D. Piolle

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About D. Piolle

  • Rank
    Senior Member
  • Birthday 08/25/1978

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  • Gender
  • Location
    (somewhere) in the Maritime Alps.
  • Interests
    Violin-making, drawing, photography, music,
    mountain , hiking, skiing, climbing,..and many things.

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  1. I had a very bad experience about it , cause the resins I used were soluble in the oil of the the top coats ( oil varnish ) , and when the brush touched the first coat of spirit ( of turpentine ) varnish layer , I couldn't even spread the oil varnish cause the oil was absorbed by the first coat which have a strong affinity for oil... Just a disaster , with bubbles at the surface, an uneven colour distribution and horrible patchy areas that lacks transparency in some areas. The worst varnishing experience I had...
  2. No worries, I personally don't feel offended When I saw the pictures I knew it (most probably) is an antique and valuable instrument. I was not convinced about Strad though, even if I didn't look at it in details, and to be honest when I saw the scroll , I thought it doesn't look like it is a Strad scroll, even if it's a great looking one (and this alone, made me say it is not a Strad...) so I was not surprised when I saw the description on Tarisio. Unfortunately there were many scroll replacements on antique instruments for some reasons ... If I remember well, Luigi Tarisio was
  3. It says: " the head by Francesco Gobetti of Venice ". Which makes much more sense to me ...
  4. Looks like a very nice violin !!! Whatever it is ! Surely not a Strad... The violin, if we judge by the photos, doesn't look like a hoax at all.
  5. ... You shouldn't give that gouge stroke , but by the time you thought about it... ...it ' s done. It is a bit like posting a comment on MN.
  6. I feel the same about this pragmatic approach , Bartolomeo surely was someone busy and who dared ... To go a bit further in this pragmatic approach I would say I wouldn't be surprised if some ( known or unknown names) involved in the family business or in the surrounding area ( artisans ? ) spent time to sharpen and maintain in good conditions of use, the cutting tools, others would manage the raw jobs, such as measuring timber pieces, selecting and cutting wood pieces , or cooking the varnish and so on... I presume we are certainly over-thinking things , compared to people like Bar
  7. Perhaps a light glue-size on problematic areas might help as well, but still the shaper are your tools the better it will be, and cut a little at a time, like mentioned above (by signore Sora ).
  8. Thanks for your reply, David, Agreed. Then I think, we are talking about the same thing. More or less. Like Davide said the point where the arch changes from convex to concave, makes a big importance in the style of the arch , and that depends ( of course ) of the channel boundary, so its width and depth ... and the height of the edge... The channel bottom is ( depending on how you work it, the orientation of the gouge, the edge height... ) related to its width, boundaries and radius... and where the purfling lies depends also on that. David.
  9. Maybe not so important , but it is all related...
  10. Hi David, I didn't mean to especially advocate for the modern approach which I am not comfortable with... I find much more interesting the ( let's say ) baroque style. When I left the Newark violin making school which is a very respectful school, I had to re-think ( almost ) everything I learnt to make my method end to the sort of result and ( ideal ) style I wanted to get. Which is much closer to the baroque... though I am not a copyist Most modern makers and schools use a method ( for example ) creating a narrow channel with the purfling at the lowest point of the fluting
  11. Thanks very much for your explanation. Still I must admit I find Nicolo Amati 's instruments aesthetically strongly interesting, but you made me learn something and in the future, I will pay more attention to what you said. David.
  12. David, I respect and, most of the time, agree with your approach, I often find what you say very interesting. Nevertheless, for me the way one works the scoop and the type of scoop, width and depth of the channel... in the CCs and near the corners ( and so on...) and the way they blend with those in the upper and lower bouts, and the top of the arch , is one of the most deterministic guide to arching work. For me , this is one of the points of departure. Whatever is the style, what might be true today : was true in the past centuries, in any style, Cremonese or not... This is
  13. A little water ( locally applied with a brush or linen ) , very sharp tools and gentle gestures might help you having success in your scroll carving. Dave