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Showing results for tags 'color'.
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Hello all! Starting to get into lake pigments! So, to jump right in: when you’re making a lake pigment, what part of the process does pH have an impact on color? I’ve heard of people using acidic, neutral, and alkaline extractions for the dyestuff, but I’m curious as to how/if the ph of the extraction plays into the final pigment color. My thoughts are that it is really the pH of the final suspension that makes the biggest impact, but I just don’t know. Could you take dry, finished pigment and expose it to a medium of different pH to change the color? Will it keep this color upon drying off? The long cook varnish I make has a very strong fire orange color just as it is, that darkens to shades of red in thicker layers, but I’ve been wanting to tone down the orange stage a bit and show a hint of bluish reds. I’m thinking about going with cochineal because if it’s natural tendency in that direction, but I’d love to be able to know how to adjust the color of the end product to the right side of the spectrum. Slightly more purples would probably get me exactly what I want. I’ve heard multiple people say making a cochineal lake is tricky. What is the tricky part about it? What is critical to pay attention to? I’ll also make up some test samples with Joe Robson’s alizarin varnishes mixed with mine. I can’t foresee any problems, as the oil/resin ratios are the same, but if anyone thinks this is a bad idea let me know. Any recommendations for other things to try would be great, as well. Thanks!
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Hi all! About a year ago, I prepared walnut stain from husks by submerging them in a 50/50 mix of alcohol and water, and filtering off the solid contents after it had sat for a few days. Now, looking at my stain, a decent bit of the colorant has dropped out of solution and found itself in an insoluble layer on the bottom of the jar. Just for kicks, I decided to try using this sediment as a colorant and it's a much more lovely warm golden brown than I'm used to getting from walnut stain alone. I've made lake pigments from the same batch of walnut hulls in the past, and this sediment goes far beyond the lakes in its color quality and warmth. Any ideas as to what might be happening in the jar overtime to make this sediment? My hope is to recreate it without having to wait so long. -M
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Has anyone here ever had experience using an Ammonium Rosinate in oil varnish? I just made up a very small amount, and it seems to have some nice properties! I just want to consult the masses before I make a big mistake in using it for something. Here are some (bad) photos of a thin layer rubbed into fresh, bare rib wood, unsealed. It's a much more lively, rich color in person. Transparency and depth is also not well shown here. I prepared a 70/30 solution of grain alcohol and laboratory grade ammonia (30% Concentration), and to that, I added enough crushed rosin to make a thin spirit “varnish”. As the rosin dissolved, and the solution sat, the color changed from the very pale color of the rosin to a darker amber color. On its own, this color is still too light for anything substantial. The magic happened when I heated this solution to drive off the remaining ammonia, water, and alcohol. Just the heat required to drive off these volatiles and soften the rosinate caused it to transform in color to something nearly identical to my 100+ hour “low and slow” rosin cooks. Perhaps even a tad bit more gold. The resulting resin softened only very slightly with direct water contact, and was soluble in alcohol, spike lavender, and slightly in turpentine. I imagine its water softening can be mitigated, and the turpentine solubility increased with further cooking. Any advice? May I be on to something?
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I wanted to start this topic with the hopes that it would become a useful resource for those who are looking to go in a particular direction with wood and ground coloration and are unsure of a place to start. Of particular interest to me is producing a wood color that leans on tan with grey hints. Not much yellow, and very little green. But, it would be nice to see everything that’s out there. If you have examples of any process you’d like to share, even if you didn’t like the result, it would be wonderful to have here in one place.
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I am interested in what happens to wood over time when an instrument is exposed in a UV box. How much time does it take for the wood darkening to change to 'bleaching'? I realise that there are many variables that can affect the answer to this question, but even rough estimates and some commentary on the conditions, wood type etc. would be helpful.
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I’ve been bouncing ideas through my head about the color of aged/oxidized wood and started doing some investigation into wood byproducts when I came across Sodium Lignosulfonate. It’s a byproduct of removing lignin from wood in the paper pulping industry. It is a water soluble powder which can range in color from browns to reds to golds that also has properties as a dye dispersant. Something tells me it could be very good for adding some color to white wood. Any opinions? Thanks!
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Hello all! So, I've been really excited about trying to cook my first batch of oil varnish. I've been researching the forums on here/ various things on the internet and getting supplies for the job. I was planning on purchasing a hotplate for cooking the varnish on when I discovered a "dip coat melting pot" while cleaning out the basement of our shop. It looks like an industrial glue pot with temperature control ranging from 100 to 500 degrees F. Looking them up online shows me that they are designed specifically for heating viscous materials evenly (plastics, resins, ect.) and often come with "thermostatic control to eliminate carbonization". Seems like its the sort of thing that would be perfect for cooking varnish! Has anyone done or heard of others using these things, or just have opinions on the matter? Also, any more varnish tips/ suggestions would be well appreciated. -Marcus
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Hello all. So I've been reading up on as much information as I can within reason about the use of nitric acid in the cooking of varnish to produce color. Of course, reading about it has made me aware of the potential problems in using varnish produced with nitric acid. Some people claim to have success and others have many complaints from color shifts to drying problems to cracking and all sorts of fun stuff. Putting all of this aside, I have three main questions, both highly related. Does anyone know what quality of nitric acid produces the production of the colorant? Is it the oxidizing quality or the strength of the acid itself? Could the unnatural oxidation be what interferes with the drying time? Also, has anyone tried to achieve similar results with the use of chemical products other than nitric acid?
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Hello I am always on the look out for a better touching up system somebody recommended me Irgazine ( sold by Kremer) as pigment. However Kremenr indicates that is is also used to color stone, cars etc Anybody has any routine with it how to use it ? it makes very nice shades , that's why I think it is worth the trouble to search. Thank you in advance tartarane
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I have decided to make a new string color ID reference guide. http://www.shawnboucke.com/string-color-id.html I need to alter some things already, but I cannot do it until I get home tonight. I plan to make the beads match the actual colors on the peg ends as well. (Ex.I believe all of Pirastro is black). I want to keep this up to date, and extremely accurate. If you have any changes that need to be made, or news ones that I have forgotten please let me know. Pictures would be amazing because I could just match hose specific colors. Thank you.
