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Showing results for tags 'oil varnish'.
Found 10 results
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Dear Pegbox friends, Please share enlightened comments or experience-based advice on using soya Oil based varnish for stringed instruments. Years ago, the Varathane varnish brand replaced linseed/flaxseed with soya oil for various reasons, two of them being that soya oil is much lighter in colour (like white wine) and doesn't darken (as much) with age. It also dries faster which I have experienced when using linseed oil vs soya oil based canvas filler on cedar-canvas canoes. And soya oil has a milder smell compared to linseed oil or tung oil. This light coloured varnish allows for a non-traditional "blonde" instrument that looks good and appeals to many people - especially steel string guitarists - but in the past required nitrocellulose lacquer or super-blonde shellac. Shellac and lacquer finishes are challenging to apply and maintain and have different sonic qualities. Atrisans in ancient China and Korea were using soya oil based varnishes and inks many centuries before Amati and Stradivari were born. That should count for a lot. Thanks in advance for your input. Humour is welcome but keep it clean and keep it friendly and NO politics! Sincerely, Randy O'Malley PS Feel free to discuss Soy Sauce as a gound and colorant.
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* Please no drug-use humour * Have any of used or made instrument varnish containing Hemp( Cannabis) Seed Oil? If yes, how did it work on a VSO or guitar? There are hempseed oil-based commercial varnish products made for wooden boats and outdoor wood decks, etc. Be considerate of all readers, present and future, and confine your comments to violin making. Thanks in advance. Sincerely, Randy O’Malley
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Can someone describe their experience of the Old Wood varnish systems? They have six different systems on their website, but it is not clear why. How does one chose between them and how do they differ in performance? Is there one that would be more advantageous for someone on their first few instruments? http://www.oldwood1700.com/sistemas_aplicacion.aspx
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Reading the book "Violin varnish - notes and article from the workshop of Koen Padding" by Helen Michetschläger, I noticed that the results of chemical analysis of Koen's varnish indicate that "the (resin) proportion is estimated to be under 20%" (p.127), which should correspond to a ratio of 4 : 1, that is a long oil varnish. Given my liking to avoid solvents and thinners in the varnish, I found this very interesting, considering also the high regard that Koen's varnish had gained among violin makers. I have never used nor handled Magister varnishes, and I'd be curious to hear from those who have used them about these results on their composition and their impressions about using them. I would expect a varnish sufficiently fluid, which can be applied without the addition of solvents or thinners, but I am quite concerned by such a high content of oil on the final characteristics of the varnish as toughness, gloss and polishability.
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Hello all, I've done some reading about oil varnishes and oil paint colors, but still have a few questions. 1. Making my own oil varnish is out of the question, so what brands or where could I purchase a reliable oil varnish? 2. I'm really intrigued by the oldwood varnishing system, especially their varnish and glazing process/materials. What are your thoughts or experiences with them? 3. After watching the varnish application process that oldwood uses (applying their thick looking varnish and oil colors by hand), are all oil varnishes applied like that? It surprised me because I thought you could only brush on varnish. Thanks to anyone who could help point me in the right direction. All I want is to enjoy the amazing process of varnishing, and to be proud of the results.
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I am beginner in double bass making. I made a VIDEO of my first varnishing of double bass by oil varnish - using UV shed. Húslař sold me his "Primo" and provided advice about the varnish recipe and varnishing proces.
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my wife and i are getting pretty good at using "store bought" oil varnish on our violins. We are now thinking of making our own varnish. Any recommendations on good books with info and recipes for making oil varnish? Any scoop is appreciated. Thanks Mike Conroy Conroy Violin.. www.facebook.com/mtviolin
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Sad day, yesterday (relatively speaking, of course, with everything going on in the world). I was starting to run low on varnish, and I had some rare free time, so I took a quick run down to the Laverdure store in the Faubourg St. Antoine. I'd noticed that their traditional oil varnish for violin makers hasn't been listed on their web-site ever since they put one up, but I figured a low volume low demand product might not be worth putting on line. I learned to my chagrin that the artisan varnish maker who'd been making it for them had passed on, and there was no one left willing or able to to make it, anymore. I thought about getting some of their "flatting" oil varnish, but on asking about which resins were used, the manager admitted to me that the days of copal or amber in cooked linseed oil were over, and that everything on the market now is synthetic resin in polymerised drying oil. He understood that that wasn't what I was looking for so he went to the back room and found enough of the old violin oil varnish to fill a 250ml bottle. I got the very last bit of the last batch. It's sad, because this stuff, basically cooked linseed oil and colophane as I understand it, is reputed to have been based on the Lupot recipe handed down through the Gand, Bernardel, Caressa and Français families over the years. This will be enough to keep me going for a few years, since I don't see myself making more than two instruments a year, but sooner or later I'll need to find a new source, as like with installing a band saw, I can't see cooking my own in an urban apartment kitchen. Looking around varnish suppliers in Europe, I see Old Wood in Spain, and Alchemist in Holland, but both seem to be using harder resins like copal or amber. The Joha stuff sounds very different with its essential oils and what I've read about it here on MN. I understand that Joe Robson is making excellent varnish in the States, but is it possible to have it sent to Europe? Are there any other nutjobs like me in Europe who have gotten used to using an "old-fashioned" varnish and have found a suitabale supplier?
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I have stripped an old school violin for revarnshing. Can (and should) I revarnish with an oil varnish rather than spirit varnish? (Don't know how to tell what the original was). Do I start with a ground system, considering that the instrument is not starting out in the white? After stripping and sanding, it has an even golden color. Thanks for any suggestions.
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Tried someome to make varnish from perubalsam? thanks
