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  1. You can make madder brown by precipitating the madder extract with iron sulphate. Also (i haven't tried this one though) according to Sacconi you can make madder orange by precipitating the same extract with a tin salt, "which, with the addition of lime, increased in intensity"
  2. While i'm at it and so as not to divert too much from the original post, what kind of reds do you guys use? So far i made a madder red that i like, and then some oranges and pinks. Then i tried with cochineal but i only seemed to get different shades and hues of purple or fuchsia Madder red: Cochineal purple and fuchsia:
  3. Did that include washing linseed oil? I recently read a thread from a french luthier here that washes it with lime water and then cooks it with some more lime. He then uses that oil as a coloring ground on his instruments in the white, and i have to say i was pretty impressed by his results. I cooked my raw linseed oil that was washed with salt water at 280 degrees for 4 hours, and even though it got darker, it did not come even close to what he shows in his pictures. What do you think?
  4. I think that could hardly count as "cheating". Unless someone is willing to argue that cutting out a neck with a bandsaw is cheating, or bending sides with an electric device. That is a very nice idea, keeps it all clean and gathered. Thanks for sharing! Wow that sounds pretty badass. Oil painting has always been a platonic love of mine
  5. That is very intriguing to read. Do you mean that you mix the wet pigments with oil and then the water separates like when you are washing the oil?
  6. Michael, thank you very much for your response. I had seen the tumbler that you talk about, i thought it's way cool (but probably out of my budget) and it shows how fine you can get a pigment with it. Anyway i have always had a soft spot for the manual old school way of doing things, at least as much as i can make it viable So far i prepared several "samples" until i got one that was not bad. I exaggerated the ammount of pigment on the varnish for let's say "scientific" reasons, and though it did end up less opaque than what i thought it would, if you look really closely you can actually see the red particles. So from what you tell me i should keep at it with the mortar some more before mixing no? Also, while maulling i found out that my pestle (bought from Kremer at the last Mondomusica) has a slight hump on the centre of the flat surface, which considerably reduces the contact between surfaces. Do you think i can solve that with sanding on a perfectly flat surface?
  7. Hallo everybody So i've been working on making my own oil varnish and pigments for a while now, and it seems that for every variable that i try at least 2 more open up. While looking for answers to different questions i came across several threads here that had a lot of useful information, but i couldn't find a lot about the actual method of grinding self made pigments into oil varnish, or how to layer them. Is somebody here familiar with these techniques and feeling like talking about them? I could really use some tips / tricks / things to avoid / things to look for from experienced people
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