• Content Count

  • Joined

  • Last visited

About delusionsofgrandeur

  • Rank
    Junior Member

Recent Profile Visitors

928 profile views
  1. Mr. Dorsey, you made it! So glad to see you; let me take your coat, here, have some rumaki, let’s get you a drink.... Yes, like many of us, I found and pored over your spreader wedge seminar, and it’s been very helpful. There doesn’t seem to be a lot of material online or in print about Vuillaume ferrules or curved ferrules, so I was hoping you’d show up and say a few words. Or even a lot more than a few. Many thanks....
  2. Hi maestri - I'd like to submit a formal humble request for a disquisition on shaping and installing spreader wedges for non-D-shaped ferrules. Oh, don't be modest, I know you know how to do it. I, however, don't. And it's going to come up. There's a bow floating around that I'm going to have to rehair sooner or later. Probably later, because while the original owner loved playing with it, she has since passed on, and her successors are pretty unanimous in their distaste for this bow. It's The Bow They Love To Hate. But it's a pretty thing, quite delicate, albeit filthy, with great sentimental value, and it has a Vuillaume-style frog, complete with the channel in the stick. Because it's old and it's associated with a beloved person's memory, I really don't want to screw it up when it hits my bench. Thanks to all of you, I've made a hell of a lot of progress since the incident of the laughing stallions - in fact I'm getting pretty good! (Almost good enough to see how much farther I have to go!) But I have only worked with conventional frogs and ferrules, and I'd prefer to be prepared when I get to the Terror Bow. Thanks in advance for your help. While I wait, maybe I'll see if they will at least let me clean it.
  3. Have you tried Renaissance Wax? It was developed for use by the British Museum on their delicate items, and they use it on organic material like leather. I figured that if it was all right for leather it was probably okay for MOP as well, so I bought a small tin and tried it, feeling ever so glam and sophisticated as I did so. One of the reviewers said that it wouldn't leave a gloss finish on a non-glossy surface, but I noticed a deep, satisfying luster on both the pearl and the ebony I used it on. Yes, I went nuts and used it on frogs as well as slides. You can buy it on Amazon, here: If anybody knows of any reason why it shouldn't be used on bows, please let me know before I humiliate myself. I should add that it's a petroleum product, but then so is Vaseline.
  4. Glad to find this thread. I've been wondering about this myself. Thanks to everybody for their posts. On the second read through, I think I understand the above taping and gluing procedure pretty well, but pictures of the process would be welcome if you have any. By the way, good morning! Are you up early or up late? ;^}
  5. Sheer coincidence - a few days ago I found some info online about using hydrochloric acid instead of abrasives to work with MOP inlay. It sounds ghastly but I'd rather have acid on my fingers than slivers in my lungs. The article deals with pearl eyes, not slides, but the same principles apply (said the noob). Here's a link to the PDF : Aaaand while we're on the subject of slides: what do you (plural) think of using ebony veneer from a consumer source like Woodcraft for slide liners? I had to replace a busted slide liner the other day, and luckily I had an old slide that I could cannibalize, but at this stage of my development (as a humble rehairer, not an archetier), I haven't yet got a huge stash of spare parts. Plus, I like the idea of learning how to make slides if I can. I have had, um, incidents that led me to believe that learning how to do that would be a really, really good idea. Ahem. BTW, thanks to Mr. Dorsey for starting this thread just when I was looking for information on this very subject. Maestronet Pegbox FTW!
  6. Omigod you guys.... omygodomygodomygod.... it's working!!!!! Happy times at the!!! 8^D And it's because of you. |^* And my dad's retired re-hairer. Kudos to all of you for putting up with me. All I had to do was watch Craig Tucker's video fifteen or sixteen times and notice a few key details about the process that I somehow missed, re-read every single post in this and a bunch of other threads multiple times, contact and pester my dad's retired re-hairer to learn some basics that all of you probably knew already, practice-practice-practice, sign my name in blood in this weird old book, sacrifice a couple of black cockerels at midnight, and voila!! I still get a few danglers, but every time I get despondent about it I re-read Mr. Dorsey's posting about how that's normal and I feel a little bit better. Anyway, it's a huge improvement over the sagging sloppy messes I used to get. So what changed? Besides the blood sacrifice? Read on. D.O.G: Hey you guys, I have learned new things! Huzzah! Every Re-hairer In The Whole Entire World: Why, how gratifying! What have you learned? D.O.G: Did you know that if the initial knot is on the *bottom* of the ribbon when you tie it off, so that the ribbon of hair *forms a tube* when the knot is pulled tight, the hairs will stay in the proper "ribbon" orientation? E.R-H.I.T.W.E.W: Yes; although not all of us do it that way, every single one of us already knew that. D.O.G: ...You did? Okay... but... well... did you know that in order to maintain that nice ribbon of hair, you have to keep it pinched tight into its ribbon shape ahead of that first knot while you wrap the thread after the initial tie-off, the way Craig Tucker does in his video? Did you know that?? E.R-H.I.T.W.E.W: Yes, all of us were aware of that as well. D.O.G. Plus you can't use too