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Good day!

I am begginer (only student of violinmaking in workshop of master violinmaker), 24 years old.

Can You evaluated my works (I know that is horrible and I am ready for whatever criticism).

Thank You!

 

Something from my last works:

 

Greffuhle 2013:

 

post-76349-0-30884200-1407839308_thumb.jpgpost-76349-0-47057700-1407839310_thumb.jpgpost-76349-0-16388300-1407839313_thumb.jpg

 

Guarnerius 2013

 

post-76349-0-40367000-1407839314_thumb.jpgpost-76349-0-12973800-1407839316_thumb.jpgpost-76349-0-26898600-1407839317_thumb.jpgpost-76349-0-90957900-1407839318_thumb.jpgpost-76349-0-65083700-1407839320_thumb.jpgpost-76349-0-86408000-1407839321_thumb.jpg

 

Thomass Peery Pochette 2014:

 

post-76349-0-11623800-1407839324_thumb.jpgpost-76349-0-69611500-1407839335_thumb.jpg

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Hi Huslar

The violins look great, how did you inlay the patterns around the ribs, was it as strad is supposed to have done it by cutting the pattern and applying a black substance before bending the ribs or applied as a transfer or drawn on ?

Tim

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Hi Huslar

The violins look great, how did you inlay the patterns around the ribs, was it as strad is supposed to have done it by cutting the pattern and applying a black substance before bending the ribs or applied as a transfer or drawn on ?

Tim

 

Hi Tim!

 

All inlays are as on Stradivaris - 1) cutting ribs ornaments with knife and chisels

                                                   2) bending and gluing ribs to inside (italian) form (PG mould at this violin)

                                                   3) filling ornaments with ebony dust bone-glue (twice or thrice)

Thanks for question!

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Really nice !      What can you tell us about your ground and varnish?  

 

Good day!

Ground on Greffuhle and Guarnerius is simple - clear sandarac oil varnish (3:1), 2 or 3 layers. Then coloured amber varnish (my own but diluted with Old Wood Thinner, maybe 8 layers) on very thin ending layer (my varnish is liquid as water). And then as finish clear Roger Hargrave varnish (1-2 layers).

On pochete I tried R. Hargrave ground and also his colophony-mastix varnish (1:1).

Thank You for question!

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Beautiful work!  Who is your teacher?  Are you in Praha?  Jan Spidlen? I lived in Praha for a year in 1991.

 My teacher is master violinmaker Pavel Celý (he studied in Luby u Chebu like most of czech old masterviolinmakers). Our workshop is in Zlín.

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Ground on Greffuhle and Guarnerius is simple - clear sandarac oil varnish (3:1), 2 or 3 layers. Then coloured amber varnish (my own but diluted with Old Wood Thinner, maybe 8 layers) on very thin ending layer (my varnish is liquid as water). And then as finish clear Roger Hargrave varnish (1-2 layers).

Please tell me what your colored your amber varnish consists of. Pigments? Please explain how and what you colored the amber varnish with if you can. Thank you.
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Viola...

 

I found some pics of instruments. Click on the Galerie pic, lower right corner. Then on the left side of the page there are many options. I think that "Housle" is Czech for violin. Lucky for you viola seems to be simply viola.

 

http://www.cely.cz/fotogalerie/galerie.aspx?galerie=barokni_housle&nazev=Barokn%C3%AD%20housle%20%28Andrea%20Amati%29

 

Nice work Huslar.

 

r.

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Viola...

 

I found some pics of instruments. Click on the Galerie pic, lower right corner. Then on the left side of the page there are many options. I think that "Housle" is Czech for violin. Lucky for you viola seems to be simply viola.

 

http://www.cely.cz/fotogalerie/galerie.aspx?galerie=barokni_housle&nazev=Barokn%C3%AD%20housle%20%28Andrea%20Amati%29

 

Nice work Huslar.

 

r.

Yup, I've been through the site in both the Czech and (much smaller) English versions.  I suspect that the only way to get instrument prices or buy some is to establish an email correspondence with them.  It's nice that they seem to be teaching restoring as well as making.

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Please tell me what your colored your amber varnish consists of. Pigments? Please explain how and what you colored the amber varnish with if you can. Thank you.

I use Hammerl color extracts and artists pigments in tubes. On Greffuhle is (if I remember right) "red-brown" and "amber" color extracts with madder lake in tube (from Umton). But in future I would to use only natural pigments and colors - nothing chemically (for example R.Hargrave rabbits urine ground that's what I'm excited about).

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Yup, I've been through the site in both the Czech and (much smaller) English versions.  I suspect that the only way to get instrument prices or buy some is to establish an email correspondence with them.  It's nice that they seem to be teaching restoring as well as making.

The truth is that we have (thankfully) a lot of work to restore instruments and news (built mostly by request) we have not in stock-they quickly find customers (but are of course exceptions).

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  • 3 months later...

Adorable! Why 1/12? How does it sound? What strings did you use?

I just ordered a 1/32 so I am interested in details.

 

AHoJ!

1/12 size because it was building specially for hands of small girl (it will be for she as viola for adult men - but she grows to this after some months :) ).

There are Pirastro Tonica strings and sound was no so bad as I imagine - it of course cannot be sound of 4/4 violin but much better than instruments from manufactures.

 

Thank for question!

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  • 2 weeks later...

...and thanks for you answer!

I like your fidel. It is very attractive. But I thought they had 5 strings?

Yes, typical modern fidel has 5 strings, but in renaissance there was from 2 to 5 strings (I found this in some book). And this fidel was building for violinist-he wants 4/4 violin measurements and E, A, D. G strings as for violin. De facto it is violin only with fidel looks like. :)

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Hey! Compliments on your instruments! I'd especially like to know some more about the pochette from your first post.

 

I hope to at some point, when I find time for it, start a little instrument making as a hobby, and have been wondering if making a pochette would be a good thing to start off with, rather than a violin. I'd expect it to be somewhat easier to construct, not needing to join the plates, no need to make corners, somewhat easier pattern of purfling, less complicated arching... But I may be wrong, can you comment on that? And is is possible to get technical drawings for that pochette model you made there? Do I understand that it is indeed a copy of an existing old pochette?

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Hey! Compliments on your instruments! I'd especially like to know some more about the pochette from your first post.

 

I hope to at some point, when I find time for it, start a little instrument making as a hobby, and have been wondering if making a pochette would be a good thing to start off with, rather than a violin. I'd expect it to be somewhat easier to construct, not needing to join the plates, no need to make corners, somewhat easier pattern of purfling, less complicated arching... But I may be wrong, can you comment on that? And is is possible to get technical drawings for that pochette model you made there? Do I understand that it is indeed a copy of an existing old pochette?

 

Thanks for questions!

My pochette is based on dancing fiddle by Thommas Peery from Dublin. Every shapes I took from photographies on this site:

http://orgs.usd.edu/nmm/BowedStringsOther/Pochettes/2674Perry/PerryPochette2674.html

 

Unlike the original I made some changes - my instrument had the main sizes of 4/4 violin (original is something between 1/2-3/4), modern neck and purfling are not only draw.

As You write it is very easy to building (so You need not technical drawings) and it is very nice instrument for watching, but not for playing - bad sound (as very small manufactory violin) and keeping is not very easy (sliding from body).

Now I am making this pochette again - I can give here some photos from building (if You want).

I am attaching a scan of mould (lenght without blocks is 266mm and thickness 10mm), height of ribs around 25mm.

I gladly answer to Your another questions.

post-76349-0-29632200-1421613834_thumb.jpg

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