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Brad Morrison

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  1. Indeed, well I may use a Vernice Bianca without protein or sugar for the inside...
  2. potassium silicate is not hygroscopic, so will work well on the inside with no varnish covering it, although, I am always ready to reconsider. Still not sure about gamboge yet, just a thought.
  3. So, with some of the research I've done with what you all have said, I'm thinking potassium silicate on the inside of the back and ribs after they have been glued together with the neck, then vernice bianca for the rest of the instrument. I want to incorporate gamboge in, as I like the bright element it lends the wood, but I don't want that to be the first ground on the wood, it's too bright, so may try a coat of vernice bianca, then a blend of that and gamboge distillate. Not sure how to do that yet, just an idea. Michael, never met, but I still put you in my prayers, I hope you're doing ok.
  4. Any thoughts on Vernice Bianca?
  5. So, I've been looking into the pigmented wash, which seems my best bet for assuring a slight stain in the soft grain lines; looks like a possibility of just staining the wood into some depth, which ai want to avoid. I suppose at this point, I'm still just researching and learning...
  6. I am a new maker, and am almost to the assembly point with my first violin. I have decided to use the Joha varnish, as it seems to be relatively easy to use for a newbie. In addition, I'm testing various grounds, including gelatin, gamboge, shellac, and a mixture of gelatin and gamboge. I have a violin that I love the finish on, and am wondering if you guys have any advice on what you think may go into a violin like this. I love the dark, almost black lines, and the red peaking out of amber in certain corners of the instrument, and I don't really know how this is achieved. Is it an attempt to make it look worn? if so, can one cover only part of the instrument with a colored varnish, without ruining the coat overall, or the sonic potential of the instrument? How does one get the Black in the grain around the F holes, and at the edge of the plate? I've read as much as I could find on this subject, including Violin Varnish, The art of Violin Making, Juliet Barkers book, and much on the internet, but, as I have already discovered, information and truth are stubborn things in this pursuit. Any help, advice, or curse words would be greatly appreciated and warmly welcomed.
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