Beginning the Finish

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Beginning the Finish

Pre-varnish Scraping and Shaping

Before any finish materials can be applied, the wood has to be about as perfect as I can make it: so I scrape it to its final shape, then dampen it with coffee, to simultaneously raise any fibers that had only been flattened by the scraper blades, but not smoothly sheared off, and, hopefully, add a slight “tan” to the wood, while doing no harm.

Thus, having removed the fingerboard (which had only temporarily been installed) and having applied two coats of coffee, allowing the wood to dry between coats, and having sanded lightly, all over, with 400-grit paper, to remove the raised fibers, and any excessive “corduroy” effect, the instrument went from looking like this:

To looking like this:

Coffee-stained, and sanded with 400-grit.

Then it is time to begin the real finish: I first coat the wood with a coffee-suspension of very fine, powdered gypsum, hoping to add more color as I fill the grain with the gypsum. I vigorously rub this suspension into the wood, hoping to encourage the tiny particles of gypsum to actually settle into the pores of the wood, so as to fill them, and to slow down the absorption of varnish. It is considered undesirable, in general, to have the varnish really soak into the wood, as it tends to dampen the vibrations that make the sound. Some varnishes are more detrimental than others, but this is something I learned by reading Roger Hargrave’s notes. He is a world-class expert, so I tend to believe him that this is a good idea. I try to remove as much as I can of the excess mineral “ground” before it completely dries, rubbing hard, with a rag, but any that has settled into grain irregularities, I simply skim over, and leave it there.

So, after the gypsum has been applied, it looks more like this:

Mineral ground applied, front view. A little darker color, and the grain is more obscure.

Back grain quite obscured by the gypsum. That will clear up entirely, with the application of the sealer.

The sealer locks the gypsum into wherever it has been lodged, and clears the obscurity, making the gypsum completely invisible. The sealer I am using now is a concoction of pine resin, turpentine, and alcohol, with a little yellow tinting. The turpentine and alcohol evaporate, leaving the resin in the wood.

After the sealer dries (a day or so), I begin applying the various coats of varnish: the first two or three coats are fairly yellow varnish, but after that, I begin adding the colors that will characterize the finished instrument.

From this point, forward, the instrument will become increasingly darker, leaning toward reds and browns. Ultimately, I will try to emulate the look of the 1715 “Titian” Stradivarius violin, after which this insrument is supposedly modeled. We will see how it turns out.

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March 1, 2018March 2, 2018

Varnish Process

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Varnish Process

Sealer Coat is Dry: Start Varnishing!

Since the sealer was dry, I gave the violin a careful rub-down with worn 400-grit paper, and began to add varnish. I am using a spirit varnish, the first coat of which was a yellow varnish, which I had actually hoped would be a little more “amber” in color, but I think it will be OK.

First coat of varnsih on back plate. — First coat of varnish on the Back plate.

1st coat varnish on side. — First coat of varnish on the Side.

First coat, Front plate. — First coat of varnish, on the Front plate.

2nd Coat of Varnish

The first coat of varnish was really only intended to lay down a yellow under-coat, and I am satisfied that it accomplished that purpose. From here on out, though, I will be trying to lay down more color in the areas indicated, to try and match the original after which I am modeling this violin. So, here are coats two and three. Notice that I leave some areas light, as the original violin has fairly severe wear in those areas. (If you are interested, click here to see photos of the original.)

2nd coat on side — 2nd coat of varnish, on the Side.

2nd coat on back. — 2nd coat of varnish on the Back.

3rd Coat of Varnish

And, a third coat, in the same manner:

3rd coat, front. — 3rd coat of varnish, Front plate. The light was a little better, so it looks brighter.

3rd coat, side. — 3rd coat of varnish, Side view.

3rd coat, back. — 3rd coat of varnish, Back view.

4th Coat

The first few coats are thin enough that it is difficult to see the changes…but it is gaining a little more color and gloss.

4th coat, side view. — 4th coat of varnish, Side view.

4th coat, Back view. — 4th coat of varnish, Back view.

5th and 6th Coats

It is pretty obvious, now, even on the ribs, that certain areas are getting less color added. As I explained above, those are the areas that typically get the most wear, so, to imitate the wear patterns on the original instrument, I am minimizing the color added to those areas.

Also, I have been making the varnish coats quite thin, right now, trying to adjust the color early, instead of trying to fix it later…so, from here on, I posted the pictures as I saw relevant changes, rather than after every coat of varnish. I also switched over to a more intensely colored varnish for the 5th and 6th coats:

6th coat, front view. — 6th coat of varnish, Front view. Lots of changes still to come.

6th coat, side view. — 6th coat of varnish, Side view.

6th coat, back view. — 6th coat of varnish, Back view.

Starting to look closer to what I had in mind. 🙂

Final color coats, and two clear coats

I gave a careful look to the poster, again, and tried to get the “wear areas” closer to the original. It is still far from accurate, but it is beginning to at least have the “flavor” of the original. My color is still too bright, and some areas still too light, but it is getting closer.

