps but did nothing, tried the second can got about three squirts same issue.. I did try the upside down suggestion nothing,soaked in turps still blocked. I’m regional so until l can buy some thinners in town to try although turps should have done the job lm stuck. On the up side l do have the Krylon crystal clear Matt spray and have never had an issue.

@@Bella77260 You had me worried so I just tested my own can out that I used in this video and haven't used since. Mine's working fine, has a nice fine mist/spray and isn't clogging. Now, I usually don't flip upside down and spray out as my other cans haven't dried/clogged before but I thought that maybe I better with the triple thick and what you've found but my can just kept spraying and spraying. I don't know if this type of can is the type where you can spray it upside down or at any angle. So, maybe I got a good can of it or you got a couple bad ones or maybe the weather can play into it or something. We'll see how mine does over time though and if I can get a full usage of it when the compression wears out and it's not spraying so strong anymore.

It would depend on what type of finish you want and what you would be using the sprays on. Resin can be really thick. While this triple thick is thick for a spray, it's doesn't compare to a typical thick liquid resin being applied to something. If you just want a reasonably protective coating over something that's very convenient in this spray form, these sprays are pretty good for that.

It depends on the finish and purpose you're going after. The Triple-Thick on, say, an overcast and cool/cold day and sprayed on thick might sit on the surface for a few minutes before drying completely. You wouldn't want that if you were spraying something like alcohol inks as solvents (such as the one in the acrylic spray) might dissolve those inks to a degree. If you were spraying dye based markers such as Tombows, Le Plumes, Marvy, etc. which are water based markers, spraying would be fine as solvents won't dissolve water based media. The Workable Fixatif would give your pieces a flat look. The Triple thick and UV-Resistant Clear are gloss. A general/all purpose spray for art, with all of this being said, is the UV-Resistant. For those types of markers, spray on a slightly warm/dry day and spray a thin coat that will dry almost instantly when landing on your piece. Allow to set for 5-10 seconds and repeat until you feel the pieces are sprayed evenly and sealed off. Then, you can give it a little thicker spray but don't spray so thick that the coat will sit long enough to dissolve your undercoats and get to your artwork.

The workable fixatif is for sealing media off (usually dry media like pastels, charcoal, graphite, etc.) and allowing one to add additional media over the top of a matte spray sealant. So if you want glossy, that one's out. The triple thick adds a very thick coating to a surface. I don't know if it's as archival as the UV resistant spray though. So, that being said, if you want an archival quality to your sealant, the UV might be the way to go. Personally, I'd opt for the UV spray for 2D work and the triple thick for 3D pieces that I'd want a nice thick glaze on. But, the triple thick is so cheap at under $4/can. Maybe you go for the UV and Triple thick. Just note, with any of these sprays, make sure the media that you're spraying is going to be compatible with the solvents in these sprays. Make sure it's not the type of media that's going to dissolve and spread if sprayed with the acrylic. Some types of inks can go back into solution and spread a little before the acrylic dries. The UV spray isn't so thick so that spray will dry faster keeping media more intact than the triple thick which might take a while to set up depending on the weather.

@@stampscapes Thank you so much for the clear answer! I used silver spray on a metal ring i had and i just wish to seal it so that it doesn't get sticky or chip off, Do you think the uv spray would work?

@@akabaneaki By metal ring, are we talking about a ring for a finger or something to wear where it's coming into contact with skin? If so, I can't say it won't chip over time if it's coming into contact with, say, objects that one might be holding or hitting with that finger. I don't see dried hardened acrylic getting sticky though as it shouldn't go back into solution. You might be better off with a different type of spray than these, though, as I associate these a little more with 2D media that's not going to be handled much. Things like polyurethanes might be better. Let me see about jewelry. Yeah, maybe check out this vid or enter something like jewelry sealants here on youtube. This vid is just the first one that I clicked on that looked pretty good but there were others that popped up that would probably have some great advice for your application: kzfaq.info/get/bejne/bdSAgtyVrtjRg40.html

@@stampscapes Omg thank you so much! I highly appreciate your help since i'm very new at this and its a gift for a friend ^^ Yes im refering to that type of ring. i will definitely look it up as well as the video you linked!

I cannot keep the spray clear long on the triple thick nozzle. I have taken it off and soaked it in alcohol and then it works if I'm lucky for one 8 x 10.

Thank you! Cheers!

