Posted on May 21, 2020May 20, 2025 by Dale Phillips Oil Varnish Techniques Oil Varnish Techniques by David Rolfe Originally published as Guild of American Luthiers Data Sheet #89, 1978 and in Big Red Book of American Lutherie Volume One, 2000 I decided to investigate the use of traditional oil varnishes as used by violin makers. At first sight, there seemed to be a lot of information around with enough detail to get on with the job. But as I delved deeper, I found enormous gaps in details of technique and lack of information on what is important and what is not. This is a detailed summary of what I have learned so far. My basic sources of information are the books and articles listed at the end. Materials Varnish. Traditional oil varnishes consist of a variety of resins, heated and dissolved in linseed oil, and turpentine. Coloring is added, and these agents can either be from the heartwood of certain trees (like dragon’s blood or gamboge) or organic mineral salts. Linseed oil is a slow-drying oil, and in conjunction with the resins, goes through the process of oxidation and polymerization (molecules of short length combine to become longer). Polymerization occurs mainly in the presence of ultraviolet light and continues for decades. Turpentine is used as a thinner or as a solvent to get the varnish on and then to evaporate in a relatively short time. The important characteristics of the varnish in liquid form are: Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 12, 2010May 30, 2025 by Dale Phillips Review: Guitar Finishing Step-by-Step by Dan Erlewine and Don MacRostie Review: Guitar Finishing Step-by-Step by Dan Erlewine and Don MacRostie Reviewed by John Calkin Originally published in American Lutherie #61, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Guitar Finishing Step-by-Step Dan Erlewine and Don MacRostie Stewart-MacDonald, 1998 ISBN 978-0964475236 The death of lacquer as an available finish was pronounced at least ten years ago. Because lacquer was so environmentally hazardous, the various levels of government were supposed to restrict its use to the point that manufacturers would find no profit in producing the stuff. Well, folks, it hasn’t happened, and lacquer remains the premier finish for most string instruments. If you’ve yet to have your first heady whiff of lacquer fumes, you should study Guitar Finishing Step-By-Step before you dive in. If your plans include the re-creation of the many factory guitar finishes, you should have this book regardless of your experience level. The book has a strange flow to it, though. There are only three stages of finish work — wood prep, finish application, and rubout. However, the plethora of tools and materials available today leave too naïve an approach open to confusion and failure. To avoid this, Erlewine and MacRostie rely on detailed description, technical information, and a degree of repetition to cover all the bases thoroughly. For instance, a description of power sanders is followed twenty pages later by a description of power sanding. Both sections include important and overlapping information. Readers who skip about in order to get on with their finish work will find themselves handicapped. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 12, 2010May 29, 2025 by Dale Phillips Review: Sunburst Finishing by Dan Erlewine and Don MacRostie Review: Sunburst Finishing by Dan Erlewine and Don MacRostie Reviewed by John Calkin Originally published in American Lutherie #63, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Video: Sunburst Finishing Dan Erlewine and Don MacRostie Stewart-MacDonald, 1999 Sunburst Finishing is sort of a strange video in that it’s intended to replace Stew-Mac’s out-of-date Color Finishing, yet it doesn’t cover nearly as much territory as the older film. So be it. It only costs half as much as the old tape, and the information included may be as much as you need. The only guitar involved is an archtop Guild with a maple face. Some repair work has been done to the top before the tape begins, and the finish has also been removed. The job at hand is to match the sunburst on the top to that of the rest of the guitar. A yellow toner has to be mixed for the maple, then a brown candy is blended to match the color of the burst. The techniques of precision blending are the heart of the video, an operation at which MacRostie is a master. Chip sheets and blending boards are made which can be stashed away for future reference. The work is also referenced to the recipes in MacRostie and Erlewine’s new book, Guitar Finishing Step-By-Step (p. 530), which is a useful touch. There is no wood prep involved in the job (as far as the camera is concerned), as this video is intended to work in concert with Spray Finishing Basics, another video by the same dynamic duo. Touchups are necessary when the binding is scraped after the color coats, and the airbrush work is caught on tape. A close look at MacRostie’s scraping tools is a helpful segment. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 12, 2010May 30, 2025 by Dale Phillips Review: Spray Finishing Basics by Dan Erlewine and Don MacRostie Review: Spray Finishing Basics by Dan Erlewine and Don MacRostie Reviewed by John Calkin Originally published in American Lutherie #61, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Video: Spray Finishing Basics Dan Erlewine and Don MacRostie Stewart-MacDonald, 1999 This video is broken into two distinct segments, each of which covers the complete finishing process in its own manner. In the first portion, Dan Erlewine finishes an ash strat-style body in a Fender blonde color. This is a white finish that allows the wood grain to show through. In furniture work it’s usually called a pickled finish. In the second segment, Don MacRostie paints a bound alder tele-style body pink on the face and black on the back and sides. All colors are mixed in the shop from a clear lacquer base, and a good amount of time is expended demonstrating the process. Alder and ash require different prep treatments, and this is also a feature of the tape. Builders of acoustic guitars shouldn’t feel left out, since the color coats are followed by clear finish, and working with clear is the same, regardless of whether it goes over sealed wood or colored lacquer. The idea was to pack as much information into the allotted time as possible. The application methods used by the two men differed drastically. The three basic steps of wood finishing are wood prep, finish application, and sanding/buffing. It often baffles beginners to find out that if any step is less important than the others it’s the second, the application. The acquisition of a compressor and a quality spray gun hardly guarantees a good finish, but a talented luthier can do a good job with the unlikeliest gear. To prove it, Erlewine finishes his guitar entirely with aerosols. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 11, 2010May 29, 2025 by Dale Phillips Product Reviews: Livos Oil Finish Product Reviews: Livos Oil Finish by Fred Carlson Originally published in American Lutherie #63, 2000 and Big Red Book of American Lutherie Volume Six, 2013 Livos Oil Finish I’ve experimented with my share of different finishing materials over the twenty-odd years (twenty-eight, to be exact, and some of them have been very odd indeed) that I’ve been building wooden stringed instruments. From my early years working with my artist/luthier mentor Ken Ripportella, I remember various concoctions of linseed oil and beeswax; later came guitar building with all sorts of awful chemicals, starting with automotive acrylic lacquer and soon moving on to the more standard nitrocellulose brew. It took some years to get advanced to the point that we had an actual exhaust fan to draw the toxic solvent fumes out of the shop, and during one of those years I had a bed on a small loft above my workbench, next to the finishing room. When finishing was going on, I was breathing lacquer fumes day and night. By the time we finally got the exhaust fan and I learned how to use a respirator, a certain amount of damage had been done, and I began to experience a lot of discomfort when exposed to lacquer/solvent fumes, as well as other chemicals. Although I had no idea then that my ignorance would compromise my health, perhaps for the rest of my life, it became pretty obvious pretty fast that I couldn’t work around solvent-based finishes anymore. I had continued to use oil and wax finishes on some instruments, but had not been completely happy with either the acoustic or protective qualities of those finishes when applied to the top of a guitar. I’d taken to using oil and wax for everything but the top, for which I was using nitrocellulose until the mid‑’80s. My sensitivity problems caused me to switch to one of the early waterborne lacquer-like polymers, similar to what I still use today. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
