Guide to Classical Guitar Finishes
There are various types of guitar finishes available. As you would expect, there are pros and cons to each guitar finish. In this guide, we will be exploring these in detail and getting expert advice from professional luthiers Ryan Gibson, Steve Toon and Stuart Christie.
The finish on your guitar is the varnish, lacquer, oil or any other substance that is applied to the wood of the guitar to protect it from the elements. Most guitar finishes also offer some level of protection from scratches and accidental damage, although the level of protection varies from one type of finish to another.
There are various types of finishes that are generally used during the final stages of building a classical guitar. In this article we’re going to look at the most popular guitar finishes and the qualities they bring to the instrument.
Because each type of guitar finish is very different, you’ll find there are different ways to care for you guitar depending on which finish has been applied. It’s worth learning more about your guitar’s finish so you don’t accidentally cause damage that could have been avoided through proper care. Guitar cleaning kits are not suitable for all types of finishes, so care should be taken when choosing the best cleaning method.
French Polish Guitar Finish
French polish is a popular finish for high end concert guitars. It is made using the raw processed secretions of the lac bug, called ‘shellac’. Shellac is dissolved in pure alcohol to create the French polish. Whilst it’s possible to buy ready made French polish, some luthiers opt to create their own for a truly bespoke finish.
Ryan Gibson says: “I use blond de-waxed shellac flakes. I make up my own polish as opposed to buying it which can contain additives to prolong the shelf life. Some makers add hardeners to their polish or heat resistant agents. However, I find that they hinder the application and repair of the finish.”
French polish is wiped over the guitar using a ‘rubber’ which is cotton wadding wrapped in a cotton cloth. Applying French polish is a very time consuming job, and this finish tends to therefore only be found on concert guitars.
As Stuart Christie points out: “A session covering the whole guitar usually takes about 1 hour, and 8 or more sessions are needed to build up the finish on each guitar. To repair or replenish the finish is much quicker, taking advantage of the finish already present, amalgamating it with another session or two. This will restore the finish to its original condition, but dents dings and damage remain.”
The best method for cleaning a French polish finish is to use a clean, dry cotton or ‘microfibre’ cloth. These cloths by Googalies are a premium microfibre cloth that pick up and retain dust and other microscopic debris from the surface of your guitar.
Rub the cloth gently over the surface of the guitar. Occasionally pause to shake the dust/debris from the cloth before resuming until you have covered every surface of the guitar.
Ryan Gibson advises that “a barely damp cloth can be used to remove general dirt. Very light buffing liquids can be used to bring back the shine or to remove stubborn marks. But I generally advise against this as it is easy to get it wrong and damage the finish.”
Steve Toon sagely advises to “Keep the guitar clean and wiped down after use and get the finish repaired if it wears away in certain areas.”
Do not use cheap supermarket dusters as these may contain small plastic fibres that will scratch your guitar. Investing in a high quality microfibre cloth is important if you want to keep your guitar looking it’s best.
Do not use any polishes or cleaning agents!
All of our experts are in agreement that the thickness (or lack of it!) is a great advantage when it comes to French polish. Because French polish can be applied thinly, it does not impede the resonance of the soundboard. In fact, some luthiers such as Stuart Christie believe that French polish enhances the sound and provides the most pleasing aesthetic appearance:
“I finish my guitars by French polishing. I think this enhances the sound of my guitars. It is the most attractive finish in my eyes, and best suits my working practices and ethic. It does require more time and work, but I and the environment are not threatened by it. There is a long tradition of its use in guitar making. I like that it is easily repaired, and once the player is used to handling French polished guitars it is easy enough to avoid damage.”
Whilst some luthiers hold French polish in regard due to it’s aural and aesthetic qualities, others such as Ryan Gibson favour French polish for it’s repairability and low environmental impact:
“The biggest positive for me is that a French polished instrument can be repaired or restored with relative ease. When new polish is applied the alcohol melts the old finish to blend the two together. This means that very light finish repairs can be undertaken to old and valuable guitars if necessary. To me a fine guitar is still a tool so needs to be repairable over it’s likely long life. I want my guitars to be legacy multi-generational instruments. This means that makers of the future should be able to work on them using the same materials. By using natural materials like hot hide glue and shellac I ensure that my instruments can be kept working with minimal invasive techniques and materials.”
