joerobson Posted April 28, 2011 Report Posted April 28, 2011 hey Joe, which one of your varnishes is that ? Mike, All Greek Pitch...first coat over the ground is Arrancione, then a mix of Rose and Marrone....more Marrone than Rose. These pictures are a bit better...I am on the verge of spending money on a new camera and a photo set-up....................... The edges and ground look pale and my nice dirt doesn't show [though MD says that is normal]. on we go, Joe
Michael_Molnar Posted April 29, 2011 Report Posted April 29, 2011 ...I am on the verge of spending money on a new camera and a photo set-up....................... on we go, Joe Yes, it is time to retire that Kodak Brownie.
joerobson Posted April 29, 2011 Report Posted April 29, 2011 Yes, it is time to retire that Kodak Brownie. and film is getting hard to find..............
Addie Posted April 29, 2011 Report Posted April 29, 2011 Refinish job... my first "antique," and the Strad S 1703 mold in Euro walnut.
Bingen Posted April 29, 2011 Report Posted April 29, 2011 New Cello, strung up for the first time today. There's still quite a bit of set-up and varnish antiquing/rubbing out to do, and it sounds really good - very exciting.
joerobson Posted April 30, 2011 Report Posted April 30, 2011 New Cello, strung up for the first time today. There's still quite a bit of set-up and varnish antiquing/rubbing out to do, and it sounds really good - very exciting. Peter, So nice...make sure we see the "finished" product. on we go, Joe
Bingen Posted April 30, 2011 Report Posted April 30, 2011 Will do - another week or two and it should be ready for the world. I'll try and post some "shaded and lightly antiqued" pics.
Guy Harrison Posted April 30, 2011 Report Posted April 30, 2011 New Cello, strung up for the first time today. There's still quite a bit of set-up and varnish antiquing/rubbing out to do, and it sounds really good - very exciting. Great looking cello! What kind of wood is the back from?
Bingen Posted April 30, 2011 Report Posted April 30, 2011 It's a Poplar family wood. Very light and strong. Engleman top, and Euro maple neck. Great to hear from you Guy, hope to run into you again one of these days.
Craig Tucker Posted April 30, 2011 Author Report Posted April 30, 2011 I love getting busy. Here's that Dodzuki saw that I mentioned that I love so much - it's quite beat up and over worked, but It still cuts through the maple without effort - straight and with very little kerf. I haven't answered a lot of the recent posts on this thread - I am sort of overwhelmed by the number and quality of replies that keep popping up. But, even without answering some posts - I continue to be amazed by the amount and quality of work that is being done by the various members that are participating here on Maestronet. In particular, I am knocked out by many of the wonderful and yet very different varnish jobs being posted here. (my recent favorite subject) It always gives me hope that I can rise to the challenge and improve my own work accordingly. There are a lot of truly gifted professionals and non-pros doing work out there - and I love seeing all of the 'works in progress' - (almost as much as I enjoy seeing personal benches and workspaces - hey, wait a minute, that gives me an idea...)
joerobson Posted May 1, 2011 Report Posted May 1, 2011 #2 of the 3 Back to my normal "emerging pattern" shaded varnish, no antiquing on the woodwork. Varnish goal: an orange that goes to brown without first going red. Too bad my photo is so bad as this back has a great ground. on we go, Joe
grajki Posted May 1, 2011 Report Posted May 1, 2011 CT-the first of many cuts! Or should I say that the first cut is the deepest? I love doing scrolls! (off topic but I see in the current edition of The Strad mag that David Rivinus is showing us how to carve an assymetric scroll...just when I managed to get mine symmetrical:-)
Ed Shillitoe Posted May 1, 2011 Report Posted May 1, 2011 I'm coming to this thread a bit late - but here is what is on my bench today: Bass bows. The one in front was finished this week. The one in the middle is three-quarters done, and at at the back are two sticks for the next ones. Ed
Mountain Luthier Posted May 1, 2011 Report Posted May 1, 2011 Just got the neck block for my "Music in the Mountains Violin". The flame is an incredible match. International Violin must employ mind readers. http://www.flickr.com/photos/14995534@N05/sets/72157626277016165/
Craig Tucker Posted May 1, 2011 Author Report Posted May 1, 2011 I love doing scrolls! Yeah, I hear ya. Labor intensive, and perhaps the greatest challenge. It takes me completely "away".
Craig Tucker Posted May 1, 2011 Author Report Posted May 1, 2011 International Violin must employ mind readers. Yes, they are a really good company. By the way - you're 'cold bending', aren't you? Though I get all of my raw wood from one (strictly Tonewood) source, I do not recall ever being dissatisfied with any Int. Violin Co. product, or their service.
Bill Warren Posted May 1, 2011 Report Posted May 1, 2011 This violin currently on my bench is several experiments at once. It is my first one to truly use C.M. Hutchins octave-tuning on, with top plate taptone of E4 and back plate taptone of F4. Its been rubbed down inside and out with shavegrass. The ground is tripoli in varnish and that color is only two coats of red-brown varnish heavily tinted. It is my first try at antiquing, or at least simulating case and shoulder wear on the back as well as chin wear on the front (as if it had been used without a chinrest for years). After this, I'm thinking that I will just make the next one unashamedly shiny and new
Janito Posted May 1, 2011 Report Posted May 1, 2011 Just got the neck block for my "Music in the Mountains Violin". The mitres of your rib-cage are very short and this will mean that your corners will be sticking out, unsupported, if you follow a non-chipped outline.
Janito Posted May 1, 2011 Report Posted May 1, 2011 It is my first try at antiquing, or at least simulating case and shoulder wear on the back as well as chin wear on the front (as if it had been used without a chinrest for years). If it had been used without a chinrest, the wear would be much closer to the edge. The back wear is rarely in such a large lozenge because it is likely to follow the crest of the back rubbing against a flat surface (that may be slightly cushioned). The collarbone-shoulder contact is also much more discrete and irregular. Look up Omobono's photo-montages for good comparators.
Addie Posted May 1, 2011 Report Posted May 1, 2011 If it had been used without a chinrest, the wear would be much closer to the edge. The back wear is rarely in such a large lozenge because it is likely to follow the crest of the back rubbing against a flat surface (that may be slightly cushioned). The collarbone-shoulder contact is also much more discrete and irregular. Look up Omobono's photo-montages for good comparators. This is the model I used for my antique job (#356) It is a Guad, but you can see the same wear pattern on a Strad and a Stainer...
Janito Posted May 1, 2011 Report Posted May 1, 2011 It is a Guad, but you can see the same wear pattern on a Strad and a Stainer... Here is the Cannone - soft islands of wear.
Craig Tucker Posted May 1, 2011 Author Report Posted May 1, 2011 Varnish goal: an orange that goes to brown without first going red. Joe, This series of violins also seem to be distinctly missing the yellow/golden base color or under tone - that is indicative of many attempts to copy a "Cremonese" style varnish. Yet - it works very well standing on its own merits. Are they an attempt simply to varnish as you see fit, or are they modeled after a particular maker or school?
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