Shopping Cart -

Your cart is currently empty.
This website use cookies and similar technologies to improve the site and to provide customised content and advertising. By using this site, you agree to this use. To learn more, including how to change your cookie settings, please view our Cookie Policy
Pocketmags Digital Magazines
IT
Pocketmags Digital Magazines
   You are currently viewing the Italy version of the site.
Would you like to switch to your local site?
Leggi ovunque Read anywhere
Modalità di pagamento Pocketmags Payment Types
Trusted site
A Pocketmags si ottiene
Fatturazione sicura
Ultime offerte
Web & App Reader
Regali
Loyalty Points

SEEING RED

Madder root has been used since ancient times to provide a deep red pigment - but the process of making it remains mysterious. For the past three years Hugh Withycombe and Guy Harrison have tested different methods to get the recipe just right - and can now reveal their findings
SCROLL PHOTO JEAN FITZGERALD

What was it that brought us to the making of pigments? Was it fascination or just frustration? Like so many aspects of our trade, making pigments is another esoteric path one may follow when creating a fine instrument. It is by no means a necessary requirement to be a successful violin maker, although both the process and the end results are stimulating and intriguing. Not having a consistently reliable source of pigments was also becoming a personal frustration for us, and that became a driver to motivate our re-entry into the world of ‘making your own pigments from madder root’. Building on the work of others, in this article (which assumes a little prior knowledge) we try to explain some of the factors that influence the quality, intensity and colour hue of making lake pigments in small batches. We also share a useful method of keeping and comparing results. The majority of the experimental work took place at Oberlin College, OH, US, as part of the Violin Makers Workshop over the course of several years: 2016–19. Our thanks and recognition go to our colleagues there and around the world whose contributions have made this article possible.

Above left Raw madder root with samples of the finished pigments Above Tools, chemicals and further samples Below left Scroll varnished with the slow-cooked, acid-soaked madder root pigment in oil varnish (see box, page 45)
READ MORE
Purchase options below
Find the complete article and many more in this issue of The Strad - January 2020 and String Courses supplement
If you own the issue, Login to read the full article now.
Single Issue - January 2020 and String Courses supplement
€5,49
Or 549 points
Annual Digital Subscription
Only € 3,25 per issue
SAVE
41%
Was €54,99
Now €38,99

View Issues

About The Strad

Lisa Batiashvili discusses her latest projects and we delve into the mysterious world of varnish making. There’s a look at strategies for teaching adolescents, and Leila Josefowicz completes her look at Berg’s Violin Concerto. Plus Sheku Kanneh-Mason’s Sentimental Work.