Steve Toon is also in agreement that French polish is a thin finish that is easily repairable.
As with all guitar finishes, there are some disadvantages to using French polish. It is not as highly durable as hard finishes such as varnish or nitrocellulose. Care must be taken to avoid damaging the finish and the guitar.
Steve Toon comments that French polish is “very delicate and can be affected by temperature, humidity and also sometimes reacts to some peoples sweat”.
Ryan Gibson agrees but notes that the hardness of the finish is not something guitar players should look for necessarily. “The main disadvantages [of French polish] are that it is not as tough as the modern lacquer finishes. It is susceptible to heat and alcohol (don’t spill your whisky on your guitar). This means that the areas that the player rests on the guitar tend to suffer the most from the friction and body heat. However, we are dealing with fine guitars that need to be treated with respect. The guitars are lightly made and the woods are susceptible to humidity damage. Therefore, if you are treating your guitar correctly, French polish will serve you very well. Guitar players have maybe become too use to modern plastic hard finishes that can be treated roughly.”
Stuart Christie echoes the thoughts of our other two luthiers, but also adds a slight grievance on behalf of guitar makers, noting that French polish “Takes longer to apply and harden”. This inevitably means the process of making a new French polished guitar from scratch is longer than an oil finished guitar or varnish sprayed guitar.
Nitrocellulose Guitar Finish
Nitrocellulose is a solvent based guitar finish. It is created by processing cotton and other cellulosic fibres with nitric acid. It is dissolved with other chemicals in cellulose thinners to create the varnish.
Nitrocellulose is sprayed onto the surfaces of the guitar in one go rather than rubbed in with a cloth. As a quick drying varnish, multiple coats can be applied in a more time efficient way than French polish. Luthiers will often ‘cut back’ (lightly sand/smooth) after each coat of nitrocellulose and buff to achieve a perfect, glass like finish.
Nitrocellulose is more harmful to the environment than natural finishes such as French polish (derived from the excretion of lac bugs) and oil (a naturally occurring product derived from various seeds). This can sway the opinion of the luthier as to whether or not it fits within their method of building.
As Steve Toon points out, “the final visual finish can be either matte, satin or gloss”. This depends on the number of coats applied and the level of buffing, post application.
Nitrocellulose is easy to clean. Simply use a dry, high quality microfibre cloth to remove light finger marks. We recommend using a Googalies cloth, as we’ve found them to perform best. This is also the safest way to clean the guitar without affecting the finish.
You can also buy specific guitar cleaning agents to a nitrocellulose finish, such as D’Addario’s Instrument Essentials Kit, but it’s best to wait until the guitar is at least a couple of years old. Gasses from the nitrocellulose will continue to be released, even after the finish appears to be fully cured to the naked eye. These solvent gasses can continue to evaporate for up to 2 years after competition of the instrument (in some cases this can be longer). It’s best not to apply cleaning agents until you feel confident the nitrocellulose finish has completely cured.
Thicker nitrocellulose finishes may never fully cure, but you’re less likely to encounter these on a classical guitar. The goal of the luthier is usually to apply as thin a coat as possible to a classical guitar.
If you’re concerned about damaging the finish, stick to using a microfibre cloth as described above.
Nitrocellulose is a smooth and durable guitar finish that withstands a reasonable amount of wear and tear. It is easy to maintain and does not need to be refreshed, unlike French polish or oil finishes which can begin to look tired over time.
A nitrocellulose finish is easy to maintain using a microfibre cloth and optional cleaning agents.
One of the other major benefits of nitrocellulose is that it can be applied thinly, minimising it’s effect on the resonance of the soundboard.
