Anthony Panke

  • Content Count

  • Joined

  • Last visited

1 Follower

About Anthony Panke

  • Rank
    Senior Member

Profile Information

  • Location
  • Interests
    Violin making and playing. Alchemy.

Recent Profile Visitors

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

  1. I bought this stuff , believing it was cooked colophony. I heated it up until it melted, added some linseed oil, (not much, perhaps 20%) and left it to cool, thinning with turpentine. I’m very happy with this varnish, it dries quickly, is fairly hard once dry and has a nice red/brown colour. Here‘s a test sample on unprepared rib stock (saw marks still prominent, sorry for that). I did, however, have a lot of trouble removing the remnants from the pan; even acetone is slow. good transparency, nice colour. I will likely use this again.
  2. Greetings all. Having read the suggestions on this thread (thanks!), I bought a bending iron from dictum. This is button operated, no dials, and temperature-regulates to 2-3’C accuracy. I made a solid base out of some maple, and it works really nicely- the curves are good for bending, being quite flowing. I will put up a video of me using it soon
  3. Who needs dates when you spend your time making violins!
  4. My observations: 1 - you must have enormous pockets 2 interesting seeing the antiquing happening that way 3, nice scroll, especially for age. I find it difficult to imagine it new though (not questioning the fact that the antiquing is natural) 4: what did you do to get that gold-shimmer in the wood? Same organic primer or something different?
  5. If purfling doesn’t bend easily, a little heat and steam makes it light work. In which case I don’t see the point in using fibre purfling. Perhaps there is a difference in tensile strength but I don’t know. I use fibre purfling, made of stained maple, where all the fibres are naturally aligned
  6. Which bending iron would people recommend buying for a violin/viola? I’m looking for something electrically heated, possible to clamp to a workbench (vise, dogs or clamps, I don’t mind which) and temperature-adjustable. thanks in advance for suggestions!
  7. Was that made with a straight varnish originally? is it a full size scroll? how old were you when you carved this? It’s pretty impressive work age aside
  8. Perhaps it’s an analogy for life - the ground being the necessary components to remain alive, the varnish what makes life worthwhile! I think what he’s trying to say is that people refer to the colour as varnish, whereas the ground, sometimes oleoresinous, is not what people look at as varnish. Nonetheless, I am a little confused. Varnish is (in this case) an oleoresinous coating. The ground can be made of varnish, or not, the “varnish” as in the layers above the ground, is still varnish, whether dark or not. At least it’s not called polish, which is a process, not a substance. Perhaps it is best if we use Koen Padding’s terminology primer - enhances the wood quality sealer- fills/bridges the pores ground- provides an even foundation for subsequent layers “paint” - adds colour varnish - creates a protective layer.
  9. Memorising, with Bach, I find easier than with other composers- Bach’s music has a logical approach, with use of sequences. It’s easier to memorise the “formula” for one step of a sequence, then ascend/descend until the sequence finishes. Take the chaconne, for instance. It’s a repetition of the same harmonies, elaborated on each time. One needs only to remember the beginning of every cycle, and the rest falls into place. (I am not quite chaconne level, but have listened to it and noticed these things, as have others doubtless) I do listen to music in my workshop, until I get sick of one cd, then I switch. Very good for memorising large amounts of information. Perhaps also good to do in the car etc.
  10. Possibly quite similar method to the four circles method, using the golden ratio to calculate the lengths of each bout. The widths were already sorted out, so I needed to find the right radius- vesica piscis for the lower bouts, the same radius for the upper bouts, and I freehanded the c bout. The corners I added with a compass by feel. I will send photos when I get the chance
  11. I tried drawing a viola outline today, using only geometric principles. It still needs some work but is surprisingly easy to do
  12. I’m curious to know what types of mould people use and why? inside mould, full thickness, 12mm centred or on one side? outside mould? built on back? what materials?