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. Texture is one of the few variables we are in charge of when varnishing. From a smooth polished surface to a mass of grain and tool mark details you as a maker must recognize from the beginning the effect you desire at the end. This choice is both artistic and personal. Once chosen use tools and materials that support your choice. Scrapers, horsetail and polishing powders lead to degrees of wood and varnish texture. Sandpaper or anything that has a backer works towards a flatter surface. Personally I am avoiding all common abrasive tools to get what I want. Next time start out wi
  2. Hello all, I have just finished listening to the online event "Canadian Makers meet Players ". This is an interesting event. Good discussion of contemporary instruments by players, hear the instruments, and see videos of the makers. It is free if you register at https://bit.ly/39RA8B1. Today's session is available. Tomorrow and Wednesday live at 11:30 Eastern. on we go, Joe
  3. I would call it a varnish. Lacquer like spirit varnish and shellac remain vulnerable to their original solvent. Brushed or sprayed. on we go, Joe
  4. Agreed. The urushiol "varnish " is quite common in that sector of the trade. It is very protective. It will not wear in the typical manner of oil varnishes. Rather it developes a haze of tiny scratches. It is made as a cold solved or an emultion varnish. It's preparation and application bear no resemblance to the traditional ancient lacquer methods. on we go, Joe
  5. As the creator of Tried & True Varnish Oil... This product is not conducive to pigmentation. The wetting properties are insufficient to your purpose. Also it is not recommended as an instrument finish. on we go, Joe
  6. David, When you saw a quilted log, the figure runs throughout the log. Big leaf Maple can produce some huge logs so perhaps the maker got lucky. The cello was shown at the Players meet Makers. I just recall it was at a table near Carrie Scoggins. Joe
  7. Several years ago there was an AFVBM meeting in NYC. There was a cello there with a spectacular one piece quilted maple back...can't recall the maker... Does anyone else remember? on we go Joe
  8. David, I understand what you are saying. I was thinking more of the finished film. Do you see any difference in the clarit of the film between full wax and dewaxed shellac? on we go, Joe
  9. It is. Also if shellac is dissolved in ethanol it remains clear. The cloudiness generally comes from water in the solvent.
  10. It would be easier (and effective) to solve the shellac in ethanol , filter it, and apply as a coat. on we go, Joe
  11. Sound advice indeed. The unspoken common agreement: This is a calling not a career. Keep the overhead at a minimum. Grab each opportunity as it shows itself...no telling where It will lead. on we go, Joe
  12. Joshua Beyer when he happens to be in town
  13. When the nuts are green and begin to fall collect a 5 lb bucket about 2/3 full. Fill the bucket with water.. Put the cover on. Put it in a corner and forget about it for at least a year. Filter all particulate out before using. on we go, Joe
  14. Certainly contradictory by modern standards. In those days barbers were also defacto surgeons. The solution was likely some sort of cleaning agent. My reference comes from an old cabinetmaker's text. My guess comes from using the solution. on we go Joe
  15. My guess..looks like what they used to call Barber's acid which was a weak lye solution.