Nitrocellulose is not without its disadvantages. Rapid changes in temperature can have devastating effects. As Steve Toon points out: “it is likely to crack if it is subjected to warm environments followed by cold, e.g. in the car boot after a gig. It also sometimes reacts to peoples sweat on the neck and becomes sticky.”
Nitrocellulose is also a highly volatile substance meaning it can be dangerous for the luthier to work with if the conditions in the workshop are not carefully managed. As a synthetic material, it is also more harmful to the environment than traditional finishes such as French polish and oil.
Oil Guitar Finish
Oil finishes use polymerised oils derived from plants, such as tung oil or linseed oil.
The oil penetrates the surface of the wood and hardens through oxidisation (a result of the polymerisation process). The oil finish is buffed after application, creating a satin sheen or semi-matte effect on the surface of the guitar, depending on how many coats are applied. As Stuart Christie points out, “the more coats are applied, the shinier the finish becomes. The finish can be repaired by lightly cutting back the finish with fine wire wool, then applying more oil.”
The best method for cleaning an oil finish is much the same as you would for French polish. Use a clean, dry microfibre cloth, such has these cloths by Googalies, to rub over the surfaces of the guitar. Shake occasionally to remove dirt/debris that has been removed from the surface of your guitar.
Do not use any polishes or cleaning agents!
Steve Toon advises that an oil finish “should be rubbed back every couple of years and new layer applied” to keep it looking its best or if there are signs of wear. This is a relatively quick and simple process for any luthier.
One of the major benefits of an oil finish is that it is incredibly thin. This allows the soundboard to move uninhibited, producing the most pure sound possible. As Ryan Gibson puts it, an oil finish is “the least invasive finish of all finishes, means it has little to no impact on the sound of the guitar when it is ‘in the white’ meaning before any finish has been applied.”
Despite its thinness, an oil finish dries hard meaning it also offers some protection from wear and tear in addition to simply sealing the wood.
Because the wood needs to be so meticulously prepared prior to application, an oil finish really shows off the expertise and craftsmanship of a luthier. Unlike other guitar finishes, the grain of the wood is not filled, meaning it has to be sanded to perfection before the oil is applied. Check out this guitar by Ryan Gibson for an example of what exquisite craftsmanship combined with an oil finish looks like.
Despite it’s tonal and protective qualities, it’s worth mentioning that like all finishes, oil does have its drawbacks. Although an oil finish has a good protection to thinness ratio, it cannot offer the same protection as French polish, nitrocellulose or gloss varnish. If mistreated by the owner, oil finished guitars are more likely to show signs of wear.
It’s also worth noting the effect changes in humidity can have on an oil finished guitar. Ryan Gibson advises that: “As an oil finish is so light and doesn’t sit on top of the surface, the guitar is more susceptible to changes in humidity and needs to be cared for accordingly.”
Appropriate care would include the use of a humidity regulator. We can highly recommend D’Addario’s Two Way Humidification System. This kit maintains the humidity of your guitar at the optimal level. You can purchase refill packets to ensure your guitar is well maintained for it’s lifetime. A humidity regulator such as the D’Addario kit is also recommended for guitars with other finishes too. Proper maintenance can make a huge difference to the tone.
Gloss Guitar Finish
Gloss is a catch all term for thick, hard varnished finishes. These are usually polyurethane or polyester and are predominantly applied to student range guitars.
‘Poly’ gloss finishes can be applied in one go, negating the need for multiple layers to be applied. This cuts down on production time, as there is no need to wait for the varnish to dry before adding another layer. As a result, you’ll often find this on student level guitars.
Gloss finishes can be buffed to a high shine, creating a glass like effect on the surface of the guitar which can be very aesthetically pleasing and desirable.
Gloss finishes can be cleaned easily with a microfibre cloth and some specialist guitar cleaning polish such as D’Addario’s Instrument Care Essentials kit. Apply a small amount of polish to a microfibre cloth and rub into the surfaces of the body and neck before buffing to a shine.
