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lean over fat

 
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actonern
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PostPosted: Mon Feb 11, 2013 9:35 pm    Post subject: lean over fat Reply with quote

I'm interested in why so many overpolished (shellac or similar) golden period oil varnished instruments don't have the same varnish film breakdown as would be the case if the maker had put a lean oil varnish on top of a fat layer.

Is the shellac not an extreme version of "lean" or is there something about the material or perhaps the trivial thickness of it that allows these overcoated instruments to remain bowling ball smooth?

Best regards,

E
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Michael Darnton
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PostPosted: Mon Feb 11, 2013 10:03 pm    Post subject: Reply with quote

Shellac is leathery, not brittle.
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actonern
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PostPosted: Mon Feb 11, 2013 10:22 pm    Post subject: Reply with quote

Hmmm... in flake form its brittle... if melted in alcohol and then allowed to reharden from alcohol evaporation it resumes it's flake and brittle state.

And yet, on large panels of french polished furniture, it does not craze and break down with humidity cycles/expansion contraction.

A remarkable material.
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Canuck
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PostPosted: Tue Feb 12, 2013 12:47 am    Post subject: Reply with quote

My favorite violin had been refinished before I bought it. It is, after all, 84 years old, and likely needed it. I don't know what was used on it, but it flakes of very easily, even with a finger nail. I have to be very careful with it!
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ctviolin
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PostPosted: Tue Feb 12, 2013 10:05 am    Post subject: Re: lean over fat Reply with quote

actonern wrote:
I'm interested in why so many overpolished (shellac or similar) golden period oil varnished instruments don't have the same varnish film breakdown as would be the case if the maker had put a lean oil varnish on top of a fat layer.

E



I believe that oil varnish is generally considered "fat". And it's not the thickness of the layer under consideration, that determines the "lean or fat content" of a particular varnish - but what it's made of...
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Michael Darnton
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PostPosted: Tue Feb 12, 2013 10:38 am    Post subject: Reply with quote

In traditional painting literature that's true, but from a functional position, it's more useful, having to cope with all of the modern materials which were not in existence when the term was originated, as well as the fact that violin varnishes are not the same as painting varnishes, it's better to think of it in terms of soft and hard.

For instance, there are makers now who use modern lacquer as a finish, often with extra plasticizers to make it look more like a traditional violin varnish. It's inherently soft, even though it's not a "fat" varnish, and hard spirit retouch varnish used over it will craze. Raw shellac, with wax, however, works quite well over it, if one needs to do a repair on a lacquered violin.
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Lemuel
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PostPosted: Tue Feb 12, 2013 11:39 am    Post subject: Reply with quote

actonern wrote:
Hmmm... in flake form its brittle... if melted in alcohol and then allowed to reharden from alcohol evaporation it resumes it's flake and brittle state.

And yet, on large panels of french polished furniture, it does not craze and break down with humidity cycles/expansion contraction.

A remarkable material.


Isn't most of the shellac sold these days hard and colorless, because they are bleached and dewaxed, and therefore brittle, and therefore to make a suitable varnish, one would have to mix in other soft resins like sandarac and gum mastic and dyes?

The golden period shellac would undoubtedly be non-dewaxed and unbleached and therefore would have inherent suppleness and color (light yellow to brown).
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Michael Darnton
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PostPosted: Tue Feb 12, 2013 11:42 am    Post subject: Reply with quote

Even processed shellac is unusual stuff in wanting to wear rather than chip, and being durable. It's the opposite of sandarac, which is the ultimate brittle stuff. Don't mistake what shellac flakes are like for how the stuff behaves on wood.
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Lemuel
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PostPosted: Tue Feb 12, 2013 11:55 am    Post subject: Reply with quote

Michael Darnton wrote:
Even processed shellac is unusual stuff in wanting to wear rather than chip, and being durable. It's the opposite of sandarac, which is the ultimate brittle stuff. Don't mistake what shellac flakes are like for how the stuff behaves on wood.


This is good to know...thanks for this.
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kjb
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Joined: 06 Feb 2013
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PostPosted: Tue Feb 12, 2013 12:29 pm    Post subject: Reply with quote

here is a source for different shellacs.

http://www.shellac.net/pricelist.html


Lemuel wrote:
actonern wrote:
Hmmm... in flake form its brittle... if melted in alcohol and then allowed to reharden from alcohol evaporation it resumes it's flake and brittle state.

And yet, on large panels of french polished furniture, it does not craze and break down with humidity cycles/expansion contraction.

A remarkable material.


Isn't most of the shellac sold these days hard and colorless, because they are bleached and dewaxed, and therefore brittle, and therefore to make a suitable varnish, one would have to mix in other soft resins like sandarac and gum mastic and dyes?

The golden period shellac would undoubtedly be non-dewaxed and unbleached and therefore would have inherent suppleness and color (light yellow to brown).
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