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About MikeC

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    The answer is 42
  • Birthday 08/23/1961

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    Violins, Varnish, forex trading & many other things.

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  1. You're right, I re-read it. I guess varnish could be applied over the glaze but it should have more oil content. When I tried it I was able to get an even color but added more in the C bouts for some shading to give it a more antique look but there is some opaqueness. FredN recommends adding a little burn umber oil paint to the varnish while cooking it for color.
  2. M.M I think you got it backwards. The fat over lean rule says that the lower layer should be lean and the upper layer fat to prevent cracking. On my old VSO I applied a thin glaze.
  3. A copy of Stradivari's PG form
  4. A video is worth a thousand pictures
  5. what's the music on it?
  6. For arching, Davide Sora For sharpening hand plane blades look up Paul Sellers on youtube.
  7. I mentioned them because this thread is about arches and arch templates so naturally I thought you were talking about arch templates and suggesting that Strad used them. Maybe I was wrong, maybe you were not suggesting that. We do know of course that he had templates for scrolls, necks etc.
  8. I may try that if I can ever afford a gold chain My silver one is not heavy enough I guess. I once heard a philosopher say that the purpose of thinking is to eliminate the need to think. In other words once someone has invented arches then just use those rather than re-invent them with geometry but geometry can be fun so why not. Here's a quick shot of my current arches in progress. The lighting is good for carving but not so good for photography.
  9. I thought those arch templates were attributed to someone else, not Strad.
  10. Dennis how did you draw the smooth curves of the templates on the paper? Did you use a compass? or roll a circle along a straight edge as in making a curtate cycloid? This looks like a good geometric way of creating new templates if you are not copying from old instruments. Rather than aluminum I prefer to use thin wood about 3/16s inch thick. I rub a charcoal stick on the edge so that it makes a mark on the plate. I'm using half templates like Davide shows in his videos but I can see an advantage of using full length templates. I've tried Torbjorn's method of inside first but I have difficulty with a flexible chain. I find that rigid templates work better for me. I may try the inside first again but not with a flexible chain. I agree with Michael that Strad probably didn't use templates. He was an accomplished sculptor and could probably carve a plate blind folded with one hand tied behind his back and it would come out perfect. That kind of ability would come from natural talent and years of experience. I would suggest not having the final edge shape as part of your templates, it seems that would limit them to that specific plate width and using them more cumbersome. My templates have the concave recurve but not the edge part.
  11. Looks like a good design idea. How do you plan to handle the recurve as it goes around the neck end and the tail end? I prefer to use wood for templates because charcoal sticks to the template and leaves a good visible mark on the plate. If you're familiar with the so called Sacconni plateau it doesn't just go strait across the ends as most seem to make it. It's more of a flattened crescent shape that goes around the ends of the plates. And the inside contours are obviously very closely related to the outside contours.
  12. Alkaline substances can have a tendency to go a greenish gray, a baking soda solution will produce a similar darkening. So are you not concerned with long term effects of a strong alkali on the wood? Would that be less damaging than an acid over time?
  13. Very cool, back when people could still write in cursive and radioed Mars and built torpedo boats to go to Venus. What a generation!
  14. A little burning happens on real Strads too sometimes. I'm struggling to upload a video, maybe later. E, beans have to stay in the can sometimes