Jump to content

Marcus Bretto

  • Posts

  • Joined

  • Last visited

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

Marcus Bretto's Achievements

Junior Member

Junior Member (2/5)

  1. Hi all! About a year ago, I prepared walnut stain from husks by submerging them in a 50/50 mix of alcohol and water, and filtering off the solid contents after it had sat for a few days. Now, looking at my stain, a decent bit of the colorant has dropped out of solution and found itself in an insoluble layer on the bottom of the jar. Just for kicks, I decided to try using this sediment as a colorant and it's a much more lovely warm golden brown than I'm used to getting from walnut stain alone. I've made lake pigments from the same batch of walnut hulls in the past, and this sediment goes far beyond the lakes in its color quality and warmth. Any ideas as to what might be happening in the jar overtime to make this sediment? My hope is to recreate it without having to wait so long. -M
  2. Ah, that is interesting to read! I learned a bit more about why nitrates and nitrites are the ph, that they are, and I find it interesting that very few people mention using Sodium and Potassium nitrATE, even though they are neutral in solution. Also, I believe in Helen Michetschlager’s analysis of Koen Padding’s primers, there were many nitrATES, including ammonium nitrate, which would seemingly break down forming ammonia gas as a byproduct. That sounds better than leaving alkali salts behind in the wood.... I’ve noticed that oxidizers tend to tan more red in UVA, and more green in UVB and I’ve wondered if the greenish cast came from some sort of alkaline reaction, similar to the green undertone you get from ammonia fuming. Though I’ve also noticed that dampening the wood before ammonia fuming tends to lead to a nicer, less green/ more gray look. So many variables! Enough to keep me interested for a long time haha
  3. @Jim Bress hi Jim! I think there must be a misunderstanding, I did not use a ph indicator strip. I dyed the wood Itself, with a ph reactive dye. And I have tested the dye with UV alone, and it is extremely lightfast. But yes, I suppose something else may be causing it to change color
  4. Hi all! I did an experiment yesterday by putting a pH indicating dye on a strip of maple. I let that dry, and then applied 5% sodium nitrite solution to it, and placed it in the light box. To my surprise, only after a few minutes of light exposure the dye changed from orange to a cool red, indicating the presence of a base. I had always thought that nitrite reaction produces nitric acid, so, I’m very confused as to why this test indicates as alkaline. Anyone have a possible explanation? Also, I’m wondering if this is a good approach to create a pH neutral treatment? I’m not a chemist, but I imagine one could find the proper salts to add, to make sure the dye does not change color through the process.
  5. I was under the impression that a rosinate and an abietate are two words for the same type of compound, for the same reasons@Michael Szyper describes. Abietic acid is the main and most reactive component in rosin, no? also, aren’t most (If not all) rosinate/rosin soaps somewhat water reactive? @Salve Håkedal I understand this concern, and I’m hoping further pyrolysis reactions would solve the problem. But it seems many makers have success with rosinate in varnish, so I don’t think I’ll write it off just yet haha.
  6. If I find anything else worth noting in my experiments, I'll be sure to post it here.
  7. Thanks so much for sharing the info, all! I still haven't had the chance to do anything with it, but we'll see what happens with some more free time.
  8. Has anyone here ever had experience using an Ammonium Rosinate in oil varnish? I just made up a very small amount, and it seems to have some nice properties! I just want to consult the masses before I make a big mistake in using it for something. Here are some (bad) photos of a thin layer rubbed into fresh, bare rib wood, unsealed. It's a much more lively, rich color in person. Transparency and depth is also not well shown here. I prepared a 70/30 solution of grain alcohol and laboratory grade ammonia (30% Concentration), and to that, I added enough crushed rosin to make a thin spirit “varnish”. As the rosin dissolved, and the solution sat, the color changed from the very pale color of the rosin to a darker amber color. On its own, this color is still too light for anything substantial. The magic happened when I heated this solution to drive off the remaining ammonia, water, and alcohol. Just the heat required to drive off these volatiles and soften the rosinate caused it to transform in color to something nearly identical to my 100+ hour “low and slow” rosin cooks. Perhaps even a tad bit more gold. The resulting resin softened only very slightly with direct water contact, and was soluble in alcohol, spike lavender, and slightly in turpentine. I imagine its water softening can be mitigated, and the turpentine solubility increased with further cooking. Any advice? May I be on to something?
