Set of 8 Liquid Alcohol Colour OLD WOOD - 8 ml

5/ 5

<p>ITALIAN GOLDEN GROUND is a ground system (A + B) whose joint application provides a golden cinnamon colour that enhances the natural beauty of the wood, as well as long-lasting protection.</p> <p></p> <p>Italian Golden Ground A+B grounds enhance the natural beauty of the wood, protecting it indefinitely.</p> <p>Italian Golden Ground A. Exposure to ultraviolet radiation (natural or artificial), transforms the clear surface of the wood into a uniform and transparent golden cinnamon colour.</p> <p>An excellent finish is obtained that highlights the wood’s natural resinous structures.</p> <p>Italian Golden Ground B. It should always be applied after component A of the system. It acts as a colour printer and intensifies the resinous area, texture and natural light of the wood.</p> <p>It stabilises the obtained ground colour by stopping the subsequent degradation of the wood to undesirable greyish colours (considering inside light conditions), which maintains the inherent aesthetic qualities of luminosity and texture of the wood indefinitely.</p> <p>Dosage approx:  10 c.c. for violin / 35 c.c. for Cello / 75 c.c. for Double Bass</p> <p>These grounds can be applied using both oil varnishes and alcohol varnishes.</p> <p>Label elements:</p> <p>CLP Regulation (EC) No 1272/2008:</p> <p><span style="text-decoration:underline;"><strong>Product – A</strong></span></p> <p>Hazard statements:</p> <p>Acute Tox. 4: H302 – Harmful if swallowed.</p> <p>Precautionary statements:</p> <p>P101: If medical advice is needed, have a product container or label at hand.</p> <p>P102: Keep out of reach of children.</p> <p>P264: Wash thoroughly after handling.</p> <p>P270: Do not eat, drink or smoke when using this product.</p> <p>P301+P312: IF SWALLOWED: Call a POISON CENTER/doctor if you feel unwell.</p> <p>P330: Rinse mouth.</p> <p>P501: Dispose of the contents/containers in accordance with the current legislation on waste treatment</p> <p>Product A – UFI nº: AGFY-W0FY-Q00M-UEGK</p> <p><span style="text-decoration:underline;"><strong>Product – B</strong></span></p> <p>Hazard statements:</p> <p>Non-applicable</p> <p>Precautionary statements:</p> <p>P101: If medical advice is needed, have a product container or label at hand.</p> <p>P102: Keep out of reach of children.</p> <p>P501: Dispose of the contents/containers in accordance with the current legislation on waste treatment</p> <p>Supplementary information:</p> <p>EUH208: Contains 1,2-benzisothiazol-3(2H)-one. It may produce an allergic reaction.</p> <p>Product B – UFI nº: 0KFY-E05D-1003-HS2N</p>