Be sure to avoid applying polish to the fingerboard. The fingerboard should be cleaned with lemon oil to remove dirt and grime. The fingerboard does not need to be polished like the rest of the guitar.
Guitar specific cleaning agents are generally safe on a gloss finished guitar. If you have any doubts, check the label and test in an inconspicuous area first before polishing the entire instrument.
As one of the thickest and hardest guitar finishes available, a gloss or varnish finish provides the best protection against wear and tear. If you are concerned about wear through heavy use, a gloss varnish finish would be a wise choice.
This type of finish can be polished to a high gloss, giving the guitar added aesthetic appeal.
Varnished finishes can be applied in one go, which helps to reduce production time massively compared to labour intensive French polishing, or the meticulous preparation for a decent oil finish. Reduced production times translate into lower prices, which can be an advantage for those on a strict budget.
Unfortunately, the thickness of a gloss finish comes at a price. Because a gloss varnish finish is so thick, it inhibits the soundboard from moving freely and therefore negatively affects the sound. This type of finish is seldom found on concert guitars, as it does not let the instrument sing to it’s full potential. You’ll be more likely to find a gloss finish on student level guitars, as this allows prices to be kept down to a minimum.
Frequently Asked Questions
Different types of finishes can affect the sound of the guitar in different ways. It’s generally agreed that the thinner the finish, the better the sound. Guitar luthiers often experiment with different types of finishes which will let their guitars sound their best.
Unfortunately, some of the thinnest finishes have disadvantages too such as lower scratch resistance, where as some thinner finishes can be too time consuming to justify applying to a budget guitar.
The thicker and harder the finish, the more protection it offers to the guitar. Gloss or varnish finishes tend to be thickest, followed by nitrocellulose and French polish (along with Steve Toon’s oil varnish). Oil offers the thinnest layer of protection.
A gloss finish is also a hard finish, along with nitrocellulose (once it has fully cured). It therefore offers protection in this way too, by deflecting any impacts that may scratch or dent the guitar. Although nitrocellulose is also a hard finish once fully cured, the point of this finish is that it can be applied thinly, so the protective qualities are not as strong as a gloss/varnish finish. French polish and oil finishes do not set as a hardened surface on top of the wood. They simply act as a sealant to stop moisture interfering with the wood and offer some level of protection against scratches.
Generally speaking, the thinner the finish the better the sound. This is because a thin finish allows the soundboard of the guitar to resonate more freely with minimal restriction. A thick, heavy finish prevents the soundboard of the guitar from moving as freely and thus dampens the sound.
Although we know that thinner finishes are preferrable, it’s impossible to directly compare the effect of the finish from one guitar to another as every guitar is different. It’s also not possible to compare the sound of different finishes on the same guitar, as removing a finish from a guitar will inevitably remove some of the wood during the cutting back process. This means the new finish would be applied to a slightly altered instrument and would therefore not offer a fair comparison.
There is much debate over exactly which finish sounds better, and this looks likely to continue as there is no definitive way to fairly compare finishes side by side.
Seeing as quality of sound is paramount, the best finish for a concert guitar is a thin finish such as oil, French polish or nitrocellulose. These finishes will allow a concert guitar to sound it’s best without restricting the resonance of the soundboard.
Some luthiers such as Stuart Christie believe that French polish enhances the sound of his guitars. Check out his beautiful Romanillos model, based on Julian Bream’s 1973 José Romanillos guitar.
Other makers such as Ryan Gibson have applied oil to their guitars, as in theory this allows the soundboard to move more freely than French polish. Take a look at his Spruce/Santos Rosewood guitar currently in stock at Classical Guitar Academy for an example of a stunning oil finished instrument. Ryan also uses French polish on his guitars depending on customer demand.
Steve Toon opts to use a special oil based varnish. “this is similar to what has been applied to violins lutes etc for centuries. It is sometimes confused with an oil finish but this is a true varnish made from natural gums and resins. It provides a good level of protection to the guitar and is also very thin; more or less the same as French polish. It is also a little more flexible than the other finishes mentioned, allowing the wood to move.”
