CELLO JOURNAL PAGE 3 |
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A varnish based upon linseed oil needs ultra-violet light in order to "dry". Although the term drying doesn't really describe the process accurately. Alcohol or pure turpentine varnishes "dry" due to the evaporation of the carrying medium, but with linseed oil, the molecular structure of the oil actually re-arranges when exposed to UV waves. This transformation irreversably transforms the oil into a hardened, leathery coat. It's the cooked resin in the varnish that influences the coat's hardness and gives the resulting layer it's brilliance and body. The most convincing research I've seen done on Stradivarius' varnish has been recently published and concludes that his varnish consists of only two components; a resin from the pine family of trees (colophony), and a "drying oil" (either linseed or walnut). To this basic varnish, he would add pigment for the final layers. Every batch of varnish that I cook varies slighly from the previous. The variables that make no two varnishes identical are: the precise proportion of oil to resin, the physical qualities of the specific resin and the cooking time and temperature of that resin. The only secret I keep is in the precise application process. I say all this to explain why the cello is hanging outside on the terrace. Even in the less than ideal sun of a Dutch winter, there is enough UV light to serve my purposes. While the cello swings and twists in the wind, I'll return to the workshop to begin designing the next instrument: a viola! |
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Even under mostly overcast skies, the ground coat has hardened nicely. For the next layer, I've used the same batch of varnish, but with an added pigment. One more layer should be enough. When the sun breaks through the clouds, the varnish really comes to life! |
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Glorious ultra-violet sunshine! |
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The varnishing is complete! Back in the workhshop, I begin to the polish the surface to it's final texture. |
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Final ebony tasks. The fingerboard is re-attached and planed and I've made both the nut(where the strings pass over before entering the pegbox), and the saddle(where the tailpiece cord passes over on it's way to the endpin). These two small ebony pieces effectively control the path that the vibrating strings will follow. At this point, I consider the cello complete. Just one more little thing; setup! I'll need to fit a soundpost and cut a bridge before I can hear it's voice at last. |
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Finished! See those white rosin marks on the strings? That's right, I've heard some of what she can do and I can't stop playing her. A wide and grainy bass, a full and woody mid-range and a focused, singing "A" string. In other words, I'm very pleased. I'll try to post a video soon so you can hear it as well. Now, back to that viola in the workshop...... |
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