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Everything posted by MikeC

  1. MikeC


    You shouldn't be huffing the turpentine...
  2. I used to have a google group years ago back when it was still egroups. I thought that site was about dead.
  3. MikeC


    That was totally confusing. I think of the ground as being the primary finish with the varnish just a color coat.
  4. It might be a good idea to get a really cheap fiddle off ebay. I know they are junk but you would have something in your hands that has close to a reasonable arch shape. having an actual fiddle to put your hands and eyes on might give you a better idea of what to carve.
  5. For resizing photos I suggest using irfanview it's easy to resize then save the photo then upload it here.
  6. I have a website but there's nothing on it. I wouldn't have any idea how to put a forum on it.
  7. you could start a thread here on MN but might be hard to keep it on topic. I'm ok with FB or anything else
  8. I'm interested in varnishes of any kind, spirit or otherwise
  9. Dennis I've long thought that an arch template could be made anywhere along the length of the plate. All you need is three points to make an arc, one point being the height of the central long arc the other two points being the inflection points. So I like your idea of where to locate the inflection points. At some point you have to transition from the sides and cross arches at the widest parts of the bouts and get into the neck end and tail end of the plate. So I'm curious how you would do that. Also can you talk more about the F hole area. Most instruments I see look too full in the lower F hole area so they don't look right from a side view as compared to old Cremona instruments. I have some idea based on viewing CT scans but wondering what your thoughts are on that area.
  10. Is this just artistic expression? You can't actually design a violin shape this way. by the way you all know these half circle cutouts have a purpose right? Be careful with that pentagram...
  11. Took a while to find it.. a scary scene from the way back machine. Being in sunlight makes it look better than it really looks.
  12. I sent this in a PM but in case anyone is interested I'll post it here too. This is the video I watched for instruction way back when I glazed mine. Next time I'm just going to cook as much color into the rosin as I can and make a lean varnish. Maybe with just a little lake pigments added.
  13. 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.
  14. 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.
  15. A copy of Stradivari's PG form
  16. A video is worth a thousand pictures
  17. For arching, Davide Sora For sharpening hand plane blades look up Paul Sellers on youtube.
  18. 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.
  19. 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.
  20. I thought those arch templates were attributed to someone else, not Strad.
  21. 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.
  22. 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.