xraymymind

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About xraymymind

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  1. I had been under the impression that Larch may make a slower drying, and softer Varnish than Canada balsam or Silver fir. But I could be completely wrong here...?
  2. I had thought that Venetian turpentine is a mixture of Larch turpentine and Colophony. Therefore, Larch is maybe the purer product. It'd be interesting to hear if Larch turpentine would make a good varnish like Strasbourg did.
  3. anyone know whether Larch turpentine or Canada Balsam might be viable alternatives?
  4. Hey all, I wonder whether anyone here has made a Resin/Linseed Oil varnish, to which they did not add any Turpentine (or other solvents) while it cooled (which is something I have always done). What was the outcome like? Were you still able to thin it with a solvent to brush later, or keep it thick for glazing purposes etc.? Any opinions on this would be much appreciated.
  5. Thank you. I look forward to any more replies about using Aleppo Pine Resin for varnish
  6. Hello all, Recently I acquired some Raw Resin from the Aleppo Pine, with the intention of using it to make varnish with. I thought to write here to ask if anybody has experience of making a good varnish with this resin. I wonder how it may differ to varnish made from Colophony; is it as hard? does it wear as well, etc.? I would be very interested to hear any experience of how this resin works as a varnish. Thank you
  7. Thanks so much all for your experiences! How did other people find adding turpentine to it at the end? It is clear this did not work when Don did it. That would be a really useful thing to know. Did anybody manage to add normal turpentine successfully, or does it simply not work with this varnish?
  8. Nice to hear from you. What were your thoughts in regard to my questions, I wonder? Did you experiment with the ratios of oil to resin much?
  9. Hello folks, I hope everyone is doing well. I am just about to make my first ever batch of Fulton varnish. I have successfully made the thick turpentine with a bubbler and sunlight. I am really hoping not to screw this up, as it took so long to make this raw material! My question is: in the book, WF says to let the Exothermic reaction settle, and after that, take up to 150C. From there, you can go up to 350C depending on how dark the shade you want. But there is no mention of how long to cook it for once you get to your desired temperature. He only states 'cooking is continued until the spirit, when cold, is a brittle resin'. I would like to ask anyone with successful experience of making this varnish, how long this usually takes to get to, and how you can tell it's going to be brittle when cool? Finally, I am also keen to mention that I like a thick Varnish. I tend to only dilute my home made varnishes with around 20% Gum Turpentine. Will this be fine for the Fulton varnish? In his book he says to add 100% Turpentine to the mixture - this to me would indicate quite a watery, thin varnish. Thank you in advance for any advice anyone may have.
  10. Thank you. Would you happen to know which volume or edition is the most relevant to peg making?
  11. Hello folks, I have tried the search function for this, but I couldn't find any good threads on it. I wonder if there are any good books out there, that detail how to turn ones own pegs. I would like to learn to do this, but have very little woodturning experience. Are there any specialist articles/chapters in violin making books, etc. detailing this process? All the best.
  12. Thank you! Yes, I hope to use high quality, acid free laid paper. Does anybody else have any other sources of sizes of original labels?
  13. Hi Folks, I am about to get some labels made for my instruments. I am basing the style on the classic Cremonese labels of Strad, Amati, et al. However, one thing I cannot seem to find anywhere is any sort of measurements for any of these original labels. Does anybody know what size the labels were in any of the classic makers' instruments? Any advice would be much appreciated. Thank you.
  14. Hey all. this is a question to all of you out there who add Calcium Oxide, or Hydroxide to your varnishes on cooking. I am wondering what the actual reason for doing this is: what qualities does the Lime add to the varnish? i have made a great varnish cooking lime in with Greek pitch, but was never actually sure what benefits/drawbacks adding the Lime actually had. I have also heard of people cooking it in with their Linseed oil prior to amalgamating with the GP. Why add the lime to one and not the other, etc? Let the can of worms be opened!