045.068

5/ 5

<p>Varnish with a high concentration of resin, formulated with Baltic Amber, linseed oil thickened in the sun and polymerised linseed oil.</p> <p>This varnish produces a beautiful, transparent, warm and resistant coating. It gives an optimum result to be combined with pigments, dyes and on glazes.</p> <p>It makes the colours brighter giving depth, luminosity and incomparable solidity. It can be diluted with white spirit, turpentine and with OW Thinner (see “raw materials”).</p> <p>Due to the quality of the oils used, they give the varnish excellent properties regarding levelling, drying and resistance to external agents. The physical properties of the finish will also depend on carrying out a correct curing or drying of the applied coating.</p> <p>During drying, in addition to the evaporation of the solvents oxidation, oxidation reactions also occur with the oxygen in the air. This auto-oxidation is controlled in all our varnishes by a correct selection of secants that guarantee a homogeneous drying on the entire thickness of the applied coating.</p> <p>We recommend drying our oil-based varnishes in an UV chamber.</p> <p># References: Heraclitus. (s. XI ).“De Coloribus et Artibus Romanorum”.Cap.11-A y 44. # Theophil’s Manuscript. (s. XII ). Capítulo 37. # Leonardo Da Vinci (1452 – 1519). “Book of notes”. # Dr. Ketam’s. (2ª m. S XV ). “Flemish Manuscript”. # Anónimo alemán (1503 – 1506). “Liber Illuministrarius” . Sec. 19. # Marciana Manuscript. (1503 – 1527). Paragraph 395. # Timoteo Rosello. (1575). “Della Summa de Secretti Universali”. # Theodore Turquet de Mayerne. (1620). “Pictoria, Sculptoria et qua Subalternum Artium”. P. 43 (« The true varnish of lutes and viols ») # Chrstopher L. Morley. (1697). “Collectanea Chymica Leydensia” # Mary P. Merrifield. “ Medieval &amp; Renaissance Treatises on the Arts of Painting”. # Geary L. Baese. “Classic Italian Violin Varnish” # Martin Roberts Zemitis. “Violin Varnish and Coloration”. # Luciano Colombo. “The Old Varnishes for Violin Making”. # Vincenzo Gheroldi.«Venici e Segreti Curiosissimi. Cremona 1747». “Il Manoscritto4 (H 113) della Biblioteca Trivulziana di Milano”.</p>

045.075

5/ 5

<p>Ansaldo Poggi (1895-1984), one of the most influential luthiers of the 20th century, received acclaim in Europe and around the world for his extraordinary craftsmanship. His varnish, renowned for its excellent texture and clarity, offers a range of colors from bright and vibrant orange tones to deeper shades of yellow-reddish hues. Poggi's artistry is reflected in the color we present, designed by Academia Cremonensis and produced by Old Wood Company</p> <p>....a tribute to his lasting influence in the world of violin making.</p>

045.774

5/ 5

<p>Rosin Varnish  Extra Resin</p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, the cello, and the double bass.</p> <p>This varnish is appropriate for special ageing techniques and when easy chipping and hard varnish is required (ref. Peter Westerlund Youtube video; westerlend.se)</p> <p><span style="background-color:#fbe329;"><strong>https://www.youtube.com/channel/UCy1ZL5MSHTJuxYDyIaZqZYA</strong></span></p> <p>This varnish is made following traditional formulas, using high quality natural raw materials.</p> <p>Extra-resin varnish provides a beautiful, transparent, and resistant film.</p> <p>The shiny film obtained has high hardness and transparency.</p>

045.785

5/ 5

<p>OW Varnish Stripper is an expertly formulated product tailored for the precise removal of unwanted layers such as oils, varnishes, paints, waxes, and resins. Crafted with precision, this stripper is designed to address the challenges posed by delicate restoration and repair projects, ensuring a meticulous approach to eliminating undesired coatings.</p> <p>Ideal for indoor use, OW Water Based Varnish Stripper proves indispensable in the restoration of musical instruments, furniture, and decorative items. Its efficacy lies in its ability to break down layers of paint and varnish, facilitating easy removal with a putty knife or sponge, all while safeguarding the surface integrity of wood and other materials.</p> <p>Distinguished by its water-based composition, this varnish stripper is marked by a lack of overpowering odors, fostering a more pleasant work environment. In contrast to conventional paint removers or "strippers" that rely on potent solvents, OW Water Based Varnish Stripper eliminates associated health risks, sparing users from skin irritation and respiratory discomfort. The absence of flammable components further enhances its safety profile, making it a prudent choice for various applications.</p>

045.786

5/ 5

<p><strong>Giuseppe Fiorini (1861-1934)</strong>, a distinguished violin maker, earned accolades in Europe and the rest of the world for his exceptional craftsmanship. His varnish, known for its excellent texture and clarity, ranges from warm and vivid orange to nuanced brown and reddish hues. Fiorini's artistry lives on in the color we offer, designed by <strong>Academia Cremonensis</strong> and produced by <strong>Old Wood Company</strong></p> <p>....a tribute to his enduring influence in the world of violin making.</p>

