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NewPOV

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About NewPOV

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  • Gender
    Male
  • Location
    Worcester, MA
  • Interests
    Finisher with chemical background. Influenced by George Frank. Not much of a maker.

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  1. Christopher, I believe the Cremonese started off by making a strictly resinous Essential Oils Varnish (EOV) using materials from their gardens. One or two of the EOs were grapefruit oil or lemon oil that was extracted from finely shredded citrus peel using turpentine. Green leaves first de-waxed and then finely shredded and then soaked in fresh gum turpentine IN THE DARK for several days was another useful procedure. Spinach or kale is great for abundant Chlorophyll (Chl). You can see where I'm going with this for the ground system. No traditional vegetable oil like lin
  2. Good morning Doug. Strad's asserted the necessity of sunlight for "the varnish." This constitutes further evidence that Chlorophyll-driven photochemistry was at the core of Cremonese practice. NewPOV
  3. with occasional edits: Violin makers today are showing increased interest in the longevity of their instruments. How might photochemistry be used to extend the longevity of all stringed instruments? Very stimulating is this MN contribution of ten years ago by GlennYorkPA: http://www.maestronet.com/forum/index.php?/topic/250548-sun-tanning/page-2#entry250694 To kick off the discussion, we already know that Chlorophyll played a catalytic role in Cremonese wood finishing. (The established heavy presence in many master violins of magnesium, which is located at the center of t
  4. Are you there Fred? If not spinach, what about kale? This was clearly allowed!
  5. Don't you know he also had kale in his garden! A one-stop shopper, he went to his garden for greens and nowhere else. Also, where else do you think he got his citrus from? He had no need for peppers from Hungary.
  6. I saw need to revise my post #22. Now continuing, with edits: FIRST: I don't want any wax on the plant leaf to get into the wood because it will interfere with some reactions I very much want to occur in the wood. Moreover, that kind of wax is nothing like carnauba and is not conducive to protection of the wood. Working in the dark away from sunlight or bright light, I dip the intact whole leaf in turpentine (or xylene, etc.) for a few seconds, then shake off the turpentine (this is what the Cremonese had) from the leaf. I do this at least three times to strip off every bit
  7. Hi all, I went back and revised my post #15 to make for an easier read. As for how to extract chlorophyll, Jezzupe, I really don't think using alcohol or even acetone is best. I can readily extract chlorophyll by soaking spinach in turpentine. It's just my own preference, but I avoid alcohol in my finishing. (I'd rather use non-polar, hydrophobic petroleum-based solvents.) Of course there is the alcohol-based shellac and even the French polish that came after the Cremonese. More generally, there are just so many roads nowadays to the Mecca or Rome of Beautification . .
  8. revision of 10/29/14: I knew Frank. Setting aside protection for the moment, for years I've been thinking about embellishment or beautification. In my quest for the "holy grail" I have tried so many things, only to set them aside. It was a pleasant surprise to read about Frank's reputation at MN: http://www.maestronet.com/forum/index.php?/topic/326390-french-polish/#entry548648 I've been wondering what kinds of finishing innovation might today's field of violin making be open to receiving? See Joseph Curtin's question, “Is innovation possible?” at: http://josephcurtin
  9. There are literally hundreds of terpenes working in cannabis. Limonene makes the high stronger, clearer, speedier, more up, pscyhedelic, and come in rushes. Why do I come back to powder of lemon peel for finishing? otter
  10. All roads lead to Rome! Follow your own taste, and don't ape the Strads! I held a Carlo Bergonzi in my arms all afternoon one day until sunset. I had been smitten. That hooked me on finishing! Why do you imagine I persist so? one otter, happy and curious
  11. Back in the day I held only one Bergonzi but that was enough to hook me on finishing.
  12. Protein as the first coating doesn't appeal to me at all. After using a thinned resinous first coating, and then burnishing, a second coating approach could be: Add a bit of alum and ammonium chloride to a very weak sugar and gum solution. Pass the wood back and forth near a fire. Wash and dry thoroughly, then start varnishing. I expect the aluminum and chloride ions together present in the system will mordant the wood sufficiently to prevent adhesion problems. PM me if this works out for you?
  13. Since my posts are being moderated for an indefinite period of time, I may not be able to respond to you via Pegbox postings as quickly as you would prefer. However, you can always PM me or email me at Brian.McLinden@gmail.com First, to introduce myself in detail: I studied making but did not graduate from the Warren School. Four violins told me that I would never cut it as a maker. Nonetheless, the mysteries of finishing caught my technical fascination. I obtained a BS in physics from Hobart, then a BS in engineering mechanics from Columbia. Next I was as an informal student with George Fr
  14. While I have come to view Angel as a very dear friend, one who because of his hard work and imagination will carry making into the future, his various family obligations have been changing and so we have missed out on talking shop for over a year. I would not today consider using anything similar to potassium nitrate for an alkaline oxidizer. The "wax polish" I advanced in another thread fulfils several plausible craft purposes and I believe it merits re-examination by the chemically informed among you: http://www.maestronet.com/forum/index.php?/topic/331314-classical-grounds
  15. The use of terpenes and sugars in the same ground system is proving its value. Quoting myself, "Here is therefore my hypothesis, a prediction: My experiment of years ago suggests that turpentine and sugars, when allowed to work together as PART of a layered system employing multiple thin films and subsequent heatings of surfaces (what I call "flame polishing" of variously treated surfaces), will provide us with some unexpectedly gorgeous optics - possibly leading even to pleochroism as we continuously vary the tilt of the treated wood while viewing its movement under various
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