Various Varnish Instructions

Stains and primers
If the unfinished instrument is to have a beautiful basic color, it should be stained before varnishing. But since the hardness of wood can vary, thus absorbing the stain unevenly, it is recommended that the basic instrument be pre-treated first to ensure that the color is attractively even.

Instructions for pre-treating the wood
Dissolve about 30g of our #10319 gelatin powder in a liter of warm water and then heat until the solution is clear and thin. Apply the warm solution evenly with a bristle brush, leave to dry completely and sand down very carefully with a fine sandpaper.The various stains described below can then be applied.

Instructions for application of water-based stains # 12102
Water-based stains are available in some 20 shades. Dissolve contents of the bag, following the instructions on the label. To make the color lighter or deeper, change the proportion of water used. Apply the stain solution evenly to the cleanly sanded instrument using a sponge or brush. Wipe off excess stain with a dry rag.

Spirit varnish  #1013
Spirit varnish has always been the most commonly used for stringed instruments. It dries quickly, thus allowing a daily coating. The coating must be applied quickly, however, in order to prevent the varnish from clouding, especially on color varnish. Every coat must be thoroughly dried before the next coat is applied in order to prevent cracks from materializing later. (Press hard on the varnish with your thumb for a few seconds. If it fails to make a print in the varnish then you can apply the next coat ). Spirit varnish can be smoothed well with pumice-stone, rottenstone, or tripoli and polished with an appropriate polish.

Italian balsamic oil varnish #1012
The Italian balsamic oil varnish is manufactured according to old Italian recipes. Volatile oils and balsams the main solvents used to produce a soft varnish which retains its suppleness after it has dried. The combination of soft, elastic resins and volatile oils used as solvents results in an excellent varnish.
The mixture of resins and solvents was made in such a way that the resins would not become brittle once the solvents had evaporated, but rather would form an homogenous, elastic coating of varnish. The Italian balsamic oil varnish, with its elasticity, gives the stringed instruments a very good resonance, soft sound reproduction and a very attractive appearance.

Oil varnish # 1010
This varnish applies very well and virtually anyone can do a good job when using it.
This varnish is elastic, but not as sensitive as spirit varnish. This oil varnishes dries as oil varnishes relatively fast.(Test this too, with your thumb to see if it is dry ).

Varnishing brushes 10371-10374

Black cattle hair, worked in a combined form.
This brush which is designed for the finest application of varnish is used for all spirit varnishes and oleo-resinous varnishes.
They have a double hair thickness, enabling them to absorb a large amount of varnish.

Stiff wiping brush
Items: 10345, 10346, 10347

This brush with stiff, half-white bristles is especially suitable for the removal of grinding residues (pumice stone, tripoli) from edges and corners

Glue brushes: Our #'s 10340, 10341, 10342, 10343
Especially for hot-setting adhesive.
Due to metal having a negative effect on the brightness and adhesiveness of the glue, these bristle brushes are held in place without metal.They are bound to a natural handle once using a cord, in addition to them also being bound to the bristles, thereby improving the stability of the bristles when gluing.

 

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