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Sandarac oil varnish


violinoalto

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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?

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I tried several times to make a sandarac oil varnish and failed. I gave up on it. I like the pine resin varnish. Koen Padding made a nice sandarc based varnish. I don't know if it was pure sandarac resin or blended with something else. But it was a very nice varnish.

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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?

 

 Dobrý večer!

Já jsem (myslím, že úspěšně) uvařil sandarakový olejový lak takto:

1)sandarak zahřívat na asi 200° C po dobu okolo 30-45minut (pryskyřice nejprve začne tvořit velké bubliny-nutno skoro pořád míchat)

2)až se sandarak "uklidní" - stane se tekutou pryskyřicí s jen malinkými bublinkami, můžete po troškách přidávat žhavý lněný olej

3)po asi půl hodině vaření pryskyřice s olejem můžete odstavit vařič (oba komponenty by měli být nyní spojené v lak)

4)po samovolném schlazení na asi 100° C přidejte potřebné množství terpentýnu

5)filtrujte přes hrubé plátno

6)máte připravený čirý olejový lak, který se dá použít bez uzavírání pórů přímo na dřevo (odzkoušeno)

 

 

And in english:

My sandarac oil varnish recipe:

I am (I think successfully) brewed with juniper oil paint as follows:

1) sandarac heated to about 200 ° C for about 30-45 minutes (resin first makes large bubbles-you must constantly stir)

2) when sandarac "calm down" - becomes a liquid resin with only tiny bubbles, little by little, you can add hot linseed oil

3) after about a half hour of cooking oil with resin can you shut down the stove (both components should now be united to the varnish)

4) after spontaneous cooling to about 100 ° C, add the required amount of turpentine

5) filter through a coarse cloth

6) have ready a clear oil varnish, which can be used directly without filling the pores of the wood (I tested)

 

(please excuse me not good english :unsure: )

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Velmi děkuji za Váš příspěvek

Nejprve rozpustit pryskyřici a pak přidávat horký olej - dobrý nápad

Dělal jsem to obráceně -pryskyřici do horkého oleje

 

 

 


Thank you very much for your contribution 

First, dissolve the resin and then add hot oil - a good idea 

I did it upside-resin into the hot oil

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Why? 

 

I want to cook varnish, which will be enough red and transparent, so I do not have to add dyes such as cochineal dyeing or stained. 

 

So far I'm using coniferous resin makes brown or golden brown 

 

The addition of metal salts to me too fail red 

 

I have read that the old name for sandarac varnish is Vernice liquida: 

 

The old formula for producing a common type of Vernice liquida moderate consistency was one of sandarac resin into three parts linseed oil. The oil was heated to reflux temperature, and the resin was added in small amounts at a time into the boiling oil and well stirred until all the resin was finally dissolved and thoroughly incorporated into the mixture which was then allowed to cool. Superior kind of paint was known as "Vernice liquida pagan," and was prepared by dissolving one part by weight of amber in three parts boiling linseed oil. It would be stronger and more flexible than the type of paint made ​​from commoner sandarac. According to Tacitus and Pliny the old German name for amber was "glassum" (glass), meaning perhaps clear and transparent character. The terms "glass" and "glass" were often used to amber, and some old documents sandarac as well. The term "verenice" (vernix) was used by the Greeks meaning amber, and the word was often used in later times, though in-correctly, as an indication for sandarac. 

 

Vernice liquida prepared from sandarac was usually a dark reddish color, and as such was preferred by Byzantine artists whose pictures always show the dark paint must be used during distempers. The early Italian painters deliberately made ​​his work in a light color scheme, relying on dark paint to your images need a rich dark tones. In these cases, the old painters used their dark paint as paint, and some went so far as to tint paint with transparent pigments to paint on glaze your pictures to color more depth, and thus increase their brilliance and richness. Sandarac Red paint was also used to compensate for the greenish tone-painting of flesh tones in the early Italian painters. 

 

 

Luis Manfio wrote: 

 

 

  04.09.2010 - 18:39 

Hi Roland! Yes, I did it twice. In one of them I sandarac cooked at a low temperature, add cooked rosin on it and let it cool. Then resin powder and added to the hot oil. In another Ocasion sandarac I melted and added hot oil into tiny by small and incorporated into the oil, my experience as a chef helped. But it is complicated, containing juniper oil is tricky too. 

 

 

I was still unable to

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