xraymymind

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  1. 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?
  2. 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?
  3. 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.
  4. Thank you. Would you happen to know which volume or edition is the most relevant to peg making?
  5. 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.
  6. 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?
  7. 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.
  8. 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!
  9. I too wonder if there is any adhesion issues, if not, it could be the solution. I have read of somebody using Liquin as a medium alongside the Oil paint glaze. I wonder if anybody here has tried this between coats of oil varnish...
  10. This sounds a very promising idea. I wonder if it is OK to have a thin layer of Shellac sandwiched inside an Oil Varnish finish?
  11. Hello all, I am currently experimenting with colouring my home-made varnishes, and I am interested in trying to apply a Glaze of transparent colour inbetween layers of varnish. I have just a few questions, if any of you out there that do this could help me with. (Note, I have already searched for previous topics on this, and could not find answers to these questions...) Firstly, I would like to apply a thin glaze of (for example) W&N Rose Madder, from the tube over my clear varnish. I wonder if it is possible to apply it directly from the tube, and to rub it on evenly with fingers (perhaps slightly thinned with turps or gamsol if too thick to get it even), or if it needs some sort of drying agent to be added? (I have tried adding it directly to the oil varnish, but find it too dilute. Hence wanting a pure glaze) My main concern, is getting the evenly applied oil paint glaze to dry properly over a coat of (already dried under UV) oil varnish, and then to be able to varnish over it - without this over varnish re-dissolving the glaze. Obviously I am practising on test strips, but would really like to hear tips or advice from others that do this. Thank you
  12. Having done some research into the topic, I would like to try to make some of this varnish. I would be very interested to hear from anybody who makes/has made this varnish. i found a great thread with postings by Mr Ertz (RIP) with general ideas as to cooking the varnish and tips. However, I have not been able to find a list of definitive proportions of each ingredient, or any detailed information on the cooking process. i would be very grateful if anybody would be kind enough to share this information. Thanks
  13. Hello all i am about to begin to embark on the long road of varnish making. i am going to try the Fulton varnish to begin with. one question I have for you maestronetters, is what type of pan have you found to be the best for cooking varnishes? Obviously an iron pan could colour the varnish... Fulton reccomends an enamel pan, but the enamel could melt at high temperatures....so any tips or advice? thanks