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Found 63 results

  1. Sandarac varnish? I know sandarac is soluble in alcohol and insoluble in the oil. I do sandarac varnish Trying to pyrogeneticky. Linseed oil 300 to 315 ° C. Sandarac linseed oil is first dissolved and then immediately makes a precipitate. 20% is dissolved and 80% collides On the Internet I read several times that it is done sandarac varnish and I can not. Do not know how to cook sandarac varnish, without clots? What about the other oil? Thung, walnut oil?
  2. If using shellac to seal the wood before varnishing, can you brush it on or would you apply it like when french polishing with shellac? Thank you.
  3. Hi, I just acquired a nice violin which I'd like to work on revarnishing. Gallery here: http://www.flickr.com/photos/antiqueviolins_uk/sets/72157635944116984/ It looks like the varnish has been burned and is quite cracked and melted in parts. I've removed some of the varnish on the back and the wood doesn't seem to have any damage to it. I'm wondering if anyone knows what kind of varnish was on the original from these photos? It looks quit red and is black in some areas where it has been heavily damaged. I'd like to try and create an old feel to the violin close to the feel of the most undamaged parts in the middle. I'd also like to know where is Europe would be best to buy old looking oil violin varnish, Would this be a good place to start? http://www.oldwood1700.com/ Thanks for any advice
  4. Hi guys! So, I'm getting ready to varnish a fresh, bare patch of spruce on a violin top. But, it's my (shaky) understanding that one must first coat the bare wood with something to "seal" it-- meaning, something that will 1. Protect the wood if the upper layers of varnish are ever worn off, and 2. keep the varnish from soaking all the way through the wood and stiffening it, thus diminishing its tonal qualities. I'm about to do my first varnish, a simple spirit varnish (with some pre-mixed varnishes.... because this is a rush-project for a friend of mine who needs to violin soon)...... what would be a good ground coat for a beginner? I have hide glue at my disposal, but I've heard that diluting that and using it as a ground coat tends to muffle the tonal qualities of the wood. I also have tripoli powder, sandarac, and methylated spirits at my disposal. Could I rub tripoli powder into the wood as a filler/sealant? Or could I use a VERY dilute coating of sandarac dissolved in spirits? Advice is very much appreciated! I've not been able to find a lot of background on this topic that is geared toward beginner varnishers (rather, I see a lot of writing arguing about Cremonese techniques .....). Thanks, guys!!!!! - Sarah
  5. jowl