Front, nearing completion of color coats.

Side, nearing completion of color coats.

Back, nearing completion of color coats.

“Dirt” and “Age”

There were a few areas to which I wanted to add more color…and to rub some pigment into the grain, to emulate dirt. (I had already rubbed in some real dirt, but it wasn’t very convincing-looking.) Then, I locked it all down with a clear coat or two, and will polish it to completion. But this is pretty much the final color:

Back, with final color, “dirt”, and “age.”

What’s Next?

The next thing will be to re-fit the fingerboard, dress the fingerboard, and begin set-up. I will continue to address “polish and finish” issues as I see them.

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February 21, 2018February 22, 2018

Sealer Coat

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Sealer Coat

Cleaning off the Excess Gypsum

I used scrapers, very gently, in tight corners, and very worn 400-grit abrasive paper, more aggressively, on the easily accessible areas, to remove all the loose, or overly thick areas of the gypsum pore-filler from yesterday. It took longer than I expected, but this was the result:

You can see that the grain is somewhat obscured, and the color is quite light. I am wondering whether I did not succeed in rubbing the gypsum into the wood, as thoroughly as usual. Usually, the color has been nearly chalk-white. I can see the gypsum in the wood, though, so I am going to press on with the sealer coat.

Sealer Coat

This time, the sealer consisted of ordinary rosin in a solution of “pure spirits of gum turpentine”. I probably should have made it a little thinner. It was about like light syrup; so, afterward, I dipped the brush in plain turpentine, and went back over the instrument to help the stuff penetrate a little better. The turpentine will all evaporate over the next few days (I hope), leaving only the rosin, solidifying in the pores of the wood. It is always impressive to see just how completely the gypsum disappears, under the sealer.

Front plate and side, with the sealer coat applied.

Different angle — Different light angle shows the curl in a more attractive mode.

Now What?

Until that sealer dries completely, I will have to find other things to do. But it is hanging in a warm room, so it should dry rapidly.

After that, It will be varnish coat after varnish coat, until it it is all done. Then the final set-up can occur.

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February 19, 2018February 19, 2018

Final Shaping and Scraping

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Final Shaping and Scraping

The Channels and Edges

The last time I posted, the back purfling had been installed, but the back channel had not been begun, nor were the edges trimmed and rounded. I drew in the edge crest line, just as I did on the front plate, and carved the channel with a gouge, then began scraping the channel and fairing the curve of the channel up into the curves of the arching.

Beginning Channel — Beginning the channel

Sample corner, after preliminary scraping. — Sample corner, after gouging and preliminary scraping.

After I had gone over the entire instrument under a low-angle light, looking for “lumps and bumps” (any little discontinuity that will be visible under the varnish…and they all are), I wetted a cloth with black coffee, and rubbed the whole instrument down with the damp rag. This accomplishes two things: it begins to lend a very light yellow cast to the wood, and, more importantly, for now, it raises the grain, so that every little splinter that was pressed down by the scraper, instead of being severed and removed, will now stand up and be visible…easy to find and remove, using either a very sharp scraper or, eventually, a very fine abrasive. (In general, I avoid abrasives, because I am not convinced that the surface left by fine abrasives is the same as the surface left by a sharp scraper. But, as a means of smoothing between varnish coats, or just before varnishing, I feel it is viable. I also use it on the edges of the plates…especially the spruce.)

So…here is the instrument, dampened with coffee. When the coffee is dry, I will continue the smoothing and shaping process.

Coffee rubdown. When it dries, it will leave a pale yellow stain…very slight.

coffee surface — You can see the pale yellow color, and the shape of the corners. The surface actually feels rough, now, though it looks smooth.

Scroll with coffee dampening. Notice the splinters on the edge of the curves.

Front of scroll. See how rough the wood looks…lots of scraping still to come. And maybe some abrasive smoothing.

Back plate with coffee stain.

Final Scraping of the Whole Surface

Once the coffee was completely dry, I went to one of the few places in the house where I can get a fairly dim, very low-angle light across the violin, and went over the instrument, intently searching for either rough patches or places where the smooth continuum of the arching is interrupted by a ripple, a ridge, or a bulge, etc. I want the arching to be as close to perfect as possible, and every transition from curve to curve to be flawlessly smooth. (I have never actually achieved this level of perfection, but that remains the standard. Every time, however, after the varnish is applied, I find things I missed.)

After scraping every surface, very gently, with a sharp scraper, until all seem to be very smooth, I rub the instrument down with coffee again. Usually, this time, the grain will not raise as agressively as before, because I did not press the grain with the scrapers but just “brushed” the surface, taking off mere dust, but leaving the channels and transitions looking finished and shiny-smooth. This is an important time to watch for anomalies of any sort, because once the varnish is applied, it is very difficult to go back and “fix” things. Several of my earlier instruments have an odd pattern of dark stripes in the upper front bass bout, following the curve of the outer edge, and adjacent to the neck. These could have been avoided by careful scraping under a low-angle light. They remain as permanent record of my “learning curve.” (sigh…)

Here is how the instrument looks, ready to begin the finishing process:

Front plate, ready to begin finishing process — Front plate, ready to begin. (I will remove the fingerboard first.)

