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About Janito

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    Grand Pecksniffian

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  • Gender
    Not Telling
  • Interests
    Wood, Words, Wiolins
    & Wine, Women & Wong.
    Actually, I am a boring old fart; I mean Wart.

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  1. Janito's bench

    I reread the section on baguettes in Bertinet's 'Crust' and I must inform the general public that the misshapen loaf in an earlier post of 19 October cannot under any circumstances be labeled a baguette because it does not have the official 7 slashes necessary for such a designation. Nevertheless, it tasted great!
  2. !8th century working methods

    No sure I agree. There are instances of 'catastrophic' fires associated with varnish-making, for example.
  3. !8th century working methods

    FWIW I never have photos in posters or books on the bench for reference when I am working. I go by what I like. Sometimes aspects need reigning-in by an external expert when my 'eye' has drifted. On the other hand, it is very pleasing to be told, for example, "I see the hand of the same maker in these scrolls".
  4. Janito's bench

    Thanks. Clearly, there are good and bad things regarding media as Sir Joshua Reynolds found out! I made a pig's ear of varnishing a cello when I added an essence that prevented it from curing over a period of more than 20 years (see earlier posts in this thread). I was amazed by the example of safflower weeping from the paint blob - a very cautionary tale regarding choice of components for a varnish. Materials may leach from containers that could have a deleterious effect on a varnish.
  5. Janito's bench

    Some interesting tidbits in this lecture by George O'Hanlon: https://www.naturalpigments.com/art-supply-education/painting-for-posterity-with-modern-oil-paints/
  6. Equisetum

    And then there are the Assilex products... they are rather good when used correctly.
  7. Violin geometry references

    If you are a master who has gone though long training and you have made > 500 instruments, is it necessary for you to resort to 'complicated' geometry to decide how to change things?
  8. Violin geometry references

    Thought-provoking. Thanks.
  9. Carving Violin Bridge for Violin with High belly arch

    Just to be picky, the bridge is the wrong way round If the violin is of no great consequence, just glue a thin shim to each foot and carve out the excess to provide sufficiently distributed support for the legs.
  10. Buying fingerboards

    Again FWIW, I check the grain direction along the sides to get an idea whether the plane blade will dig in or ride over the wood on the top surface. I have said enough, time to shut up.
  11. Buying fingerboards

    A light scrap to remove sanding marks should be acceptable to the seller - the bottom surface is going to be planed anyway. I have seen anything from slab to quarter -/+ twist where there is a marked difference in nut direction and end direction. (I also check edges for weirdness - a splinter coming off the edge later when planing can be a pain to correct). Just a few things to be aware of.
  12. Buying fingerboards

    And a pair of strong glasses so that you can see the end grain direction (can be quite subtle).
  13. Buying fingerboards

    The underside usually has the remnants of sanding that can obscure the wood. Take a flat scraper and pass it over underside to get a better view of the wood. The underside can tell you much about what you will encounter on the top surface.
  14. Buying fingerboards

    FWIW 1. I look very carefully at both ends of the board to try to define the grain orientation and I avoid wacko stuff cos it may warp with changes in humidity. 2. I look carefully at the underside which is often less tarted-up with polish etc to check the colour and see how the grain is running (I move the board up an down in an oblique light) and to check the pores. I try to avoid highly undulating grain (cos it may make the top side difficult to work) and I don't like big pores. I pass on variegated-colour wood.
  15. Perpendicular does not exist on violin tops...

    actually: poirette