Goran74

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  1. I agree. I cannot find a reason to revarnish this revarnished instrument. What you can do is to add the missing wood (at overhang, corners etc) retouch (as you did I think) and then French polish, a tampone con gommalacca. No heavy coatings or major alterations on the existing varnish.
  2. Here in Europe and personally from my ancestors, we use at the most the nero fumo - or just fumo- i think is the lamp black. The stories refer that many poor artis were scratching old burned metal vessels to get the black (Nero di carbone) . Fumo was producing the purple blue of the Mediterranean houses. White lime + a bit of Fumo turns the colour to a lovely blue hue. (+linseed oil)
  3. Thank you all for your answers. Of course we speak only for alcochol soluble colors. I would like suggestions about those modifiers. Before some days I was missing that yellowish ochre and I could not retouch properly a wood addition on a top. (I was trying hours, +I asked help from a friend that it is painter).
  4. Hello, I would like advices about what alcohol soluble colors to purchase for retouching. (I lost a box with such colors and aniline dyes after moving from my old place. So, I have all my oil and water colours but not alcohol soluble.) I had purchased many colors from Hammerl in the past and I was very satisfied. If someone has to suggest a colour list, (the fewest to do the most of the job) it would be very helpful. Thank you
  5. I know 2 ways of making a scroll. 1. You need gouges and a saw. 2. You need a CNC Do I miss something?
  6. Many wise words from Mr David and Mr Noon. I have to add here that someone has to take care of the current economical crisis (at least in South Europe, Eastern Europe, many places of America etc.). This crisis, plus coronavirus, makes the future unpredictable. Also, the Chinese market becomes very strong and quality gets every day better. By examining one Hegel s (that is widely applicable on Marxistic and Socialistic environments) law: Quantity turns to quality Soon, East will conquer the high quality market in string instruments. So, everybody has to ke
  7. From Theofilus Monk and Hermenia, to Sloane MS and Merrifield Ms collection, the varnish was prepared in various kind of vessels. Older posts are discussing about these materials generally. Is there any appropriate material for heating varnish and how different are the results? Inox pots: some older posts refer that colophony gets darker. I was cooking in Inox and I think it had some effect on drying time. Aluminium: I use iron to get colophony darker. In such case, does Aluminum, iron and colophony interact each other? I have an old alu. pot and I plan to test it.
  8. Thank you all for your comments.
  9. Thank you for your response. I did not open any notch yet. Excuse me for the description but I give some more details. Orange line is the one that connects the two lower corners. This line is at 202mm. Green line is the 195mm. The corner tip and stop's distance is bit small (~7mm).
  10. Hello! I was copying an old east European violin that has some geometrical issues. Corners have a small distance between them (the corners of lower section are high to the specific model). Is the solution to put stop length at 192 and enlarge a bit the neck (133)? The original violin has also 192 stop length. I would appreciate your opinion. {I have in my mind some problems that produces to bowing this geometrical disadvantage, but, I like this model - let s say I go by emotions-and I want to finish it.} Thank you all.
  11. After reading the competition`s rules, I would like to know if the bridges are returned to the maker? Pictures can be taken in order to upload, (or faster a colour scanning of the bridges) and then shipped back. Shipping cost is minimal I think and can be included at the primal payment. I know (from painting exhibitions to violin makings competitions) that the items do not become property of the gallery or the person that organizes the concept. Thank you
  12. Thank you all for your help! I made some corrections at the corners of the ribcage and shorted them a bit. I put the stop length at 193 as the original violin. I let corner s overhang only at 1.5 mm. So, I get an opening of 7,2 and 0,7 distance from the f lower notch. Of course, corners are close at the original violin /it is not about a Strad or DG copy.
  13. By the way I located what I missed. The violin I copied has small overhang at corners 0,5 mm. Mine is 2,5. If I cut down the corners and decrease 1 mm mold / rib corners I get 7,2 mm or more, which sounds good. Does this make sense? Thank you all for your answers and your time.
  14. I have read it long ago (with the dividers and the way you design the corners) . It is excellent. Geometrically, center circle applies to the 4 corners. Problem is that their distance is small. I get it. (No way back now) I think I will get small (or no) advantage from top 's arching and smaller stop length. I think also that I have to go to the end and finish it since there is no available correction to it at this stage.