  9. Hello all! Starting to get into lake pigments! So, to jump right in: when you’re making a lake pigment, what part of the process does pH have an impact on color? I’ve heard of people using acidic, neutral, and alkaline extractions for the dyestuff, but I’m curious as to how/if the ph of the extraction plays into the final pigment color. My thoughts are that it is really the pH of the final suspension that makes the biggest impact, but I just don’t know. Could you take dry, finished pigment and expose it to a medium of different pH to change the color? Will it keep this color upon drying off? The long cook varnish I make has a very strong fire orange color just as it is, that darkens to shades of red in thicker layers, but I’ve been wanting to tone down the orange stage a bit and show a hint of bluish reds. I’m thinking about going with cochineal because if it’s natural tendency in that direction, but I’d love to be able to know how to adjust the color of the end product to the right side of the spectrum. Slightly more purples would probably get me exactly what I want. I’ve heard multiple people say making a cochineal lake is tricky. What is the tricky part about it? What is critical to pay attention to? I’ll also make up some test samples with Joe Robson’s alizarin varnishes mixed with mine. I can’t foresee any problems, as the oil/resin ratios are the same, but if anyone thinks this is a bad idea let me know. Any recommendations for other things to try would be great, as well. Thanks!
  10. From what I’ve experienced, your temperatures are not high enough for the majority of your resinous constituents to bond with the oil. Abietic acid based resins have varying temperatures in which they will start to incorporate into the oil depending on how they are processed: it seems the higher the melting point of the resin, the higher the temperatures necessary to properly bind it with the oil. For resin that is not highly cooked, I’d suggest a temperature of 200 degrees CELCIUS held for a minimum of 3 hours. Less time, and you’re likely to have drying problems. As you get into varnish making, you’ll learn that you can adjust your times and temperatures depending on the state your resin and the state of your oil, whether it is bodied, raw, sun thickened, ect. With a highly cooked pine resin being combined with oil at 240 degrees Celsius, an hour is sufficient. If you find that you have a large percentage of precipitate upon cooling, and your varnish looks cloudy, Try to boost temperatures again. I would also reevaluate your oil to resin ratio. The most common varnishes hover at around 50:50 resin:oil by mass. A high resin(lean) oil varnish is good for use as a ground, where it is close to the wood, but they can be too hard and brittle for a main varnish. Heating oil and resin to these temperatures is dangerous. Be careful and think of your safety and health!
  11. Thanks for sharing! Part of me doubts they are still doing this in more advanced manufacturing facilities. Plenty of companies are using CNC to machine plates and carve scrolls these days.
  12. Does anybody have pictures or ideas of how the better violin manufacturing companies are producing their rib structures and setting necks? I’m curious about what type of forms they may be using, how the ribs and linings are getting bent, how they’re leveling things off, jigs for routing neck mortises, ect. Anything that’s quick, efficient, and works!
  13. I wanted to start this topic with the hopes that it would become a useful resource for those who are looking to go in a particular direction with wood and ground coloration and are unsure of a place to start. Of particular interest to me is producing a wood color that leans on tan with grey hints. Not much yellow, and very little green. But, it would be nice to see everything that’s out there. If you have examples of any process you’d like to share, even if you didn’t like the result, it would be wonderful to have here in one place.
  14. Thank you guys for the response. I am coming to the realization that the Kremer dark colophony is probably not a good product as far as cooking color into the resin. Over the long time of cooking, some of the brown/green hue was mitigated by a gold/red shift, and I say some, purposefully. But I am worried that, without the use of excessive heat and some carbonization, which I understand should be avoided, this resin simply won’t take on enough color to be used on its own. A few days ago I came across an article demonstrating how rosin cooked in an oxygen free environment can actually be bleached of its color (I should find the article again and post it) and I’m wondering if rosin that has been collected from turpentine distillation has, in effect, been stripped of some of its color carrying qualities from its long exposure in this sort of environment. I had heard that different resins respond quite differently in the process, but I’d also be curious to hear people’s experience with distillate byproduct resin vs oleoresins directly from the tree. Maybe partial confirmation of this can be realized.
  15. Hello all. So, I’ve started cooking down some dark colophony from Kremer to get color for varnish. The internal temperature of the melt is reading right at 200C but the surface that is exposed to air keeps cooling/hardening over and I’m afraid it is making the cook take considerably longer to darken. It’s been on for over 100 hours with not much color change and very little volume reduction. Is this something that I am right to worry about, and if so, any suggestions as for how to combat it? Would adding turpentine and cooking at a lower (safer) temperature be an option? Or perhaps a vented lid to trap some heat and still let air in is better?
  • Create New...