resin varnish recipe. For outdoor uses you can substitute spar varnish for regular polyurethane. ArtResin epoxy resin is very glossy with a nice thick surface when cured.
A STANDARD RECIPE FOR SHELLAC OR VARNISH.
Resin varnish recipe. 1 part sanderac. Afterwards strain it and put it aside for use. 12 to 1 part oil.
I also will often use less and less BLO with each successive coat. As verbs the difference between varnish and resin is that varnish is to apply varnish while resin is to apply resin. Dissolve the gums over a slow fire at moderate heat.
The Canadian fir produces a similar resin that can be turned into a fine violin varnish. 2 parts spirits of wine. White amber finely powdered.
I wouldnt recommend that anyone experiment in their kitchen as there are too many ways it could go wrong starting with strong and persistent resin and linseed oil smells in the best case scenario. The concrete Turpentine aids in the liquefaction of the Sandarac making the varnish lighter and adds gloss. 3 parts linseed 1 pt.
When it comes to application ArtResin is poured on and spread out. Of Venetian Turpentine with 12 oz. Cheese cloth optional Wide mouth jar.
200 ml solvent turpentine or citrus solvent 100 g weight of Dammar Resin. It must first be cleaned by filtering it warm to separate it from the dirt bark and insects. Early Recipe for a thick Vernice Liquida.
Get out a sealable metal container and mix the following. Dip the brush into the jar of varnish and press against the rim to remove excess varnish. Choose a wide mouth jar with an airtight lid large enough to fill with 200 ml of solvent and 100 g of Dammar Resin lumps.
The main difference you will notice right away between epoxy resin and varnish is the consistency. Swicklik cites a lecture by Oudry who recommends a thin layer of varnish over the sketch and then another layer over the underpainting Swicklik 1993 158. Fuse seven pounds of very fine African gumcopal.
So as not to waste any the bark and other residue. Other recipes from the period are similar though some incorporate mastic. A recipe given by the CCI Varnish Workshop suggested 450 g of Laropal K80 to 3000 ml of mineral spirits with 18 aromatics Carlyle and Bourdeau 1994.
When well dissolved pour in half a gallon of pale clarified oil. Now the blend mentioned in Brians question involved using both linseed oil and tung oil. Varnish for Violins and Other Musical Instruments One puts four ounces 19dwt around 16 grams 16 ¼ grains to the ounce of sandarac resin in a pint 58145 cubic English inches of spirits of wine two ounces of seed lac two ounces of tears of mastic and an ounce of gum elemi.
Varnish with a high concentration of resin formulated with Baltic Amber linseed oil thickened in the sun and polymerised linseed oil. You can modify it in many ways. Resin traditionally used by artists as a painting medium and varnish.
Sandarac or Amber and sometimes the white resin concrete Turpentine was added in 2 or 3 parts. The warm season is the ideal time to prepare varnish as it is better to be outdoors to cook the ingredients. It gives an optimum result to be combined with pigments dyes and on glazes.
And when clear mix with it three gallons of turpentine. The standard mixture is 13 Boiled Linseed Oil or Tung Oil 13 thinner mineral spirits paint thinner turpentine naptha and 13 varnish poly spar etc. Use a soft natural bristle brush Flat preferably 15 or 2 inches.
This varnish produces a beautiful transparent warm and resistant coating. When the alcohol starts to boil a little incorporate two ounces of galipot pine turpentine. Allow to cool but warm slightly to increase flow before applying.
1 part gum. The resin will go into solution in several days. It typically consists of mastic gum dissolved in spirits of gum turpentine mastic varnish and sugar of lead lead acetate or litharge lead oxide cooked in linseed or walnut oil also called black oil.
A high concentration of amber fused in linseed oil for use as a general painting medium or as a varnish for musical instruments. Brush the varnish onto the painting spreading the varnish as you go to create a thin layer. Do not scrub very hard just enough to spread the varnish around.
And sometimes when boiled with the turpentine will mix and yet refuse to amalgamate with any other varnish less boiled than itself. Its cure time is 24 hours until its dry to the touch and 72 hours for a full. The varnish protects the wood and the combination of substances used for the varnish must maintain the elasticity of the wood in order to enhance the acoustic properties of the instrument.
To put the Laropal into solution the resin can be suspended in a cheesecloth bag in a jar of measured solvent. The mastic resin and oil vary in proportions from 31 to 13. Talley cites a recipe from de Mayerne for an oil-resin varnish that was supposedly used by painters in Italy to coat their dead colors and then paint into Talley 1981 1445.
Mix cold shake frequently. You can buy things like boiled linseed oil and mineral spirits in large gallon jugs and then purchase the varnish as needed. Of spirits of Turpentine and boiled in a water bath until the balsam melted.
But if too strongly boiled will not mix at all with the turpentine. 1 part gum resin or shellac 2 parts alcohol. After having acquired the basic notions of varnishes for violins violas and cellos makers usually go on to create their own recipe.
Based on the traditional 17th century recipe for Amber Varnish listed in the De Mayerne Manuscript British Museum Sloane 2052. This if properly boiled will dry in ten minutes. Bottle with secure cap for decanting.
As nouns the difference between varnish and resin is that varnish is a type of paint with a solvent that evaporates to leave a hard transparent glossy film while resin is a viscous hydrocarbon secretion of many plants particularly coniferous trees. De La Fontaines recipe for Venetian Varnish which was used to coat paintings mixed 1 oz. 4 drams white rosin melted in a glazed vessel.
This is my standard formula. 1 part Mineral Spirits paint thinner is fine too 1 part Boiled Linseed Oil BLO 1 part Satin Polyurethane.
Gelling Copal Varnish This Varnish Contains Copal Turpentine And Walnut Oil The Fast Drying Version Also Contains A Metallic Based Lead And Manganese Drier We Recommend Mixing This Varnish With Un Refined Walnut Oil When Making A Painting Jelly