Steve has applied an oil varnish to this beautiful cedar doubletop model, available to buy from Classical Guitar Academy.
It’s always worth storing your guitar in a suitable case when not in use. Not only will this protect it from accidental damage, it will also help to regulate the humidity of the instrument and minimise the effects of any humidity changes in the environment.
Gig bags such as these gig bags by GEWA are fine for protection against light knocks, but a hard case is by far superior for the best level of protection. At Classical Guitar Academy we favour Hiscox cases, as they provide amazing levels of protection and are also lightweight.
If you have a French polished or oil finished guitar, it may be worth considering the use of a long sleeved top to avoid direct skin contact with the sides and top of the guitar. It’s been known for the sweat of some people to react with French polish, so precautionary measures can be taken to avoid this. If your body chemistry does react with your French polish, don’t worry, it can be easily repaired by a skilled luthier.
Guitar supports have been growing in popularity over the years and are now regarded as standard equipment for most classical guitar players. The traditional foot stool, whilst helpful in some areas of posture, is becoming obsolete as modern technology develops.
But there are often question marks over the safe use of certain guitar supports, particularly those that use suction cups to adhere to the guitar. The big question for players who use suction cups is one of compatibility between their chosen guitar support and the finish of their guitar.
Please see the following points in this FAQ section for compatibility with specific guitar finishes.
For those who use suction cup supports such as Ergoplay, Gitano or Guitarlift, the good news is that these types of products will adhere to a French polished guitar.
Stuart Christie notes: “Suction cups work with French polished guitars, but the hold is improved and the finish is protected if golpeador type self-adhesive film is applied under the cups. The least successful suction cups on this finish are the Gitano type, where the suction cup is in tension rather than compression. These are more likely to release on French polish. The Ergoplay and the Guitarlift work fine.”
It’s worth noting though, that suction cups can occasionally affect the finish. Steve Toon comments that he has “found that sometimes suction cups cause marks”.
When asked if suction cups are safe to use on French polished guitars, Ryan Gibson replies “Yes, in general suction cups aren’t a problem. There can be signs of use but the finish isn’t affected.”
Suction cups are perfectly safe to use on an oil finish. The question is more one of suitability. As oil finishes tend to have a semi matte, satin type texture, not all suction cup supports will adhere strongly enough. In this case, a magnetic guitar support such as the Sagework Atlas or Sagework Umbra would be a fine choice.
As a smooth and glass like finish, suction cups will adhere to the side of a nitrocellulose guitar, however there can be side effects depending on the particular guitar support being used. Steve Toon warns: “nitrocellulose reacts with rubber and some plastics which cause the lacquer to go sticky.”
It is therefore advisable to apply a protection film to your guitar before using a suction cup guitar support, or use a magnetic guitar support such as the Sagework Atlas or Sagework Umbra.
Yes, the hard glass like surface is perfectly safe to use with suction cup guitar supports.
If you would like to use a guitar support but don’t want to risk damaging the finish on your guitar, we highly recommend the Sagework Atlas and Sagework Umbra guitar supports. These products use rare earth magnets to stay positioned on the guitar and will not damage any of the guitar finishes mentioned in this article.
In Conclusion
We hope you’ve found this guide to classical guitar finishes to be useful. If you have any questions or comments, please post at the bottom of this article. The information found in this article is intended to help you make your own judgement about which guitar finish you may prefer and how to care for that finish. As guitar makers may use their own bespoke varnishes, oils, lacquers etc, we cannot accept any responsibility should you encounter unexpected issues with your guitar’s finish if purchased from another retailer. We would advise you to speak to the retailer or guitar maker/manufacturer should you encounter any issues. If you purchased your guitar directly from Classical Guitar Academy, please contact us for support.
For help or advice in purchasing a new classical guitar, please feel free to get in touch. You can browse our range of guitars online and book a retail appointment at our studio in Derby, UK. Zoom/Skype presentations are also available on request.
