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  3. A man after my own heart. But...for reasons of efficiency and prolonging lifespan of body parts key to the construction process, I have come to be more comfortable with the idea of using power tools for processing elements of the construction process that don't end up in the final instrument. I can even see using them for initial processing of blocks. Otherwise, I am all in with hand tools.
  4. I would.... Put a squeeze of the tube pigment on a paper towel. Let it sit a day and the excess oil will leach out. Apply some of the pigment to a varnished test strip. Record how long it takes for the pigment to dry....that is "it won't rub off under normal use pressure". Use the pigment on the test strip as you would on the instrument. When the pigment is dry, apply a very thin coat of shellac to seal the surface, I have had good had good luck with Windsor Newton Water Mixable Oil Pigments []. If you don't like what you have done,, you can wipe them off with water and try again. They actually dry and do not smear when the shellac is applied. on we go, Joe
  5. Do you mean you are an eagle-eyed sharpshooter for a living?
  6. I'd say a combination of 1) and 2). The heat alone probably wouldn't cause the glue to fail, but it would drive out the moisture of the top and make it shrink. I don't think varnish has much effect on glue, otherwise you'd have a ton of centerjoint failures.
  7. I guess Blank Face is seeing a notch because he\she has seen many in the past. To the rest of us mortals its a dent.
  8. catnip

    Edi Malinaric

    Ozdravi se i vrati se uskoro. Cijenimo vas talent za sve! I am designing a new collapsible form based on a description in D. Lashof's book that he made 40 years ago using three pieces of 4mm aviation plywood (impossible to find). I am using 6mm , 3mm, and 3mm (readily available). Pictures are on my contemporary build. It was a way of making your own tongue and groove form without the use of special router bit. My puzzling question is "Will it be strong enough ?"
  9. Why Voghtland and not Mittenwald? Or is that dejavu!
  10. This is what we do for a living ...!
  11. Looks that way casually. Put on classical italian stuff it all derives from joined arcs. Thus the radii of all the curves run in constant segments that abruptly change at the joins. Here is the basic way the arcs combine. In the real traditional examples shapes come from a combination of using using tradirional geometry consteuction choices combined with tradition ratio choices that guide placement and sizing. A consistent use of such methods can be observed running through all the generations of the classical Cremona making.
  12. Rue

    Edi Malinaric

    Did Edi lose his marbles??? Hurry back Edi!!!
  13. I stayed there for a night or two and do definitely recall a bit of strange unpleasantness from the owners, but not the house itself. I don't think I was ever very temped to go back and work with Ed. Fortunately I was offered an opportunity to work with David Burgess shortly after. That was the perfect opportunity at just the right time for me.
  14. Today
  15. You're right, I re-read it. I guess varnish could be applied over the glaze but it should have more oil content. When I tried it I was able to get an even color but added more in the C bouts for some shading to give it a more antique look but there is some opaqueness. FredN recommends adding a little burn umber oil paint to the varnish while cooking it for color.
  16. I've seen a lot of violins with G A Pfretzschner labels. This has the nicest workmanship and varnish of any I've ever seen.
  17. Start of with the easy ones: Imagine that you have three violas, one containing two black marbles, one containing two white marbles, and the third, one black marble and one white marble. The violas were labeled for their contents - BB, WW, BW - but someone has switched the labels so that every viola is now incorrectly labeled. You are allowed to take one marble at a time out of any viola, without looking inside, and by this process of sampling, you are to determine the contents of all three violas. What is the smallest number of drawings needed to do this?
  18. I have used this method also and got reasonably good results but have since moved to other methods. If the color is thin enough and carefully stippled or tamponed with the palm of your hand it should remain fairly transparent and not present drying problems. I would not thin the color or add varnish to it the whole point is to have just the slightest blush of the color so you basically put on a light coat and then remove as much as you can. There will still be a haze of color left behind which is what you want. I will still add a glaze at times if I feel the color needs more body. One possible draw back to glazing is that it wears very abruptly. When you go through the glaze layer the color is simply gone.
  19. Right, but I thought the OP was alternating glaze layers with varnish layers. If it is only one oil-rich glaze as the top layer, there is no issue.
  20. Rue


    Geez...and I took such a boring set of courses... Why didn't I major in literature(?)?
  21. M.M I think you got it backwards. The fat over lean rule says that the lower layer should be lean and the upper layer fat to prevent cracking. On my old VSO I applied a thin glaze.
  22. I use transparent iron oxide dispersions. Brown and red. Works for me. john
  23. I tried it on 3 or 4 instruments. I should've stopped after the first.
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