much hair because --- E.R-H.I.T.W.E.W: We know. D.O.G. Oh. Well, um... Yeah, I totally know those things too! Huzzah! [Fanfare] [Curtain] As the Dark Thing That Appears At Night once told me, it's the little things that make the difference. I still have a lot of bows between me and what I would consider commercially viable competence, and my process is still slow (although much, much faster than it was), but this sagging-hair business was a huge roadblock and it was looking like it was going to stop me cold, and now it's not. That bears repeating. This sagging-hair business was a huge roadblock and it was looking like it was going to stop me cold, and now it's not!!!! So at this point it's just miles.... ....At least until I'm suddenly stricken with a complete inability to carve spread wedges, or I amputate something with my knife, or my thumbs stop opposing, at which time I'll be back howling for more assistance. So thank you all, and thanks in advance for the help I'm pretty sure I'm going to need in the future. And also I apologize in advance for what I'm going to name the next thread I start. d.o.g. P.S. This post is getting posted on Halloween. Because of course it is. Cthulhu fhtagn. X^}
  7. BTW, if anybody's wondering why my replies and posts seem to lag: it's because my posts still need to be moderated. And I'm probably not making it easy (hi moderators). But after the next couple of posts get passed, I can join the conversation at the grownups' table. Just FYI.
  8. I actually have a PDF of that in a "Bows" folder on my desktop. And have you seen the Wikihow? X^D
  9. CT: point taken about spread wedges. The hair must of course be the right length first. But I'm not sure what you mean by, "A proper rehair doesn't take more than one result to get the bow into proper working order." Do you mean that if you get the mechanics right and know what you're doing, you only need one try to get it right every time? Because after watching Mr. Foster and the cool kids on YouTube, I'm willing to believe that. Both of the bowmakers I've worked with like the rehair to be pretty tight, because we're in a humid area. I was taught to carve the frog plug, position the frog all the way forward, lay the plug on the frog directly behind the mortise, and use the length of the plug to determine where to draw the pencil line on the hank of hair to be tied. It makes more sense to me to use the depth of the mortise as the measurement, but I'm only an egg, and when the rehair is tight overall it's probably best to have a little extra length so that you don't get the hair too short. And I have to admit that I've ended up with some short hanks and had to start over again with new hair. In fact that has happened pretty recently [koff]..... Anyway, here's what's going on now: I'm having a *much* easier time achieving a decent-looking ribbon now that I have a comb that works. I've been experimenting with different ways to handle the turning stick, both before and after I tie off the frog-end knot (I rehair tip to frog), and that also gives me a more cohesive result than I was getting before. But, to my disgust - and this is why a certain master rehairer will be getting a call from me - the nice neat ribbon I'm so proud of vanishes like a dutiful bream as soon as I insert the hair and set the frog plug in place. Which is... crazy, right? I finally get a good ribbon going and then off it goes into the night? I keep thinking that what must be happening is that the hair isn't secured firmly enough in the tied and rosined end. I've checked the plug of hair and it looks about the same to me, with no slips or slides, but logically that's got to be it. At least I can't imagine what else it could be, unless it's the Old Ones deciding that I can't have nice things. I read that Lynn Hannings tests her students' knots by trying to slide them, and the only knots that pass are the ones that won't move. I've been using that standard for my own knots, and I make sure that they're Hannings-tight before I cut, burn, and rosin the hair. I've gotten great results by wetting the thread before I tie it. I do this, and yet, the stallions, they still laugh. So I'm about ready to make some horses shut up and know that they - and their tails - are pwned. CT, are you a morning person? I'm not, and how, but that may be the only time I have until next week. Apologies in advance for any caffeine-deficient incoherence. Thank you all for your help. It's hideously embarrassing for a usually-quite-dexterous person to have to confess to these problems, but I've seen this forum help people with similar issues. (And hey, did I choose the right forum name or what?) - d.o.g.
  10. Hi guys - Sounds like everybody's having a picnic! Can I play too? Anyway, here's a quick update: I looked into the corners of time and was inspired to hit PetSmart and pick up a metal grooming comb intended for long-haired doggies (yecch - "The Doggies of Tindalos" just doesn't have that same lyrical swing, does it? Bleeahh...). I love it - the thing is a minimalist mid-century work of art. And... VdeA and CR, you were both right - the combing is so much easier, with no stupid tangling and no stupid hairs stupidly being shoved out of the stupid ribbon by stupid rehairers who are being stupid. I've only had a chance to run this comb through the hank a few times to test it as my schedule has been full, but so far that's one big problem solved! Buying a Thing worked! Yay consumerism! 