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David Beard

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Everything posted by David Beard

  1. I'm not saying spirit varnishes always fail, and I'm not saying they are chemically unstable at all. I am saying they tend to fail in the direction of drying out. And, because of this they can, sometimes, get milky or less clear over time. Every medium presents challenges. And we always need to work balancing completing factors.
  2. Application techniques are everything. There certainly are non classical examples, including some Vuillaumes, where it appears that oil has somehow diffused color in an odd way. But this is only something that can happen under the wrong circumstances. It is not something that generally happens with every use of oil. The main thing to realize is oils and many balsaams will have an aspect of wetting that continues active to some degree for a very long time -- as in years to centuries. Wetting, in a small limitied degree, will aide transparency of particles it reaches, and wood structure it reaches. It can also pull some stains and very fine pigments with it into wood structure by capillary action. These things are entirely good in small doses, and bad if too free and extensive. In contrast, spirit borne material will loose mobility as the solvent more and more completely leaves. If a spirit borne mix doesn't have enough oily/balsaam component, this drying can reduce transparency over time. Good balance is always needed.
  3. There's a letter. And, sunlight is nature's UV light box. UV stimulates polymerization in linseed oil ams drying oil varnishes.
  4. It's just a wiid guess what it was. It looked a crusty near transparent but milky white, carrying some tint. I got to look, but not touch.
  5. Sorry to hear that. Kremer has a very special inventory. Hard to find alternatives for some items. I mostly get things from a combo of Kremers, Natural Pigments, and... Wood Finishing Enterprises, and Zecchi in Florence.
  6. Is it alum? The messiah has a very bright undertone. Alum has in many arts been used as a mordant to brighten the subsequent colors? A saw a Banks cello opened up that looked like alum had been soaked all the way through maple.
  7. But, if you touch the outline for any reason, a purf done before won't reflect the change. I purf done later won't reflect that. Doesn't seem like most classical work puts much stock in even overhangs. (Maybe some Amati work?) The Del Gesu example were the purfling could have gone in even after the FB. But nothing is absolutely conclusive about it.
  8. Well, I agree it seems possible either way. But when you go and make a fiddle you have to choose which way to go. For now, I strongly favor closing the box first.
  9. Sure. But that could still just be clean up rather than rethicknessing. Though obviously there would at least be minor impact. My skepticism about how much thicknesses were altered comes primarily from the large Smithsonian study. Though, those are very select instruments and don't necessarily reflect the fate of less famous Cremona making. But, in those instruments Strad and Del Gesu each show distinct patterns of thicknessing, and the each show their own somewhat different patterns. But, I remember there were at least 2 Strad examples in the set that didn't show his pattern.
  10. That would be an interesting project.
  11. A clue from Del Gesu suggesting sequence in edge work.
  12. However, that could potentially happen from agressive cleaning and light scraping rather than significant reshaping of graduations.
  13. Some regraduation was done. The question is how much and how extensively. I agree with position of routinely and agressively challenging received wisdom, but.... That doesn't mean the received wisdom is wrong. And it really doesn't mean the opposites are automatically true. I equally believe in being skeptical of my own biases and anything I think I know, or that is convenient or self serving for me. You should be suspicious of your own desire to deny the purfling was done with instrument closed. The only evidence you have given for your position is that you don't created the existence of evidence for purfling after close. But that is still no evidence for your position. And, I've responding on this thread giving some of the reasons I believe it was after closing. But you don't acknowledge that? And, you read more about why that conclusion is drawn reading Hargrave and others. While I agree with the principle of challenging premises, it does rather seem you are entrenching a defense of what you already do rather than probing a question? Pleae pardon if I'm off base on this.
  14. Cuttlebone, which you can get at pet stores as a supply for birds, is special. It's like a foam. Both pumice and cuttle, in their solid rather than powdered forms, are special abrasives. They are solid, but will erode and conform as you use them. And they do this in away that depends on the direction of you motion. This makes them ideal for perfecting a surface. Because they are solid but erode while used, they behave differently than both files and sandpapers.
  15. Well I'm not certain. Words are slippery. And they don't stay put. Their common usage tends migrate and change. Since my reading materials tend to be more than a little out of date, you might be using a common meaning today? From Merriam-Webster: transitive verb 1a: to make shiny or lustrous especially by rubbing //burnish leather //burnishing his sword b: POLISH sense 3 //attempting to burnish her image 2: to rub (a material) with a tool for compacting or smoothing or for turning an edge //pottery with a smooth burnished surface. I seem to be stuck in meaning 2. Meaning 1 has lots of room for your usage.
  16. A while back, the Smithsonian made thickness and elevation maps of a good number Strads and Del Gesu. To my opinion, only a very few of those appeared altered from shared common patterns that seem to hvae come from.the makers. Of course, a study like that would have tried to have avoided obviously compromised instruments. But, that survey seems to support you idea that significant regraduations where more the exception than the rule.
  17. I think of it as a fine abrasive. And use the word brunish to mean non-abrasive rubbing down. ???? Bone, and hard agate are traditional burnishes. ?? I'm curious. Is this common to describe a mild abrasive as a burnish?
  18. I'm afraid the images I have are all collected from others off the internet. I probably shouldn't be posting them at all. Just couldn't resist. A lot of these classical instruments change so very much with the lighting. With the colors existing in layers, what you see real does depnd on angle and intensity of light. Many wonderful classical instruments look red/orange in moderate light, brown in low or oblique light, and yellow/gold in direct strong light. This is the natural result with glazing layers of deepening colors from red/brown to brown/brown over a yellow/gold undertone.
  19. All A. Guarneri's 1664 tenor, in different lights.
  20. I will make bold to suggest that besides simple oil, balsaams and mixer of various combinations of oil, balsaams, resins, cooked varnish can have very similarly satisfying results. Provided, the mixture has a creeping wetness nature the way oil does. I will also suggest that fine levigated pigment can be added. The capillary action will pull the color into the wood structure in a transparent way, highlighting the wood structure in a light angle dependent way.
  21. Violin work goes in fashions. *Almost all the classic instrument got longer FBs and new necks. *Some people today believe in plate tuning *Some people believe a top should be thickest at the center and graduated toward the center. For a time, some people believed in regraduating classical instruments, with Del Gesu considered too thick. There some story about Paganini seeking more Del Gesu's, but the 'woody' ones. He wanted them thick.
  22. A very good list. Not an easy thing to produce really.
  23. No. As you say, we just disagree. I don't believe you mean to 'strongarm'. I just don't believe you understand how structure and bias imposing a break down into categories is. You are in a sense building up an agreement among participants that 1) the differences within 'orange' or 'black' DON'T matter. And 2) that 'orange', 'red', and 'brown' are separated categories. But these forced agreements are false in the world of real violin colors.
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