El Barniz En El Violín
Páginas: 4 (919 palabras)
Publicado: 14 de abril de 2012
Trade Secrets
HOW TO MAKE VARNISH
ADELE BEARDSMORE cooks up a transparent golden varnish from a historical recipe
In 1987, when I left the Newark School of Violin Making, I found myself in theposition of most novice violin makers – still searching for a good varnish. For a while I took English violin maker and repairer the easy way out and Adele Beardsmore worked in the UK and theNetherlands before used a commercial moving to Australia in 1994 preparation, but I soon discovered that the colours were unstable over time. It wasn’t until I met my husband, Alan Coggins, that the situationwas remedied. Fortuitously, Alan has a science degree in analytical chemistry and he set about applying himself to varnish research. As is the case in many traditional approaches to varnishing, thematerials and methods we selected were based on examples found in historical records. The varnish recipe itself comes from a British Museum document known as the De Mayerne Manuscript (BM Sloane 2052),which was written in the first half of the 17th century. The relevant item reads: ‘Four parts of linseed oil, two parts pine resin, one part horse aloe. Boil these things until they turn golden colourand yield a varnish.’ This formula produces a transparent golden varnish that is very easy to prepare and has all the properties that we were looking for. It does require further colouring withpigments, however – just prior to varnishing, we grind in red or purple madder lakes, which we also make ourselves, by extracting the colour from madder root into an alum solution and precipitating withsodium carbonate. The pigments are stored dry and can be ground into the varnish with a glass muller as required.
[1]
[2]
ALL PHOTOS ALAN COGGINS
The collected materials necessary forvarnish making
Hot oil and fumes make careful preparation and outside working a necessity
[1] The colophony and aloe that I use are sold by Hammerl GmbH in Germany. Linseed oil can easily be...
HOW TO MAKE VARNISH
ADELE BEARDSMORE cooks up a transparent golden varnish from a historical recipe
In 1987, when I left the Newark School of Violin Making, I found myself in theposition of most novice violin makers – still searching for a good varnish. For a while I took English violin maker and repairer the easy way out and Adele Beardsmore worked in the UK and theNetherlands before used a commercial moving to Australia in 1994 preparation, but I soon discovered that the colours were unstable over time. It wasn’t until I met my husband, Alan Coggins, that the situationwas remedied. Fortuitously, Alan has a science degree in analytical chemistry and he set about applying himself to varnish research. As is the case in many traditional approaches to varnishing, thematerials and methods we selected were based on examples found in historical records. The varnish recipe itself comes from a British Museum document known as the De Mayerne Manuscript (BM Sloane 2052),which was written in the first half of the 17th century. The relevant item reads: ‘Four parts of linseed oil, two parts pine resin, one part horse aloe. Boil these things until they turn golden colourand yield a varnish.’ This formula produces a transparent golden varnish that is very easy to prepare and has all the properties that we were looking for. It does require further colouring withpigments, however – just prior to varnishing, we grind in red or purple madder lakes, which we also make ourselves, by extracting the colour from madder root into an alum solution and precipitating withsodium carbonate. The pigments are stored dry and can be ground into the varnish with a glass muller as required.
[1]
[2]
ALL PHOTOS ALAN COGGINS
The collected materials necessary forvarnish making
Hot oil and fumes make careful preparation and outside working a necessity
[1] The colophony and aloe that I use are sold by Hammerl GmbH in Germany. Linseed oil can easily be...
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