DoorMouse

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About DoorMouse

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  1. I just came across this video explaining the use of the ticking stick and the shape of the stick reminded me of the decorative notch cutout on Strad’s square. I don’t see why it couldn’t have been used in the same manner. I’m not sure what use it would be in the violin making process, perhaps copying a mold? Just a thought..
  2. It’s a little uneven here from applying to dry, bare wood but the color looks about the same as the maple. I’ll check back in a couple of weeks to report on any color fading. The next test will be applying the stain both on top and below a casein sealer to see what works best.
  3. The same sample with a second coat of varnish held up to a DG back.
  4. This is the same sample with a thin layer of varnish. The chatoyance looks greatly enhanced and still no burning of the figure.
  5. Wow, sounds like a cool hat! I’m planning on blasting a few samples (varnished and unvarnished) in the UV cabinet for a couple weeks to see how much the color changes. As I understand it there is some amount of oxidation taking place and also some amount of staining so maybe it’s the staining that fades. There’s no burning in with the flames from what I can tell.
  6. This is my first test of using a Potassium Permanganate solution as an oxidizer/stain. So far I’m loving the color but I’ve read that it can fade quite a bit. Any pointers on how best to use the stuff would be appreciated.
  7. So if the workmanship (or lack of) can be explained by the materials, what are the characteristics of this cello that are discernible as DG’s hand? FA was carving his son’s scrolls at this time so I’m assuming this is a FA scroll and the ff’s don’t strike me as distinctly DG so I’m guessIng it’s the arching and edgework?
  8. Are any DG violins finished this roughly? I can see him being frustrated with the time and effort involved in working a piece of willow that size and swearing off cellos for the rest of his life.
  9. I've started cutting the ff's with just a knife as well. It feels more controlled than with a saw and ends up taking about the same amount of time.
  10. The antiquing on the top of the Jeff Phillips violin strikes me as being the most authentic of the lot. The lighting is a bit dark but the photos seem to highlight the texture of the different varnishes really nicely. Thanks for sharing!
  11. There was a recent price drop so I decided to try one of these out. This is after just a few minutes with it.. With more practice I’d feel comfortable taking off more but as-is I feel like I’ve saved my hands from some amount of fatigue. I imagine these would be great for hogging out larger instruments.
  12. I’ve skipped a few steps here but this is after inlaying the purfling, carving the channel, and lots of scraping. I’m happy that a knot showed up to disrupt the uniformity! I should add that the black tool you see at the top left is a balsa stripper. You can set the width and depth of the blade for scoring or making strips. I find it useful for starting the platform around the edge.
  13. Here’s a progression of the back.. outline roughed out establishing edge height and plate depth Establishing arches Smoothing with a toothed thumbplane Scraping out tool marks Establishing outline/locating pins Routing purfling channel