jezzupe

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About jezzupe

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    http://jessupegoldastini.com/
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    Male
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    bela marina
  • Interests
    I used to do other stuff, now I just make violins

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  1. jezzupe

    Green buckthorn berries as a source of pigment

    , ya that'd be a tough one to explain
  2. jezzupe

    Green buckthorn berries as a source of pigment

    Yup thats the stuff...you can pretty much extract the color out of anything this way.
  3. jezzupe

    Green buckthorn berries as a source of pigment

    No, I haven't , but what I do is very simple and would require no purchase from me. Simply take the leaves when they are their most purple, going into fall seems to be best out here, and then dry them out well, stuff them into a container with some alc and just let them soak for a couple weeks, then strain... You'll end up with a very dark purple liquid that when looked at in a clear container,with the light passing through shows a dichroic effect in that in the dark purple you will see green. It is the exact color and color shift that one see's in a " purple green Color change sapphire" ... Now I do not claim that the dichroic effect seen in the alc translates in a visible way once on the wood, but the bottom line is that several coats can be applied to the raw wood, or on top of a compatible non film building ground to achieve a rather purplish base color that once varnished and allowed to be uv exposed takes on a nice brownish color A similar look can be achieved using red wine, but must be more careful as there is water in it. The antithicins { spelling} or purple pigment found in all purple plant things is fairly universal in the way it behaves, it is more lightfast than many would think once 1. it has been coated and 2. has gone through its color shift from purple to brown. Again sample sticks can give you an idea...for example, on a stick, several coats of the either red wine, or the thundercloud juice alone, then a spot with that with 2 coats of varnish ontop, then one with just varnish....generally what you will see over a prolonged period of time is....the spot that is just raw wine or juice will be very faded light brown spot, however when observing the juice/varnish compared to just varnish, you will see the juice/ varnish one will be darker and have a more pronounced/altered/brown color if you are to use this on an instrument 1. do not do too many coats in succession, particularly with wine, but repeated soaking with alc has its issues to, so if you want to apply many,many coats for deep saturation, you must do it over the course of several days with the applications spread out. 2, expect to be concerned with the look after it has been done, it may be very blotchy and purple, resist trying to touch anything up, just soldier on as if it were a clear colored ground and you will see in short order the base and top coats will even the look out and the browning will start to happen fairly quickly. About the thundercloud juice, you will know you juice is right once you take a leaf out and see that the purple color has been extracted into alc and the leaf is more green than purple. I am not sure how the natural purple pigment and the green chlorophyll suspended in the alc works with the light refraction to demonstrate a color change shift, but it does, again, I do not see the optical effect transferred to the wood, but it does make for a neat parlor trick... edit; the juice may also be mixed into shellac to tint it, but only advanced varnishers should attempt multiple colored spirit coats
  4. jezzupe

    Green buckthorn berries as a source of pigment

    Most colorant are subject to change, I always suggest making samples intended to be mocked up with all layers of coatings final and then immediate prolonged exposure to sunlight. Many colorant take a year or two to show their true colors. Many changes can become very predictable but also quite dramatic. To this day one of my favorite natural colorants that I extract into alc is purple thundercloud plum leaves , it goes on purple green and then changes into a very stable chestnut brown over a short period of time and remains very stable. Joe Robsons yellow is another example of a colorant that has a dramatic color shift, thankfully, and somewhat magically very quickly. For anyone who has not used Joe's system with the yellow, all I can say is it can be shocking when first using it, if not told differently, you would swear you ruined your piece as it turns bright yellow, but then fades into it's desired effect. It's now one of my favorites, I love showing someone the work after its just been done and drying, they're like "oh ya, th,thats real nice" lol, and then they see it the next day and its completely changed I think finding and cataloging natural colorants is one of my favorite parts about it all
  5. jezzupe

    World War 1

    No offense, but you don't understand the global monetary system of central banks nor the creation of money . Don't feel bad, most people don't, the only people who benefit form war are central bankers.
  6. jezzupe

    World War 1

    "Countries repaying debts incurred during this war for almost a century later." Gee, who were they repaying this debt to, and where did "they" get the money to lend to fund a global conflict? could it be that you just inadvertently exposed the motivation for these wars? wow,golly, 100 years of interest payments, kching!!!!
  7. jezzupe

    Applying Robson Varnish

    yes I have, but do not recommend using it dramatically thinned over his ground system,particularly if you have used the balsm ground varnish over the 4 part base ground system, the thinned top coat could melt into the under coats,thus making a wipe job...I will use it cut dramatically as a top coat over shellac {dissimilar base} only as there will be no resolventing of that as a base...
  8. jezzupe

    Maestronet is a Wonderful Resource

    ya, which ones! last I plugged in the OBD I was throwing faults everywhere, like a bmw or something
  9. jezzupe

    Maestronet is a Wonderful Resource

    thats what she said
  10. jezzupe

    Seized frog screw

    builds character, explains america
  11. jezzupe

    How to make a good violin label?

    Contact Addie
  12. jezzupe

    Seized frog screw

    I would suggest white vinegar , then coca cola, only coca cola, other colas don't have that rust stripping quality.after soaking in cola it must be dried off, I would suggest the vinegar as a rinse for the cola With the vinegar, soak, then SLOWLY try to twist the frog back and forth...IF the tap and die are still intact the vinegar and cola will "melt" the rust that is locking up the screw... as jacob suggests, no soaking too long then after, dry, then i would apply a dab of NAVAL JELLY to the screw, allow it to soak in, wipe clean after that I would suggest a product called BALISTOL as a lubricant , assuming you can get the screw to function ps, I thought this was going to be a horror story about a frog that got confiscated at an airport,lol
  13. jezzupe

    Another extreme arching experiment

    I have several I've made with not that proud of arching, I've found that just like in certain construction projects one can account for sag if they want. with one of my dragon violins I have a rather shallow arch that was "assumed" it would compress and sink some, the initial set up on the bridge was a wee taller with the expectation it would"belly" a wee it was, like most of my stuff somewhat of an experiment, as we always think of the bridge area as a loaded arch, this was "what about a sunken loaded arch" where as there would be a "divet" or bellied ,like a guitar gone bad area directly under the bridge created by the stress...in general at first glance it may be considered a "mistake" but it is quite intentional and took some thought about how much sink to account for with the neck projection and bridge. Any sinking seems to have stopped and the action/ neck projection has been stable for years I feel flatter arching and flat tops are more prone to volume increase and can impart a shrill nature if low density materials are not used. but I think, as usual, it should be interesting to hear the results
  14. jezzupe

    Another extreme arching experiment

    my only thought is that over time the "seams" where the quadrants meet may be prone to cracking? but perhaps not depending on how the inside is done, if you maintain normal inside graduations where the interior is curved as normal, it may make it so there is no "hinging" on the "seam" whereas if the interior matches the outside contour these areas like I suggest may crack over time...however it may make for a very loud instrument if that "hinging" is able to be harnessed. based on my experience any time we induce straight lines into wood that will be stressed is when increase the potential for stress fractures to a certain extent this is the "idea" behind my parquet backs in that the seams introduce endgrain joints as well as dissimilar species contacts where the "idea" behind it is that these areas in the whole of the plate will act as weak spots during modes of various excitation and may help increase amplitude , if thats what one wants, but then again, who knows
  15. jezzupe

    Nice, unusual but sadly ruined/damaged bridge

    looks like a regular blank that was put on a low projection "fiddle", shaved down to get low action, shaved flatish symmetrical to play crossover double stops, and all of that before the acid