🦋 Tin-can Cello: pigment
The fit of the neck into the bucket is... good enough at this point. I'm going to spend today smoothing -- the edges of the soundhole needs some attention, and the whole neck and scroll needs to be sanded to 320 grit. (I am going to leave the dowel rough, including the bit of it that's exposed.) Then it's time to color the cello!
I'm flying a bit blind when it comes to pigment. Have been looking around the web, there's a lot of conversation about coloring violins at The Pegbox and a couple of other forums. What I'm going to try first (on a piece of scrap maple), is mixing dry pigment with turpentine (or possibly lavender oil) and applying that to the sanded wood, and then finishing over that with multiple coats of thinned Tru-oil, possibly mixing some pigment into the early coats of Tru-oil as well. I'll avoid rushing, planning to spend a week or more working on test pieces.
The color scheme I'm going for is: a mix of burnt sienna and orange on the lower, curved portion of the neck, deepening to burnt umber as it approaches the bucket; burnt umber on the tailpin; raw umber on the straight part of the neck; burnt sienna on the pegbox and scroll, deepening to burnt umber at the center of the scroll.
posted morning of Sunday, September second, 2018
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After some thinking I have realized that "mixing dry pigment with turpentine (or possibly lavender oil) and applying that to the sanded wood" will not work, the pigment will not stick to the wood. I am working out a new plan.
posted morning of September 4th, 2018 by Jeremy Osner
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