045.772

5/ 5

<p>OW Siccative is a meticulously balanced blend of siccatives ideal for luthiers crafting their own varnishes or utilizing siccatives-free varnishes.</p> <p>This additive seamlessly integrates with linseed and walnut oils, traditional constituents of string instrument varnishes.</p> <p>OW Siccative ensures uniform drying, regardless of varnish thickness, fostering durability and flexibility while sidestepping tensions and optimizing drying time. Its addition to varnish is a quick and effortless process.</p> <p>This formulation features non-toxic metallic elements, an odorless solvent base, and a high flash point, free from lead, cobalt, or aromatic compounds. The recommended dosage entails adding 5ml (equivalent to approximately 40 drops) of OW Siccative per 100ml of oil in the varnish, with a suggestion to incorporate it into the solvent used for viscosity adjustment, guaranteeing thorough and efficient dilution within the varnish.</p> <p>Keep in mind that the overall drying duration is contingent upon factors such as oil quantity, film thickness, environmental conditions (humidity, temperature), and radiation type (solar vs. UV).</p>

045.704

5/ 5

<p>This varnish is processed to give it a deep brown and transparent colour in the style of the Classical Luthiers of the Brescia school.</p> <p>This varnish has very similar characteristics to the Classical Amber Varnish. However, it is processed to give a deep and transparent brown colour in the style of the classical luthiers of the Brescia school.</p> <p>It offers an optimum result to be combined with pigments, dyes and on glazes, as well as to heighten the colour of earlier coats. It can be diluted with white spirit, turpentine and with OW Thinner.</p>

045.400

5/ 5

<p>Cremona Varnish is used to heighten the varnish’s suppleness, resistance and elasticity.</p> <p>The incorporation of processed thickened Spanish turpentine, Baltic burnt amber, and top quality linseed oils to the Cremona Varnish, allows enhancing the suppleness, resistance and elasticity properties of the varnish.</p> <p>The shade of the coating is slightly lighter than that the one in the Classical Amber Varnish, but just as warm and luminous, obtaining an even more unctuous and prolonged application and achieving excellent levelling, drying and transparency parameters.</p> <p>Cremona Varnish can be diluted with solvent and OW Thinner</p>

045.410

5/ 5

<p>Refractive Ground Old Yellow is a transparent amber ground designed to impart a rich and warm color to the wood, creating a "permanent moist effect."</p> <p>This specialized compound not only deeply protects but also illuminates the wood, offering a refractive index similar to the wood itself. By enhancing and maximizing the light refractive process, it generates an "optical effect of depth" on the wood's surface. The result is a distinctive and lasting "permanent wet effect" on the annual rings, as well as on their resinous and amorphous formations.</p> <p>Refractive Ground Old Yellow is formulated for optimal penetration into the superficial layer of the wood. This ensures that the fibers are not saturated, achieving an incomparable luminosity in depth. Elevate your wood finishing with Refractive Ground Old Yellow, creating a unique and warm ambiance that enhances the natural beauty of the wood.</p>

045.775

5/ 5

<p><span style="background-color:#fbe329;"><strong>Italian Yellow Varnish</strong></span></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.781

