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black paint in f holes and scroll box


fiddlewallop
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I actually prefer a brown-black, like Van Dyke, or burnt umber mixed with bone black.

I've been using a burnt umber oil Winsor...for my last two I used nothing.

My understanding is that most of the classical period Cremoness did not use anything except for a quick sealer.It is recommended by many for a more finished look....certainly not a point killer unless the goal is a strict copy.

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So it sounds as though it's not necessarily critical what you use for this. Perhaps I could just put a lot of burnt umber into a small amount of varnish to create a dark color?

If that's not a great idea, maybe I'll just buy a tube of burnt umber windsor oil paint.

I'd like to darken the inside of my f holes, because, for my first go round, the inside of the f holes aren't that great. I think it might cover up some of my amateur-ness. :)

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FW, the general consensus on Maestronet is to use a brown colour for peg box and f holes.

OK - I'll stick with brown paint. Thanks Ben. And do you also recommend the black umber made by Windsor?

Yeah, unfortunately, the paint won't be covering up my amateurishness either. :( But, there's always #2!

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Try spirit varnish with a mixture of burnt umber and a little bone black. I pick up some varnish on the brush and then dip the brush in the powdered pigment mix and apply to the fiddle. This gives a sort of dusty look to those areas which would normally not be easy to clean. If you are using oil varnish do this before your final rubout and any color which gets on the varnish will be easy to polish off. If you are using spirit varnish on your instrument then be more carefull not to get any of the dust mix on the varnish.

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Amazing that much rosin and dirt and grime can build up on the thin vertical sides of the F holes. That instrument hasn't been used all that much has it?

I wonder since Strad put black accent lines around the chamfer of the scroll then why not the F holes. It would seem like a nice way to dress things up, like putting on a black tie with a three piece suit. And did he put black lines on the rib edges at the corners or was that someone else? I've seen a picture of that but don't remember where.

--don't let yer bow get caught in the event horizon--

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Del Gesu blackened the head chamfers including the extra chamfer that he made on the inside of the peg-box wall. He also appears to have blackened the rib ends at the corners. This last feature is rare with other Cremonese makers, although I have seen an Amati viola with this feature. Strad usually only blackened the scroll, but there is evidence that he painted a black line on the central spine of at least one cello head that I have seen.

When I do this I usually use a spirit varnish because it dried quicker. My guess is that the Cremonese makers used an oil based medium. I always (as someone else has suggested) use lamp black mixed with burnt umber. Lamp and bone blacks are highly transparent and a little burnt umber helps to counter this.

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Del Gesu blackened the head chamfers including the extra chamfer that he made on the inside of the peg-box wall. He also appears to have blackened the rib ends at the corners. This last feature is rare with other Cremonese makers, although I have seen an Amati viola with this feature. Strad usually only blackened the scroll, but there is evidence that he painted a black line on the central spine of at least one cello head that I have seen.

When I do this I usually use a spirit varnish because it dried quicker. My guess is that the Cremonese makers used an oil based medium. I always (as someone else has suggested) use lamp black mixed with burnt umber. Lamp and bone blacks are highly transparent and a little burnt umber helps to counter this.

thank you,

and what is your experience with the FF's?

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