Baroque

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  1. Hi I have been trying to using walnut oil instead of linseed oil for a couple of reasons, and after trying several times, I am still having problems getting a varnish out of it. I take 100 ml of resin, boil it at 170-190 degrees for 1 hr, then warm the walnut 20ml oil to the same temperature, and mix them together and keep them at boiling point for about half an hour. Then, after cooling to 120 degrees, I add warm turpentine, about 30 ml. The final product is not impressive, I get a thick and dense mass precipitating at the bottom - rather similar to tar, and a liquid phase on top of it which never mixes with the dense part, which apparently never dries. Did I boil too long or too short time, or too low temperature? Any ideas? Thank you!
  2. Baroque

    Sticky varnish

    Thanks, I looked though your material, but I could not find one explanation on how to treat RAW resin, taken straight from the tree, AVOIDING the KOH method completely, and thus, boil it, mix it with oil/or turpentine, and at which temperature, and for how long time. Does anyone know of the method that boils resin+oil together instead of the KOH(or carbonate)+resin method? Thanks
  3. Baroque

    Sticky varnish

    Hi, I noticed all the replies. In sum, the Michelman method pulverizes resin to powder by 6 nights of stirring in 1% KOH solution. The method makes nice varnish coatings, but they lack substance compared to boiled resin+oil+terpentine. What I wonder is how does one color the resin-oil-turpentine sufficiently to get a strong color compared to a "tone" of a color? I would like to make a brown/orange tone to the resin+oil+turpentine, which is applies after cooking (no use of KOH at all.) Thanks!
  4. Baroque

    Sticky varnish

    Thanks. I will try to sandpaper using some turpentine and oil together, so it will dry the sticky layer. Do you have experience in that UV irradiation dries also the coating below the "sticky" surface with time? I am wondering if UV transforms even the sticky sublayers, which appear when sanding.
  5. Hi, I have applied a varnish according to Michelman, and it remains rather sticky on the surface, even though I use siccative. It takes long time to become non-sticky, and after it has hardened, it remains sticky beneath, that is, using sandpaper high grit to polish does not "glide" on the surface as dry, but remains stuck in friction. I am afraid this may worsen the acoustics, and am irradiating the violin heavily with strong UV lamp. Any ideas what I should do? Thanks
  6. Dear all, I dissolved 100g of granulated Burgundy rosin in 1% KOH, and let it dissolve by moderate vortxing over 6 days. After six days it had an amber color, but after a few hours it all accumulated on the bottom and appeared as powder which did not dissolve at all. The clear phase had a weak oily reflection, but it contained evidently so little Potassium Rosinate, that it gave no foam production when blended with Aluminium Potassium Sulphate (5% soln). Are there better approaches to make Aluminium Rosinate? Thanks!
  7. Thanks to both! It really helps. All the best
  8. Hi, I have used up to a sandpaper with 600 grit to polish the wood surface of a maple back of a violin before shellac is applied, however, I noticed that inversely to lacque surface, increase grit value (towards 2000) does not give a clear and shiny view of the flames on the untreated wood surface. What can I use to magnify and enhance the flame on the wood , before I apply the shellac? Thanks
  9. Hi, I just glued to halves of the maple back, and I got a split of 0.1-0.2 mm wide, however only on the surface. There is no light visible through, but the split width is visible from the backside of the back, so it may be visible at the end of the process. Is there anything I can do to fix this? Thanks!