A Strad Inspired Violin - Log 1/25/2010

Monday, January 25, 2010

The Saint's Top

Since last week Ben applied a coat with black pigment and just prior to shooting the photo below a coat of amber varnish to the Saint's top.  This is very nearly the final color. The varnish glistens since it is still wet and this should be close to the appearance once the final clear coat has been applied.  Note the finger board is clamped in place to more closely simulate the final appearance.

Similar treatments will be done to the back and sides once the top is dry.

A Strad Inspired Violin - Log 1/19/2010

Tuesday, 1/19/2010

The "Saint"

Two Additional Coats of Varnish

Today's photos do not do the finish full justice as the colors are a bit richer.

Below the ribs, scroll and back are nearing completion in pigmented coats.  Again, the color is not entirely faithful due to reflection of the flash.

The top shown below has fewer coats and is more orange.  Ben is hoping the violin will be dry enough for an additional coat on the top this afternoon.  The scroll in this photo appears richer in color than the side view with the ribs shown above but due to the lighting is actually darker than in reality.

The invoice for the hand carved Otto Tempel fittings arrived and funds were transferred to the maker this afternoon.  The fittings were finished a couple of weeks ago and will be shipped from Germany as soon as the bank transfer is completed.

Below is an expunged copy of the invoice.

The boxwood fittings with gold inlay shown below are similar to the ones ordered for the "Saint".

A Strad Inspired Violin - Log 1/11/2010

Monday, January 11, 2010

"The Saint"
Three Coats of Varnish

Below are front and back shots of the "Saint" taken this afternoon.  At this point Ben has applied about three coats of varnish to which he had added madder root, lamp black and orange pigments.  These glaze or varnish coats have made a tremendous difference in the depth of color of the violin as compared to the previous photos taken two weeks ago with two coats of ground and two coats of clear dark amber varnish.

Below Ben is doing a trial application of a glaze mix made from a very old dark varnish to which he has directly added madder root pigment.  Unfortunately, this varnish is no longer made. He is experimenting with the varnish adding additional oil and turpentine hoping to salvage the varnish for the "Saint". He needs to achieve a blend with the old varnish such that it will stay fluid long enough to spread a coat across the entire back or top and yet still dry in a reasonable amount of time.  He has just applied a coat to the scroll here.The mix he is applying is from the splotch of color on the glass work surface (his palatte) to the right of the scroll.

To the left Ben is brushing on a coat to the top bout of the back.  This was to give us an idea of the ultimate color to be achieved with this mix.










Below the trial application to the scroll and top bout of the back has yielded a very satisfying rich reddish brown color that is precisely what we were both after.  Now Ben has to work out the problem with the old varnish and if that is not successful he will need to replicate this color balance with fresher varnish in order to apply two more glaze coats before the final clear coat that will finish the violin.

An interesting footnote from Chris in regard to the use of pigment such as madder root.  Pigments are bonded with metal salts such as aluminum or magnesium sulfate in order to make them clear and light fixed when suspended in varnish.