Good question. If I spray the scenes when they're freshly stamped and not overly dry (overnight+) I tend to think they stay as vibrant as when you spray them. These pieces that I'm spraying that are over a decade old look really vibrant when sprayed but then they back up a little and aren't quite as vibrant when dried. They are, however, much more vibrant/saturated than before spraying them. The level of brightness inherent in the brand/type of inks seems to play a little part of that too. I have a feeling it has something to do with the solution the different companies are using in their inks that makes them thick. Marvy inks are one of the thinner inks on the market so they don't cloud up as much as others. But, most of my scenes are a combination of Marvy and any number of other brands. This all being said, with certain dye based scenes, if I want the maximum saturation from the colors, I should spray my scenes upon completion or within a few hours at least.

@@stampscapes Great information. Thank you and I so enjoy your videos and your artistry!

I don't think it would be recommended from an archival standpoint but as far as whether it would work or not would probably depend on how thick a coating of the spray was used and what you would be painting over the spray with. If you're painting something like acrylics, I would think it would be fine as those would adhere with no problem unless you're just doing very thin washes. Now, are you just wanting to reuse the canvass by completely painting over what's already on there or are you wanting to add to an existing painting with more marks? If the former, you could just paint over it with gesso and I would think you'd be fine.

They can but that's not their specialty. The Triple Thick could be okay for that but something like a polyurethane spray type of spray that you'd find in the spray paint aisles at hardware stores are more designed for that as they advertise those sprays for things like wood decks, metal furnitures, etc.. I don't know how archival those sprays would be as they're not advertised for things like fine art but more for weather protection applications -large temperature swings, precipitation, direct sun, etc.. If UV is a concern, just check if there's a rating for something like that on the cans. I doubt any type will protect fully over time but the more protection the better of course. There's spray polyurethanes but those types also come in a can if you want super thick coats with a brush or roller.

@@stampscapes okay thanks man! Is the product you recommend, Polyurethane be suitable for architectural vinyl for outdoors?

@@Chris-fu5mb Okay, that's a question I'm not sure about. I looked to see if there's some kind of vinyl spray sealant but the result were mostly vinyl spray adhesives. I'd have to think that architectural vinyl would be close to what one might do for vinyl siding though and found this web page that goes into it and if you read down they talk about professional siding waxing companies using polyurethane based wax washing. So, I'm not sure if that means that it would be fine for the arch vinyl. Here's the article: modernize.com/homeowner-resources/siding/liquid-protectant-work-vinyl-siding

@@Chris-fu5mb Here's a vinyl sealer which, I'm guessing, would be more along the lines of a specialty sealant that would work. My search parameter was "clear coat for architectural vinyl". Might be a few more results but I just clicked on the Mohawk as I was familiar with that brand. www.mohawk-finishing.com/products/wood-staining-finishing/architectural-coatings/e-z-vinyl-sealer-clear/

@@stampscapes Okay thank you so much Kevin! I’ll look into this and let you know!

Here's what the cans say: Triple Thick: Decoupage, porcelainizing, collage, wood, metal, plastic, papier mache, glass, plaster, ceramic, dried/silk flowers, paper, wicker, etc. UV-Resistant Clear Substrate: Photography, painted surfaces, wood, metal papier mache, glass, plaster, ceramic, dried/silk flowers, wicker, etc. Workable Fixatif: Use for Pencil, charcoal, watercolor, India Ink, crayon. Substrates: Wood, metal, plastic, papier mache, glass, plaster, ceramic, dried/silk flowers, paper, wicker, etc.

@@stampscapes thank you for your response I’ll pick up a can today. Great video by the way love the artwork 🖼

I don't see why one couldn't layer any of the sprays as they probably use the same binder. For example, the Kamar might be more archival and made for traditional art media so you might rather have something like that in contact with the media and something like the Triple Thick layered over that. I haven't used anything like Kamar since I was in school in oil painting classes. Personally, I don't think I'd go through the process for my own stamped pieces just due to time and the fact that if something would potentially yellow from the Triple-Thick in 20 years, I'm not going to care. Your question reminds me of an illustrator that I knew of that used to use multiple acrylic layering as a process in his work. He would paint something, spray it, and then apply another layer of paint and then spray over that. The spraying over the media (I think either acrylic or oil paints) would texturize the sandwiched media and he'd keep doing that as many times as he thought it was effective for the illustration. What resulted was a 2D painting that had incredible depth to it through the use of these "floating" multiple layers of paint separated by transparent acrylic sprayed layers.

It's hard to pick up with the camera, but one is absolutely thicker which is the triple thick and it's very much as stated. I almost think it's quadruple thick so you have to watch out for runs/drips. I've come to use that one at night or just when it's cooler out. The UV isn't something that you're going to notice immediately but is designed to protect more than the others against UV. And the workable fixatif is a flat/matte spray so that one can apply additional media such as pastels, chalks, charcoal, graphite, etc. over the top of it in layers.