Nick Allen

Make sure to chalk fit them, too.

I cooked the oil on a hot plate outdoors in an aluminum cake pan thing. I had it going at 220 for several hours. I should have just left it that way. Or even reduced the temp as the oil reduced. When cooking, does the oil oxidize? I'm pretty sure that it's chemically changing as it's heating and gassing off, as well, but exactly what's happening is over my head.

I made this batch at a roughly 3:4 ratio. I wanted to do 1:1, but I was informed that a little less oil can make antiquing a little easier down the road. But I won't know how things actually are until I can test the drying properties. I got a decent pill, about eight inches.

Also, I got it by accidentally heating the oil too hot. It formed a large bubble, then smoked a noxious gas for a while. Granted this was after 5 hrs of heating at about 220c.

I thought the same thing. Trouble is, is that it was insoluble in anything. I tried to dissolve a little bit in turpentine to no avail, and some in alcohol as well; no dice. Davide, is your linoxin soluble in alcohol?

So I managed to succeed, I think. I got a decent yield, and a good color. Long pill, too. I think I'll still need to add some lake pigments, though.

Hmm. Okay. I'll just stick with regular linseed for the time being. I just ruined a batch of oil tonight I think...

Probably not.

I'm in agreement with Andreas. It's super easy to tell where it's touching simply by looking at where the peg is burnishing and getting shiny. You can assess the pegbox the same way.

So does the absence of oxygen allow it to take on the honey-like consistency, rather than the jelly-like consistency of sun thickened? Also, how do they behave differently in varnish?

I was just gonna cite this post. You beat me to it.

I think sun thickened and stand oil are the same thing. One just takes much longer to thicken. It's just polymerized linseed, and nothing else. No dryers or anything.

Hey y'all, So I was thinking about linseed oil. Specifically stand oil. From what I've gathered, in essence it's just thickened linseed oil through heating. It's used in painting as a glaze, and doesn't yellow that much. Wouldn't using stand oil in varnish be cutting out the middle man by saving time trying to thicken oil on one's own? Would it make sense to use pre-polymerized oil when cooking? Or would that end up messing things up as the oil and resins are cooked together? Just a though. Thanks.

I'm becoming increasingly disenfranchised here. So do corners naturally wear? I vote yes. I can't tell you how many Violins I've touched up that have had no finish left on the corners or edge work, allowing wood fibers to be pulled or rubbed off. I don't think it always comes down to them being busted/pulled off or even intentionally abraded down. That being said, I also agree with the observation that when Violins have all eight worn the same amount, then it's obviously antiquing or a stylistic choice.

I've ventured I to making it myself. It's a very tough and hard to reverse glue. Allegedly, it was used in cremonese corner blocks and ribs. But what do I know. I want to use it for center joints, as it's not applied hot and so large joints aren't as much of a nail biter.