Tets Kimura

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About Tets Kimura

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    Senior Member
  • Birthday 03/23/1979

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    http://www.atelierkimura.com
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    Penguins

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  1. Tets Kimura

    Melvin Goldsmith bench

    It's amazing what you can achieve. I presume the wing crack is artificial.
  2. Tets Kimura

    Anyone using a Goffriller viola model and why?

    Hi Andreas, Melvin has made at least one copy of a Goffriller viola. Hope he chimes in. I've got a drawing and measurements of a Goffriller viola as well, but I've never tried to make it, yet.
  3. Tets Kimura

    Tets Kimura's Bench

    Thanks! @arglebargle Yes, it is walnut crystals. I make a thick paste and apply it with a sponge, and then use a hairdryer to induce crackling. The method itself is not much different from how many other makers do it. However, I do this at the very beginning of the antiquing process. I literally cover the whole instrument in a thick black goo after varnish is dry but soft enough to move for the right type of crackling I want. It can look horrifying if you've never seen it like this before. After you wash away the paste and continue with the rest of the antiquing process, most of the crackling also starts to look worn and hardly visible to naked eyes even if it's still there. In this way, you can avoid having the crackling that looks unnatural, and also the remaining varnish looks more three dimensional and not flat even though there's no visible crackling with dirt in it.
  4. Tets Kimura

    Guy Harrison's bench

    That's an extremely handsome cello. Congratulations!
  5. Tets Kimura

    Tets Kimura's Bench

    I've had the above violin back momentarily for a quick check-up and a couple of minor adjustments. Nice to see one of your work is being loved and cared for. @FoxMitchell , I alomost always induce crackling on varnish by using https://www.kremer-pigmente.com/de/saftbraun-41050.html And 16 1/2 inch viola inspired by Gasparo da Salo is coming along nicely. I've had some difficulties this year to concentrate on my work, but things are slowly starting to improve finally.
  6. Tets Kimura

    Conte Vitali measurements

    I don't know about their newer posters, but some of older ones are terrible. I understand it is nothing to do with contributors who provided photos, plans and measurements, though. The one I remember particularly is the G.B.Rogeri violin poster, which the back outline was scaled to match the measurements taken over the arch, so it's actually way too big.
  7. Tets Kimura

    Varnish Crackle Question

    Great minds think alike.
  8. Tets Kimura

    Varnish Crackle Question

    Have you applied another coat of varnish after you'd used the oil paint as dirt? If you've left the oil paint a little too thick, and therefore not dry enough when the next coat of varnish was applied, it could cause crackling.
  9. Tets Kimura

    Does anyone NOT build Strad? And if not, why?

    You can certainly learn from what sort of old instruments are selling at the moment. I'd been working in a shop where they had things from the high-end stuff to the lower end, and rightly or not, what had been considered at the lower end was often the instruments with high arch.
  10. Tets Kimura

    Does anyone NOT build Strad? And if not, why?

    Unfortunately, it really depends on what your CURRENT market demands. Whether your Stainer models sound better to you (or anybody) than a Strad model, that's irrelevant. I mean, I wish I could convince my clients that they could play on an Amati model, and they'd still be heard in a concert hall, but that's not the reality.
  11. Tets Kimura

    Does anyone NOT build Strad? And if not, why?

    Know your market is the answer, though that might not be the answer you're looking for. There are a plenty of people who don't mind which model they're having their instruments made on as long as they play how they want them to, and also there are people who want their instruments to look/sound like so and so's instruments. So, as long as you can satisfy your clients with explanations such as "this Guarneri sounds like so-and-so Strad which is going to suit your style without compromising your physical need.", you probably don't have to stick with making Strad models. However, never say you only make Guarneri models until you have a plenty of people queueing up to buy you stuff. Currently, my clients are made up of people who'd like something they cannot get hold of without spending a fortune, but happy to settle for something whose quality is more than adequate.
  12. Tets Kimura

    High resin content varnish

    Hi John, After reading the Greiner/Brandmair book, I first tried varnish which was something like 2.3:1 (resin to oil.) I liked the result, especially the intensity of colour, and how it wore off. However, I never get along well enough with varnish with turps (I hate how it feels when applying), so I'd abandoned it after using it on a couple of instruments. Since then, I slowly increased the amount of oil, but to keep chippiness of the dried film, I started to add 5% bees wax. For me, the leanest varnish I can apply without any solvent is 1.6:1, and right now I'm settled on 1.25:1. I don't cook mastic nor oil, so viscosity of the varnish might be quite different from yours.
  13. Back to the original question; It reminded me of this thread which I found interesting when it appeared on MN originally (9 years old! Was it that long ago!!) Ah, Torbjörn, you were on it too.
  14. Tets Kimura

    Christian Bayon´s bench

    Nice to see you working well. I've got a couple of friends who keep telling me how good your instruments sound. Hope I'll meet you in person, and learn from you in near future.
  15. Tets Kimura

    Reproducing varnish chipping.

    Much of this came from crackling before varnish worn off.