joerobson

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About joerobson

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  • Birthday 06/18/1950

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    http://www.violinvarnish.com
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    Trumansburg, NY

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  1. As has been mentioned but needs repeating: this is an unpredictable and often dangerous thing to do. That having been said it is a nearly bullet proof varnish. It does not wear in an expected way, but rather exhibits a haze of fine scratches after extended use. As David noted this relates to the nearly acid neutrality of the material. Historically terpenes resin varnish was used in the print industry. Certain pigments [ some greens if I remember correctly] need an acid neutral carrier. on we go, Joe
  2. The Lady Blunt's original finger board is figured maple with an ebony veneer. Joe
  3. Apply some of the varnish to an area of the spruce. Let it settle for a couple minutes. Take a piece of printer paper and strike the varnish off against the grain until the surface is dry and bright. Changing the paper often helps. Then move on to the next section. on we go, Joe
  4. Well said David. Ideally the first wood treatment while being benign to the wood will provide adequate and controllable color, seal the fibers from absorbing color, enhance the optical properties of the wood, and make it hydrophobic without weight gain. on we go, Joe
  5. Lakes form as crystals. There are a couple issues attached to this. The crystals are very hard, and therefore difficult to mill evenly. They are "slippery ". These factors limit the wetting properties. If the lake is grown around a softer substrate than this can be mitigated. I suggest mulling in oil. Mulling in varnish will shorten the dry to tack time of your varnish coat. on we go, Joe
  6. Well perhaps a bit of a tangent....in the mid 90's I still had the cabinet shop working. Ben Ruth (a stranger then) walked in to look at a joiner I was selling. I was cooking varnish for a dining room set. He smelled it and asked l: "Why aren't you doing this for us?"....I didn't even know who us was...and the rest is as they say...history. on we go, Joe
  7. A great maker, to be sure. on we go, Joe
  8. Ken, Was the color in the varnish tube colors? Joe
  9. Always glad to swap varnish stories with you! Perhaps we can do it again in the not too distant future.
  10. Ken, My preference is towards a lot of wood texture but minimal varnish texture. I seal the wood but don't fill the pores. I would need some information on what you did on the top before I could make an opinion. on we go, Joe
  11. Thanks Ken. The sequence is Balsam Ground with Aged Wood Gold, strong separation coat of Stradivari Base Varnish, thin application of Stradivari Cochineal Varnish....no pigments. on we go, Joe
  12. My current project. "Practical & Artistic Violin Varnishing" is ...hopefully...re-scheduled for August 15th - 22nd at the Chicago School of Violin Making. Contact me for details. on we go, Joe
  13. Dorian Barnes, a Huston based maker, sells processed equisetium that I find superior to any other method I have tried.