    Magister varnish

    Can anyone tell me what has happened to Magister Varnish products? Their website http://www.classicalvarnish.com/ now points to a Japanese dentistry site!
  6. Hi guys! So, I'm doing a retouch on an old trade violin that has spirit varnish. I know that it's somewhat futile to discuss colors without actually showing an example (I'll be approved for pictures soon!), but I'm looking for a varnish that's deep cherry red... much more red than brown. I've thought of making my own 1704 varnish and adding dragon's blood.... but then I saw that one could also use henna, or cochineal, or madder root.... or I could just buy red pre-made varnish from Kremer pigments, and maybe some brown in case I need to adjust the color. So basically, now I'm overwhelmed with choices. Does anyone, from experience, have some endorsements for a nice deep but vibrant red? Anyone know what would typically be used to color a cheap varnish red.... so maybe I can use the same thing or something close to the original? Also.... how much variance is there in the types of reds the common red colorants yield? This is where some first hand experience or advice from those with lots of experience would come in handy! Thank you much for any thoughts you all may have!!!! -Sarah
  7. Hi guys, I'm going to try and mix my own batch of 1704 spirit varnish. Does anyone know a good place to order the individual resins and coloring agents? Thanks! -Sarah
  8. Hi there, I made some varnish a while ago by using a recipe that I found online, to be more specific, it was a pdf file on Thestrad. The link unfortunately doesnt work anymore so linking it here wont help. Anyways, the recipe contains pine resin, linseed oil, and aloe powder. It said the varnish can be thinned with Gum turpentine to the desired consistancy afterwards. My question is, what sort of gum turpentine would be needed for this? If this is anything like linseed oil, there is so much different types which makes it hard to know which would be usable in varnish. Would I need 100% pure gum turpentine? I found 2 examples of gum turpentine on Ebay that can ship to where I live, can someone please tell me if this might work? http://www.ebay.com/itm/Turpentine-Gum-Therapeutic-Grade-100-ml-3-4-oz-Skipidar-All-Natural-/110992150787?pt=LH_DefaultDomain_0&hash=item19d7a5d103#shId http://www.ebay.co.uk/itm/Mylands-Pure-Gum-Turpentine-1-Litre-/190731553366?ssPageName=ADME:X:eRTM:GB:1123 Thank You. If anyone is interested, I still have the PDF saved, so I can provide the full recipe here.
  9. Hey guys! I've been reading maestronet's discussion boards for about a month now, and I'm excited to finally be posting a question I'm a composer/ violist by trade, and I've decided to refurbish some abandoned violins as a summer project. They're trade instruments from the 60's that are in really bad shape, so I'm just using them as practice victims to learn some repair skills. I'm not too concerned about screwing them up, but I do want to do the best job I can on repairing them while getting the maximum amount of education out of the experience. As far as education goes, I've been reading the Strobel books, talking with local luthiers, reading boards like this and other luthier blogs, and watching videos on Youtube (especially Brian Lisus' video of building the Peace Quartet). With all that in mind, I have a question about how to best touch up the varnish on one of my patients. In some places, the varnish has been removed down to the bare wood (maybe gouged the wood a little too). There are also large areas of the finish where it's deeply pock-marked, like someone rubbed it against some gravel or concrete, but the color is still intact. I know that where I can see bare wood I'll have to replace the ground and varnish. But what is the best way to approach these other large areas of abrasion? I've heard that sandarac is good for filling in holes.... but is there a varnishing material that works sort of like polish on a car for getting out scratches in the paint? I've also heard of people "refreshing" varnish, but I have yet to discover exactly what "refreshing" entails (I suspect many different techniques....) Any suggestions/ guidance from the elders and my fellow enthusiasts is much appreciated! Thank you a bunch in advance -Sarah
  10. In the last decade there has been a tremendous amount of scientific research on classical Italian violin varnish, particularly on Stradivari's varnish methods. Two studies, done with most of the same equipment, come up with very different conclusions. Bruce Tai in the 2007 VSA papers and the recent Stradivari Varnish book by Grenier and others differ in the number of coats or layers Stradivari and other contemporary makers used. I tend to agree with the very recent Stradivari Varnish book that says there were probably four steps in Strad's varnish method: sealing, staining (darkening), one clear coat and one color coat. But I have some questions about this, provoked in part by Mr. Hargrave's use of rabbit urine and UV light, about the science and about a reasonable method of varnishing with resin and linseed oil. (1) were there 2 coats of varnish or 11 coats, the conflict raised by the two studies mentioned above (2) If Strad used multiple coats of resin and linseed oil varnish, how did he have time to sun dry somewhere around 1300 instruments in cloudy and rainey Cremona ? (3) If he used only two coats as suggested by Stradivari Varnish, do you makers really think that one color coat of vermillion colored varnish would produce a vibrant red violin on white wood? (4) Therefore Strad had to have darkened the wood to produce the flame, the color, and quantity of violins he made. (5) Does anyone have a reasonable (scientific or practical) method of darkening the wood before varnishing? I appreciate all the work that has gone into these studies, and the practical value of Mr. Hargrave's use of urine and UV, but no one as far as I know can determine how Stradivari darkened his wood--chemicals, dyes, stains, urine? I have 35 years of experience with resin and linseed oil varnish, and I fail to see how two coats of this varnish could produce anything like a classical finish, unless (a) the wood was darkened considerably first and ( the color agent was very powerful in intensity and other characteristics. One of the reaasons I raise these questions is because multiple coats of linseed oil varnish will reduce volume and tone, additionally it is too time consuming, Glazing is not the answer. So, interestingly, the so-called "secret" to Strad's varnish is that there was very little varnish!!! Help me out on this one makers, please. Thanks. Peter White
  11. http://www.ebay.com/itm/281058784027?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2648 An argument against excessive polishing?
  12. I am having some trouble with the cleaning paper I use when I am varnishing leaving small fibres behind, those can be seen when I put a coat on, not that they are a problem but I much rather not have them. Started using a tack cloth to get rid of them before I apply the varnish, but I am a little concerned of the greasy residue left behind by it. How are you guys going about this problem? Any ideas would be much apreciated! Jose
  13. Hello everyone, I'd just like to give a quick introduction to myself: I'm a painter and I work with oils, I make my own paints, wash my own oil and my own varnishes. I've been lurking around the forum for some time trying to pick up as much info on varnishes as I could, particularly anything regarding oil varnishes with natural resins (colophony, sandarac, copal, amber etc). I believe that oil varnishes are by far the most durable ones. Now, I'm at the moment trying to develop some sort of gelling varnish but I'm having trouble doing so. I've noticed in some posts that some of you have had your varnishes gel on you. This is obviously not useful for you but could very well be for me! If any of you could share your experiences with me and what the properties of your gels were I'd be most grateful! BTW, if any of you have any questions regarding drying oils I believe I can provide you practical information and experience in that regard.