Jump to content
Maestronet Forums


  • Posts

  • Joined

  • Last visited

Everything posted by rb_quebec

  1. Sorry Érable, I've supposed that you are living in France but I've read the posts a little to fast. But if it's the case I am able to suggest someone to visit and you will be sure of the complete authenticity of the cello. Bye
  2. Hi Érable, It's a Richelme. The model is from him and the workmanship seems to be from him also. I am not sure for the head. Where are you living in France? You might visit a luthier in Marseille, Montpellier or Nice and they know a little more than the most of us. They are used to the style of Richelme. The GLAAF (French association of violin makers) talked about Richelme two or three years ago during the annual congress that was in Marseille. I saw some instruments but no cellos. Richard
  3. It's just another test. "http://www.maestronet.com/forums/attachments/Cello head.JPG">http : //www.maestronet.com/forums/attachments/Cello head.JPG
  4. Hello Matej, Thanks again for the tips and the explanations about your method. I am just a little bit surprised about what you've said. I've understood that the color of your varnish is not stable or may have a reaction while it is drying or even aging. Your reaction or what ever may continuously react and change of color in the layers of your varnish fur a unlimited time even if it is already dried !? Have you tested your test stripes on a long period of time to control the stability of the color ? About the raw resins and gums that you use. A friend of mine has worked with raws gums and also with already prepared and purified rosin and he told me that he always have better red colors with raw gums. About thinning the varnish with turpentine for the filtering and the application. A lot of colleagues told me that it's not so good to thin a rosin/oil varnish with turpentine because it makes the varnish friable. I never tested intensively this theory but I thin a little bit with turpentine for the storage of my varnishes but not a lot. For the application I thin the varnish with petroleum oil and lavender oil or spike oil in english if I am correct. I am also able in this manner the make thin layers. Bye bye Richard
  5. Dear Matej, Thanks for your tip. I already cook my rosin and varnish in a stainless steel pot and I though that I would gain something red with that method, but it's unfortunately too little steel or rust particles to obtain the colored varnishes that you are able to obtain. A normal steel might be better but your procedure is apparently more effective. When I am starting a new varnish batch, I cook my rosin alone for a while. After that, I also cook my rosin with linseed oil for a long period (between 16 hours and 24 hours in total depending of the starting color of my rosin). I've made some experimentation with the dark rosin available from Kremer Pigmente in Germany but it seems to give me a brown-green color when I cook for a long period of time. Pretty nice but not optimal and not desired for the last coats of my varnish. My idea was to gain a little time with dark rosin, but I did not exactly find what I was searching for. I will shortly start a new batch with clear-yellow rosin and I will cook it a little longer. I might also tried with rust (??? Where can I buy some rust, maybe on Ebay ??? - !!! It's just a joke... !!!). I only have a little problem with your technique. Normally my varnishes are really thick and I am not able to filter them. If I have rust particles in it, they will stay there and I surely don't want that. How do you cook your rosin or varnish with rust particles or powder ? Do you filter your varnish or let everything sink at the bottom of your pot ? Tell me more about it because I find your results pretty interesting. I am also planning to visit your nice town in the future (In 1 or 2 years). It's a little like a old dream for me to visit your country. Thanks again. Bye bye. Richard
  6. Thanks again for your tips Michael, I have to go because I really need to make violin making now. I am a little late on a project. Have a nice day. Bye Richard
  7. Wow Michael ! How do you make it ? Are you able to read my replies when I am typing them ? You read in my brain or what ? I am really impressed. If I understand well. You ground your alizarin crimson in oil and then you mix everything with your varnish. You don't work with the glazing method if I've understood. The yellow tones are already in my varnish and I think that I don't need to had a lot or no pigments at all and I will gain some clarity. The green color is also already there but I like it because it's very a small green effect interesting for copies. I will try your method with Alizarin. What's the purpose of your Tar ? It gives to you a brown color I guess if we forget about it's capacity to render your varnish softer ? I have two types of asphalt to house and they are really black... I don't want to use that because my varnish id already dark.
  8. Thanks again Michael, You are too fast for me Michael. I say that because I try to send a first reply about the topic and you already sent 2 replies with responses to my interrogations. Maybe it comes from my difficulties in english... I am not fast enough but I will try to manage that. It's interesting that you speak about a pigment of changing colors. I thought that pigments where not able to do that. I am just able to do that with cooked resins in oil. About the varnishing procedure that you said. It's exactly the way that I want to explore my varnishing process and I don't want to do like my old ancestors of France. It's why I've made different oil varnishes with different tones of colors to start with something clear and to continue with something darker every time I put a coat. I think that I am satisfied with the two of three first coats but I want to find something orange and then red for the final coats and I am not able to get it in the moment with my rosin. If you have any suggestions on how to get what I am trying it may be really helpful. You already spoke about asphalt and madder to get colors in a varnish. I found asphalt but my varnish is already enough brown without it and the asphalt that I've found was too black. I never tried with madder. I have already a small quantity of it but I think that I will loose transparence with it... I will stop to write for today because I have some work on the workbench. Bye.
