DoorMouse

J.DiLisio's Bench

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On 2/18/2018 at 10:00 AM, DoorMouse said:

I'm pretty happy with the way the ground turned out.  
There is definitely some burning in on the end grain but nothing too obscene. 
I had to reheat the varnish and add more oil to get it to a workable consistency and I think having 
a high oil to resin ratio makes it dry very fast. 

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I really, really like your color!

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I’ve been bumbling through the antiquing process on this one.  So far it’s my most successful attempt but still a bit overstated. 

There was a mishap with the heat gun causing some unwanted varnish bubbling. I’m attempting to patch these areas to avoid stripping and revarnishing. 

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On 2/24/2018 at 1:56 PM, violins88 said:

I really, really like your color!

Thanks! The color is mostly from the wood preparation and extensive tanning. 

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Some progress on the da Salo.. the arching is turning out a bit low due to some miscalculations but 14.5 seems to be within the acceptable range.  

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The Kochanski antiquing is just about done. Almost time for setup!

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Great work, Doormouse. I especially like the antiquing and varnish on that last one.

You did ask for some critisim in your first post, and allthou I am not the right one to comment, here is my 2 cents of constructive critisism. 
The purfling looks to me a bit stubby towards the corners. If you would "draw" the purfling more into the corner it would look much more organic and elegant. imo at least. Here is a good example showing what I mean, taken from maestro Davide Sora: https://davidesora.altervista.org/wp-content/gallery/tavola-in-lavorazione/17-punta-tav.jpg His full gallery is here

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Thanks, I appreciate the criticism. The purfling corners do feel a bit unsure. I was attempting to copy the type of blunt purfling corners you would find on a del Gesu instrument from 1740-41 but they ended up somewhere awkwardly inbetween that and something more refined.  I didn’t quite get the gouged corner effect that I was going for either which may draw your eye more to the purfling.  

I had some luck with the Stradivari type ‘stings’ on my last instrument. This one was based on the Harrison Strad. 

 

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Nice job on the antiquing. It looks old, but not that "over the top" style that  I personally dislike.

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17 hours ago, DoorMouse said:

Thanks, I appreciate the criticism. The purfling corners do feel a bit unsure. I was attempting to copy the type of blunt purfling corners you would find on a del Gesu instrument from 1740-41 but they ended up somewhere awkwardly inbetween that and something more refined.  I didn’t quite get the gouged corner effect that I was going for either which may draw your eye more to the purfling.  

I had some luck with the Stradivari type ‘stings’ on my last instrument. This one was based on the Harrison Strad. 

 

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Beautiful work, great corners. I do see what you were aiming for on the other one, and by showing this one it's obviolus that you clearly have good control. 
Do you use some kind of acid for the antiquing along the edges? Looks very credible. 

If you run out of nuts and saddles, I see you have some raw material standing on top of your piano :D

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It’s funny that you should mention it, someone gifted me a similar african carving for that very purpose.  The poor fella has been deemed too ugly to exist.

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11 hours ago, DoorMouse said:

I’m trying out carving the scoop first on this one.  

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I did that on my viola that I'm making right now. It makes cutting the purfling channel so much easier. You only have to cut down a tiny bit compared to if you did it with a flat shelf. 

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Oh nice! I’m planning on cutting the channel on this one by hand so I’m glad to hear that.  The hand cutting on a flat shelf was a bit of a challenge last time I attempted it.

I also enjoy the tidyness of the plate in it’s current state.

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Not sure this belongs here but I spent half the day turning a walnut dish towel rack by request of the Mrs..

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I’m planning to attempt a simple peg and endpin set soon, once I get my hands on some appropriate wood. 

Most of my turning tools are rather large so I may need to invest in a detail set. 

I forsee the hardest part being consistency between pegs.

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That’s pretty cool. It’s your bench you can do what you want.   

I think Eric Meyer uses a machinist lathe.  I keep thinking about making my own tail pieces, but haven’t tried it yet. 

-Jim 

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I just picked up this antique dual beam balance for the shop. It’s not as accurate as a digital scale but close enough for the purpose of measuring varnish ingredients and plate weights.

Pictured on the left are a couple practice pegs I’ve been turning out of poplar.

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18 minutes ago, DoorMouse said:

I just picked up this antique dual beam balance for the shop.

That's the exact model beam balance scale I had a few years ago... took up too much room and wasn't as accurate and fast as the cheap digital ones, so I sold it.  Who knows, maybe it was mine.

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2 minutes ago, Don Noon said:

That's the exact model beam balance scale I had a few years ago... took up too much room and wasn't as accurate and fast as the cheap digital ones, so I sold it.  Who knows, maybe it was mine.

Hi Don. Maybe you could help clear something up for me. 

I’m having to place 112g on the right side (as pictured) to zero the scale.  Is that normal or is it missing a counterweight of some sort?  

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That's a lot of offset.  My Welch scale didn't need any more than the adjustment by the thumbwheels in the center, and I don't recall any counterweight.  You might have something bent, or the pivots aren't in their seats.  I did have another balance beam that needed quite a bit of lead shot added to one of the platforms... but not the Welch scale.  Can't beat the $10 digital ones unless you value nostalgia.

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Thanks Don, I do value certain types of nostalgia but it very well may end up as a decorative piece around the house eventually.  
Nothing appears bent or out of place.  It must be missing a part that offsets the sliding weights.  The balance is zeroed when those are removed. 

 

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Here’s a random find while I was collecting jars for varnish supplies. It’s a victorian fly trap! 

I also found a useable second hand espresso machine to try out Neil Ertz’s madder pigment extraction method. Supplies are ordered and on the way.

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