Nik Kyklo

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About Nik Kyklo

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  • Birthday February 10

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  • Interests
    Bow making, bow restoration, violin restoration

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  1. The problem begins from the question. Texts about varnish that can come to my mind even BC are many. But books were not the source ideal of information. We begin from Pliny and Dioscurides and even BC. For the 'general public' history begins with the: Hermenia / the byzantine manual and Theofilus / Monc before schesma. Renaissance (and all western civilization) is based on Aristotelic thought (after the acceptance of 'logic' as we know it today). Second were the neoplatonic ideas. Aristotelean work about materials and chemistry was known. These texts were passed to Byzantines and Muslims. Amatis for example were living the Aristotelean ideals around them - they did not have to read a book on chemistry, proportions and varnish. Today we search on books and web for recipes. The old times, oral tradition was so powerful, as Instagram today. If you read ancient Greek and Latin you will find a lot o things.
  2. Excuse me for interupting with a close related theme. Strobel at his Cello making book has a varnish recipe with resin and walnut oil. He just have a reference in his other books. Can anyone share the recipe/process since I have only his violin making book? I would be interested to hear your ground/vanishing plans. Thank you!
  3. Ducane family was know for transitional bows. Never heard this name on violins.
  4. There are many makers all over the world that using Acacia. I had better results with IPE and also Acacia has various problems at colouration.
  5. Yes you can. To unstuck the screw. The w40 goes everywhere, and even inside cracks. But, after w 40.. Some alcohol or aceton and no problem. Also, w40 dries - is not non drying oil. Do not confuse bow stick restoration with violin plates. (by the way, you never used oil for bow screw??) You can use cyanoacrylate, epoxy, hide or whatever u want for cracks.
  6. All these thing you describe are very easy for repairs, from the point of a bowmaker/restorer. This bow needs nothing new. Just a bit of care during repair. +the stick will also need corrections Just think that this piece has no value as construction. You can fix it only if it has some qualities at playing (that I am sure that has few.. Or very few) or if you have some personal history with the item. (I am telling that to you friendly, in order not to loose your time or money).
  7. Thank you for the details. For how long do you cook the oil? Since you use only heat, would it be good to use any drier (lithopone, zinc oxide etc that will not affect the color)?
  8. Not excactly. I have tried it in conjuction with colophony. Also, I have tried it with alcohol varnish. It gives a very weak colour in any case that is questionable if it is for any use. Sugar + Aloe is referred at Guidotti 's treatiase on Varnishes for "gold varnish".
  9. Thank you. I dilute the the sugar with lot of water, as any stain. But I will make an exeriment with a bit of rust too. I have some iron acetate red rust.
  10. Hello. I am planning to make sugar ground on a violin - burnt sugar, which will work as a stain and sealer at the same time. The last time I used it, it worked fine, but somehow the wood looses its depth, which is possible to obtain with lins. oil or walnut ground. Also, the sugar is not so transparent and do not highlight the wood grains. Is it possible to use oil + sugar ground together? What do I have to use first? Sugar on oil or oil on sugar (always oil diluted with some turp.)? Thank you
  11. Nice reference. There are many factors to consider. Except good instruction and experience, you need very good understanding of physics for this job. When you talk about stiffness, balance, weight etc. you speak about all the theory and practice of bow making. Nobody can give you a simple answer. Let s say that the basis of the good bow is the selection of the good material. This selection is also a huge conversation. (Begin from VSA's J. Regh and Pickering articles)
  12. I was reading a known book about varnishes - Carletti's Vernici in Liuteria. In the chapter on varnishes (vernici a cera o all' encaustico), there are some recipes. I know many traditional instruments that were varnished and still varnished with wax, especially in Eastern Europe and generally in East. Since encaustic (fajum art) counts hundreds of years and wax varnishes were know before the Byzantine era, how possible is violins to be finished with this type of varnish? Is there possible only wax finish on a violin? I know the use of these types of varnish in painting. I have used it on paintings too. It is very easy to apply and becomes hard. It is polished just by cloth. I never used wax varnish on violins (except polishing purposes). I let aside the use of wax in recipes for matt finishing or its use for polishing.
  13. +carnauba wax finish on French polish.. for "mirror like" shinning. Especially wax finish products for guitars, make the surface like that. Nothing new. Very nice if you look a palisandre guitar back like that. With violins, there is always a question left unanswered. Or maybe 2 questions >too much glossy? Too much shellac? Shellac looses the brightness after some days of application (especially the waxed shellac). Bleached and dewaxed have better results.
  14. Excactly the same. Linseed term comes from Linon. You can find the term first time at Homeric epics - linon was used to make rope, fishing traps etc thousand years bc. Oil looks fine as every cold pressed linseed. Wash it and bleach it in strong sun - it will become water clear. Drying properties - Washed and bleached linseed oil is not fast drying. For drying, you need metals or minerals. Otherwise you need to make Sun thickened linseed oil, but again it will not dry such fast. Watch out turpentine dilution - turpentine darkens with time and unwashed Lins. (that is why in Byzantine manuscripts, before medieval times, you see the use of Neft/ white spirit). Unbleached Lins oil darkens too. Also, with turpentine, if you use it on unsealed it will fully penetrate the wood (you will find it in the other side of the plate). Do some tests, is the best.
  15. I think it is just a scratch. But a pin on button is missing (happens when button hits somewhere). Also a pin is missing from underslide etc. But one can easy compare the tip arching/ frog - with other Nurnbergers on web. The gape between cheap bows and "Sartories" is.... way to big. A violinist that goes for "Sartories" is not mixing the experiance with cheap bows. What is your goal?