  9. Thanks Michael Darnton, I agree that you might be right with the retouching contamination and thanks for your constructive comments. About the transparence of pigments, I would like to know what's really transparent in the orange to red colors because I was never satisfied with the use of pigments. I am cooking regularly different oil varnishes in the moment and I am trying to get something orange and red, but I am more in the ranges of amber to braun with a little something green. I am working with dark rosin from kremer and with linseed oil and my problem may come from my dark rosin. In some weeks I will try to cook slowly normal yellow rosin until it is dark to see if I am able to reach something in the orange or red ranges. A friend of mine works with a nitrification process of the rosin and he is able to get something red. I may also try that. My idea was to make a varnish without any pigments has you see but I am always open to learn more about pigments.
  10. Thanks Oded Kishony, I know that realgar is toxic but there is already a lot of toxic products in the varnishes in general like lead, ammoniac, etc. A lot of pigments are also toxic. I am particularly interested by this product because it may coincide with some scientific analyses of the masters varnishes and may give a interesting orange-red color to the varnish. It is also logic to imagine a possibility of it's utilization in italy at that time. Cozio di Salabue had also said that Landolfi putted arsenic in his varnishes. The product is also in small quantities used in medicine and may not be so dangerous in small quantities. I hesitate a lot to use realgar and that's the reason why I am asking if someone has already tried to work with it. I would also like to learn what is your conception of "authentic" colors. In the moment I am trying to find different ways to make a varnish without any pigments. My results were never good with pigments and I want to change that. Maybe I just don't know how to work with my pigments or I just don't have the good ones.
  11. Hello everybody, I found a mixed up between sandarac and realgar in my researches. There is two types of sandarac. There's the one from the arabs and the one from the greeks. The one from the arabs is the regular sandarac that we buy in different violin maker suppliers, but the one from the greek is a red rock made of arsenic and sulfur used as a pigment in italy in the time of Stradivari. It is transparent and orange to red. We find a lot of old oil varnish recipes with sandarac but we are not sure about which one they are speaking. There is also scientific evidence of arsenic traces in the classical varnishes of different makers. I've made a lot of research and it seems that realgar is not a stable red color because it comes slowly more to an orange with time and light. It fades, but I don't know how fast and maybe it's possible to make a stabilization of the color. Does anybody already tried to work with realgar ?
  12. Good job Benjamin ! I would also like to see the table if it's possible. Normally it's the most complicated part in the varnish process for me. If you are able to share roughly your process it will be really interesting for everybody.
  13. I think that a normal cold pressed linseed oil always comes with Schleimstoffen or Mucilage (Thanks SETH_LEIGH for the right translation). It's just normal. If you wash your oil and you don't see 3 layers: One of water, one of relatively thick mucilage and a layer of oil, it's because your oil was already purified, filtered or washed in a certain way and that no additives have been introduced. It's my opinion related to my little experience with cold pressed oil from different sources. I've had approximately the same quantity of mucilage with the 73054 Natur Leinöl from Kremer as the guy found in the link of the message of NERTZ. About the coloring of the oil with Madder. It's a really interesting reflection, but I am a little afraid to try it, because I don't trust the stability of that color. Maybe someone has a little experience with to share. I've tried something interesting with my last varnish. I've cooked my oil with a lead based pigment and the result was particularly interesting and fast. I was inspired by some chemical analyses of the masters varnishes. Anybody wants to share sometimes about is experience?
  14. Hello, I am making tests in the moment with the Kremer cold pressed nature Linseed oil. Product number 73054. It doesn't really dry by itself I think so. I've made a test on a maple piece and it still greasy and it's on the wood since 4 weeks. They specified that it contains "SCHLEIMSTOFFEN " in german. I don't know how to translate exactly in english but it is like "SLIME". It's not coming from the Ghost busters movies but it's naturally in the oil. I started washing a part of my oil to cook varnish with it and I already tried to cook a varnish without any washing and it seems to work well with no particular drying problems. I have to make further testing with my new varnish to be sure. I have to admit that I've cooked it before i've added resins and it does something to the oil. I never tried to make a oil varnish without heat and I don't have any suggestions on the exact oil to use for that purpose. I always used my own cooked linseed oils in the past. Sorry for my english and I think that the subject is pretty interesting.
  • Create New...