Detail of Center bout, ribs and corners.

As you can see, there are are a few things I will probably want to touch-up just a little more before I actually varnish, but, overall, I am satisfied that I am ready to move forward. There will always be little things I change at the last minute, but that is just my nature.

What’s Next?

So…the next “big” thing is to remove the fingerboard (easy to do…I only held it on there with three dots of hide glue), and then I will rub very fine gypsum mixed with coffee into the whole instrument, and rub it back off before it dries. The goal is to fill the pores, so that the varnish will not saturate the wood.

After that is dry (and it will look chalk-white), I will apply a coat of sealer (rosin dissolved in turpentine, at the moment), to lock the gypsum down, and further seal the pores. After that; varnish time!

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July 28, 2016July 28, 2016

Varnishing Sequence: Part One

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Varnishing a New Violin

Finishing Sequence: Sealer coat first

In the last post, I showed the photo of the violin with just the turpentine/pitch sealer coat in place, and not totally dry. Remember that this was applied over a coffee stain, and a mineral ground that I had rubbed into the wood.

When that coat was finally dry, I checked for any distortions (from the coffee stain, I guess) and corrected them with plain water, just moistening any low areas with a damp rag, and watching them come back to normal. Since I just barely moistened those areas, they stayed in the correct position after drying the second time. This has been a rare occurrence in my experience, but I was grateful that it turned out to be a relatively easy fix.

Then I sanded lightly with worn 400-grit, to remove any bits of loose debris and/or any little fibers of wood that had lifted above the smooth surface. I had already done this after staining (both times), but it always pays to go over things again.

First Coat of Varnish

The first coat on this instrument was a very blond spirit varnish; not my usual. I am not entirely pleased with the result, but it is acceptable.

first varnish coat — First varnish coat, side view.

Scond Coat: Darker Yellow

I sanded it lightly, again, and then applied a darker yellow varnish. Fortunately, spirit varnish dries very rapidly, so I can sometimes get two or three coats in one day, early in the sequence. As the varnish gets thicker, it dries more slowly. I assume that this is because it can no longer soak into the wood at all, so every bit of the drying has to happen from one side of the varnish film; but perhaps there is more to it than that. At any rate, as the instrument nears completion, I have to allow longer time for drying. The other side of the “fast-drying” coin (or two-edged sword) is that it is extremely sensitive to the next coat of varnish, as the solvent in the new coat can easily lift the previous coats, forcing me to completely start over, in some cases. I really need to be patient, and work carefully, applying many thinner coats, rather than fewer thick coats.

Second coat of varnish-- darker yellow-- side view. — Second coat of varnish– darker yellow– side view.

Yellow varnish second coat. — Lots of room for improvement, here– and that is how spirit varnish works. I keep adding color, and “evening things out” until it looks right.

Yellow varnish back second coat. — Yellow varnish back– still pretty pale-looking, after that second coat.

Third Coat: Red-Brown varnish

After the yellow varnish dried I began adding (several coats of) a darker red-brown varnish, allowing each coat to dry, and sanding lightly between coats, to make sure the finished result is good. This is the first coat of the red-brown varnish, so, actually the third coat, overall. It will get at least five or six more coats of varnish before it is done, but the differences become less and less obvious, as the varnishing nears completion. I am enjoying looking at the beautiful European maple and spruce. I ordered this wood from International Violin Company, in Baltimore.

third coat of varnish — Third coat, using red-brown varnish.

third coat of varnish on back — Back, with the third coat of varnish. (Quite an improvement isn’t it?) You can see the brush-marks in the varnish, but they will be sanded smooth before I apply the next coat.

The Plan:

As I continue to add coats of varnish, I am keeping an eye on the general “flavor” of the instrument. I may skip certain areas for several coats, to leave the varnish thin in those areas. I deliberately try to emulate the look of some of the more gently-used “Old Master” instruments. I am not attempting to “fake age”, so much as attempting to capture some of the charm and appeal of those intruments. If anyone has a question about my motives, all one has to do is check the label: every instrument is signed, numbered, and dated. The date on the label is the day I actually closed the corpus, so, perhaps a few weeks prior to final completion, but no more than that.

I also may switch back to a yellow varnish at some point, to shift the color back toward gold, rather than just a red-brown. And, occasionally, I have stripped everything back off and started over. As the original maker, I have that option. and, invariably, the result the second time was far better.

I will post more varnish photos as the violin nears completion.

Set-up:

Once the varnishing is complete, I will replace the Fingerboard and begin the final fittings and set-up of the violin.

Fingerboard
Saddle
Tuning pegs
Nut
End Pin
Soundpost
Bridge
Tailpiece
Strings
Chinrest

Hopefully, all of that will be covered in the next post.

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