8^D CT, very happy to see the flaming video again! My obsessive and repeated watching of that exact video was largely responsible for the successful final results I was having before my hair went all Slan-with-a-psychosis on me. My end goal is to continue to use flaming as a finishing-off technique, the way you and my teacher do, instead of over-using it to compensate for a lank sagging catastrophe. My goal is the ribbon of hair that's nearly perfect to begin with. You've discussed that. And it haunts my dreams. Note: FWIW, in my admittedly limited experience, the spread wedge is is where all the magic really happens; setting it in and watching the whole assemblage morph into a real bow is SUCH a rush! Or maybe I just need to get out more. Anyway, setting the spread wedge is the dessert of the process, and before I get there I've got to eat the vegetable of the Near-Perfect Ribbon even though it's getting touched by the lumpy gravy of sagginess without knocking over my milk glass with the elbow of mis-carved plugs and okay, I'll stop now. But I read all of those comments about moose and possum and whatnot, and it put me in a dinner frame of mind. Sorry. Now back to the workbench - see you all soon! *gulp*
  11. I've been wondering if we can declare "Medusa" a verb. As in, "this hair is Medusaing all over my workbench."
  12. Hi guys - Just look at all your bright shining faces gathered to help me in my hour of despair. What a great forum. CT: Many thanks, I've got it. I'll be taking you up on your kind offer soon, probably early next week as the next couple of days are full for me. Re teaching: I agree that while skill and practice are crucial and vastly underrated, the native talent also has to be there. As for me, I've done four or five successful rehairs so far, and eight months ago I didn't even know that rehairing bows was a thing, so I'm guessing that it isn't time for me to give up all hope just yet. Besides, it may be mawkish of me, but I just love doing it. Talent? We'll see; it's unfashionable of me to say so, but I have always thought that it has to be there. Now excuse me while I kick some goshdarned kids offa my lawn. DG: That's a good trick! Actually the problem of finding tangles near the knot is something I haven't run into - although now that your imp knows that, I'll expect a visit. Thanks for arming me in advance. ES: I suspect that more is coming. Be afraid. (Haha, just kidding, I have no intention of filling this forum with bizarre verbal arabesques that would make Henry James mutter "Edit, dammit!" and send August Derleth off to the local sanitarium to get some peace and quiet. Nope nope nope. That would be just silly.) And now I've got to go get a metal comb. I've seen bone and tortoiseshell combs, but I like VdA's theory about static, and if I don't try a metal comb I'll just lie awake all night staring into the darkness, wondering if it would have worked. (To each his hangup.) Plus a metal comb has a kind of steampunk appeal that I really like. Maybe I can find one with gears on it. Many thanks, d.o.g.
  13. Thank you for your prompt replies; already I can sense enough of a glimmer of hope to cancel my order at the Hemlock Shoppe. What I'm seeing from you makes a lot of sense. Although now that I've read CR's reply, I'm all hungry for barbecue. VdA: I'm sure that you're right, and AAMOF it has been both unusually hot and really humid in my area. Charging the hair fits what I'm seeing; one of my main frustrations was that the more I combed, the worse everything got. My brush also has plastic bristles, so brushing would charge the hair too, especially the finer hair. With all the money I'm saving on nooses and cyanide, I can get myself a really nice metal comb, so I'll do that and see how it goes. And thank you for the compliment. There's a reason why they call it "gallows humor." CR: How did you know? That's exactly what's happening; the teeth of my comb are actually pushing the hairs *out* of the ribbon instead of combing them in like the Ministry of Hair says is supposed to happen. Trying too hard, gripping too tight, and excessive stretching also kind of sounds like me (and I can sense your astonishment that this should be so). As for staying calm, I'm afraid that ship has sailed, but I'll do my best. (See remark above about buying the big bottles. Very calming, and nothing goes better with a nice hot sandwich from The Land of Equestria.) BD: I'm glad you like the pallid filaments. You should see some of the stuff I redacted from my drafts. Additional Question: I've combed (ha! rim-shot) this forum for advice about the proper handling of the turning stick, and I've found lots of descriptions, but somehow, the words, they just... bounce. Turn hair? Turn knot? Press thumb - oh yes, but where? I absolutely understand the theory of how the turning stick tensions the hair so that the hairs at the under-side of the ribbon are shorter, producing an even ribbon that exits the mortise from under the plug. What I don't get is the hands-on technique: where the thumb goes, how you change hands without losing the orientation of the hairs, how you can slam a shot at the same time, etc. Most of my week of instruction was spent learning how to carve wedges and plugs without chipping and splitting and offending the tree spirits, and I really didn't spend enough time on hairdressing. I understand that now. So, for those of you who do use turning sticks and find them helpful, can I please see some pictures or video showing just how you do it? The videos I've seen somehow manage to cut away, or the camera is blocked by the re-hairer's hand, just at the point where I most need to see what's going on. (And I really did think that the interweb was better at not cutting away from key moments in videos.) I don't think I'm the only one who would appreciate having either stills or video on the subject of the turning stick available, and it would get a lot of questions cleared up for the new kids. Thanks again and in advance - sandwich time. d.o.g.