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Tets Kimura

Tets Kimura's Bench

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The pigments I used are Indian Madder, Cinnabar, and a tiny bit of lamp black. The final colour actually looks a lot darker and redder than the colour of varnish before antiquing. 

I've edited my previous post; Oil to Resin ratio is 2:3. My 1:1 varnish drys in 8 hours, but this new varnish takes two days to dry. That is quite a lot slower. but it gives me more time to relax and have some beer. I never add siccatives.

Bees wax makes varnish easier to chip, and that's the main reason I add it to varnish. I'm sure it has other effects, but I don't know what.

   

         

 

Your 2:3 varnish had longer drying that 1:1? When there is more resin than oil, it must drying quicklier, is it not? And have you can using it without solvents - it is as caramel, no? My 1:1 is very "caramelised" and must be diluted. <_<

And thank for nice photos! ;) I think that we all like to see more.

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A violin and a viola are being varnished at the moment. I still need to work on some details......
I'm particularly looking forward to start setting up the viola, because something just clicked while making it, and everything fell into place.

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I've had the above violin back momentarily for a quick check-up and a couple of minor adjustments. Nice to see one of your work is being loved and cared for.

 @FoxMitchell ,   I alomost always induce crackling on varnish by using https://www.kremer-pigmente.com/de/saftbraun-41050.html  

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And 16 1/2 inch viola inspired by Gasparo da Salo is coming along nicely. I've had some difficulties this year to concentrate on my work, but things are slowly starting to improve finally. 

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Thanks!

@arglebargle Yes, it is walnut crystals. I make a thick paste and apply it with a sponge, and then use a hairdryer to induce crackling. The method itself is not much different from how many other makers do it. However, I do this at the very beginning of the antiquing process. I literally cover the whole instrument in a thick black goo after varnish is dry but soft enough to move for the right type of crackling I want. It can look horrifying if you've never seen it like this before. After you wash away the paste and continue with the rest of the antiquing process, most of the crackling also starts to look worn and hardly visible to naked eyes even if it's still there. In this way, you can avoid having the crackling that looks unnatural, and also the remaining varnish looks more three dimensional and not flat even though there's no visible crackling with dirt in it.     

 

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It looks great. Besides of color and texture I also like your 'patina' effect.

Do you plan to leave it, or make it more polished?

Thank you for sharing with us.

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I'm getting this violin ready for the upcoming exhibition in Tokyo which I'm helping to organize. 
The exhibitors include some of the exciting Japanese makers such as @Andreas Preuss , Keiji & Aya Nakanishi , and other makers from abroad such as Catherine Janssens, Victor Bernard, etc.


If you ever happen to be in Japan between 8th ~ 10th Nov , please come along!  

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1 hour ago, Tets Kimura said:

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I'm getting this violin ready for the upcoming exhibition in Tokyo which I'm helping to organize. 
The exhibitors include some of the exciting Japanese makers such as @Andreas Preuss , Keiji & Aya Nakanishi , and other makers from abroad such as Catherine Janssens, Victor Bernard, etc.


If you ever happen to be in Japan between 8th ~ 10th Nov , please come along!  

Tetsu,

your fiddle looks great. Can't wait to see it at the exhibition, 

I think every one of us was working really hard to show the best instruments.

The address of the event is 

151-0011 Tokyo, Shibuya-ku, Higashi 1-26-30 at the atelier apc. only 7 minutes walk from Shibuya station.

If any of Maestronetters are around, stop by we'll promise you won't be disappointed.

 

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