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Jeremy Osner

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About Jeremy Osner

  • Birthday 05/18/1970

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    http://www.readin.com/blog/
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  • Gender
    Male
  • Location
    Baldwin, NY
  • Interests
    Unconventional instruments

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  1. I used a mold that my instructor made following the Guarneri D'Egville, and I looked at pictures of that violin when I was working on the corners. I would not be so bold as to claim there's any resemblance. The base coat was a copal varnish.
  2. I took a lot of photos this morning, my flickr page As I said above there are many problems with the violin that I know about, looking to find out more. Model is Guarneri, weight is 440g
  3. very nice. I made a recording of a classmate playing it, you can hear it at this link I think, let me know if it does not work.
  4. Thanks. I will take and post some better pictures tomorrow.
  5. I finished making my violin today, in class at Red Wing. Take a look! It has many ugly bits if you look at it closely but from a distance, it looks like a violin. (edit to add) More pictures, hopefully of better quality, at my Flickr page https://flic.kr/s/aHBqjzNxhA)
  6. Huh, sounds like I should listen to my wife then.
  7. I'll soon be traveling for my first bench test... Excited! I've never checked my tools on an airplane before and I'm wondering what toolboxes are best for this. Searching with Google most of the recommendations I see are for Pelican cases, which look appealing. My wife thinks a brand-new Pelican case would be a target for theft and that I should just roll my tools up in canvas and put them in the suitcase with my clothing. Any thoughts? What do you use?
  8. Thanks all! I have only done the maple so far -- when I work on the front I will watch for chatter on the end grain and switch to a knife + file if I see any. I cut a bevel on the rib side of the plates before gluing, with fingerplane.
  9. What tool do you use for rounding the edges of your plates? I made a scraper that is working very nicely, it's the first time I have done this so I'm not sure what other techniques exist. I cut the scraper curve with a hole punch for paper; it handled the spring steel just fine. In the photo the scraper corner looks very close to the rib -- I did not have any trouble keeping it from making contact with the rib, but I think I will file that corner away before I use it again. The edge that came off of the hole punch is nice and sharp and did not need any burnishing. The tool only cuts in one direction -- it seems likely that was probably the side that was facing down when I punched out the hole, will confirm this if I make another one.
  10. My first experiment of making cochineal lake appears to have failed; 5 days after making the dye and adding alum and alkali, I can see no separation of the pigment (although the dye has thickened a bit). Apparently my idea that I could just divide the ingredient quantities in a recipe I found for carmine lake (in "Manufacture of mineral and lake pigments" by Joseph Bersch) was incorrect. I made 2.5 liters of red dye using 40g ground cochineal and 2.4g cream of tartar, boiling for 15 minutes. I then strained the dye into glass jars, leaving them half empty, and added a solution of alum made with 4g alum and a cup of water, divided evenly among the jars. I made a solution of soda ash using 1 Tbsp ash and 1/2 cup water, and started adding it to the jars with an eye-dropper, expecting it to foam up; I saw no foam at all. I added more of the alkali solution til I had used the full 1/2c, still nothing. I got a bit panicked, and thought maybe the issue was that there was not enough alum; so I made more alum solution (with about 8g alum) and poured that in, and made more alkali solution and added that. Saw a little bit of foaming but nothing like on the videos I'd been watching of lake making. I noticed that the dye in the jars looked a bit thicker than it had initially, so I thought maybe it was starting to precipitate. Left it alone thinking, better to just wait and see -- that was Friday. Any clues what my mistake was? A friend (who has also never made lake pigment) is planning to try making madder lake, hopefully I can at least give him some pointers about what not to do. Does temperature play any role? The jars are sitting in the garage where it is very cold, though I don't think it was below freezing. I guess I will try filtering what is in the jars and see if there is anything solid in them that I can dry and make paint out of...
  11. Everything I've been able to find to read online has supported this. If I decide to go any further beyond this current project, I'm sure I'll get Kirby et al's book. I'm going to follow Bursch's recipe for carmine lake, who says "The majority of the recipes for carmine,... differ but little from the above [Cenette's method] ; acid potassium tartrate is used instead of the oxalate [I'll be using cream of tartar], but the latter is to be preferred because of the slight solubility of the tartrate. It is important not to use too strong decoctions of cochineal, and to add only small quantities of alum" (I will likely err on the shy side with the tartar). He does not specify a quantity of alkali solution to use, and I'm thinking that's because you only should add a drop or 2 at a time, and let the dye bath foam up and recede, and then another few drops. My plan is to make 2l of dye bath from 40g ground cochineal, in two batches, one with 1/2 the tartar. I'll filter and divide those 1l batches in half and add a little less and a little more alum to each pair of containers. (All the recipes say to use shallow pans for precipitating the lake; Mason jars is what I have, fingers crossed that it will work with the relatively small amount of dye bath I'm making.) The jars are a quart capacity; It seems to me like that should work, knock on wood. Bursch says (if I'm reading it right) to add the alum to the simmering dye bath and simmer for another several minutes; but every other source I found seems to recommend dissolving the alum in boiling water and then adding it to the dye bath after filtering. I'm leaning toward adding the alum after filtering.
  12. And more reading -- "The Technology of Red Lake Pigment Manufacture: Study of the Dyestuff Substrate" by Jo Kirby et al., https://www.jstor.org/stable/42616314 (hoping the article will help me understand better, just what "substrate" means... -- is it just the same as "mordant"?)
  13. Found some recipes for Carmine lake in Josef Bursch's "The Manufacture of Mineral and Lake Pigments", https://archive.org/details/manufactureofmin00bersrich/page/356/mode/2up?ref=ol&view=theater
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