5/ 5

<p>OLD WOOD presents a collection of exquisite oil colours meticulously crafted to bring vibrancy and depth to artistic expressions. Let's explore the distinct characteristics of each unique pigment:</p> <p><span style="text-decoration:underline;"><strong>Indian Yellow (Reseda Luteola L.)</strong></span></p> <p>A stable yellow pigment with a vegetable origin, it offers transparency, depth, and luminosity.</p> <p>Derived from Reseda Luteola L., its history traces back to Persia in the 15th century.</p> <p>The organic material, magnesium salts from euxanthic acid in the urine of bovine animals fed with mangoes, adds to its uniqueness.</p> <p>OLD WOOD uses the name Indian Yellow for Weld – Indian Yellow, a vegetable origin pigment from the resedaceae family.</p> <p><span style="text-decoration:underline;"><strong>Pernambuco – Golden Brown (Caesalpina echinata)</strong></span></p> <p>Originating in Asia, it gained popularity in Europe during the 15th and 16th centuries as a bright red dye.</p> <p>Derived from the Caesalpina echinata species, OLD WOOD processes brazilin and brazilein to create ochre-purple-brown shades with vibrant transparency.</p> <p><span style="text-decoration:underline;"><strong>Madder Lake Brown Red (Rubia tinctorum L.)</strong></span></p> <p>Among the most stable natural pigments, it has been a common red dye for centuries.</p> <p>Obtained from the root of the madder plant in the Mediterranean and Middle East, it provides pure, bright, warm, transparent, and lively red hues.</p> <p><span style="text-decoration:underline;"><strong>Walnut – Dark Brown (Junglans regia)</strong></span></p> <p>Developed by OLD WOOD as a neutral hue to correct excessive red tones.</p> <p>This exclusive brown pigment serves as both a glaze for walnut color and a tint or neutralizing agent to maintain transparency and enhance the overall color balance.</p> <p><span style="text-decoration:underline;"><strong>Venetian Red (Sorghum Halepense)</strong></span></p> <p>Extracted from the sorghum plant, it produces varying colors from dark red and brown to light yellow and white.</p> <p>OLD WOOD selects a variety rich in pelargonidin, petunidin, and cyanidin, creating a dark red-brown pigment with transparency and silky warmth.</p> <p><span style="text-decoration:underline;"><strong>Madder Lake Red (Rubia tinctorum L.)</strong></span></p> <p>Obtained from the madder plant's root, it stands out as one of the most stable natural pigments, offering pure, bright, warm, transparent, and lively red hues.</p> <p><span style="text-decoration:underline;"><strong>Cherry Red (Coccus Laca)</strong></span></p> <p>OLD WOOD processes traditional Indian lac to produce a shiny red with strong brown and deep purple hues, showcasing great transparency.</p> <p>Derived from the secretions of female Coccus lacca insects, this pigment adds a rich and deep red to artistic palettes.</p> <p></p> <p>OLD WOOD's commitment to quality and the careful processing of these complex dyes results in a palette that artists can trust for vibrant, transparent, and warm hues, enriching their creative expressions.</p>

045.021

5/ 5

<p><span style="background-color:#fbe329;"><strong>Italian Orange Varnish</strong></span></p> <p>Classic oil varnish for classic wooden stringed instruments, such as the violin, the viola, and the cello.</p> <p>This varnish is made following traditional formulas, using high-quality natural raw materials. This varnish can be combined with new colours incorporated into the oils.</p> <p>Italian Coloured Varnishes provide a beautiful, transparent, and resistant film. This range of varnishes offers an optimal result no matter if they are used alone, combined with each other or with Old Wood other classic oil varnishes. They can also be mixed with our Oil Natural Colors and glazes.</p> <p>This varnish is formulated with resins and modified rosin in combination with high-quality linseed oils, which provides the optimal balance between the hardness and flexibility needed to protect the instrument.</p> <p>As a diluent medium, it includes a blend of aromatic-free and high-boiling solvents, resulting in a non-flammable, low-odour product.</p>

045.779

5/ 5

<p>Refractive ground is a transparent amber ground that provides a “permanent moist effect”.</p> <p>Refractive Ground deeply protects and illuminates the wood.</p> <p>It is a transparent amber compound that provides a refractive index similar to wood. For that reason it enhances and highlights to the maximum the light refractive process generating an “optical effect of depth” on the wood’s surface, developing a “permanent wet effect” on the annual rings, as well as on their resinous and amorphous formations.</p> <p>Its optimum penetration in the superficial layer of the wood avoids the saturation of the fibres, achieving an incomparable luminosity in depth.</p>

045.401

5/ 5

<p>“Italian varnish” is a classical oil varnish made with natural and traditional raw materials.</p> <p>Imagine the "Italian varnish" as a true work of art, carefully crafted by the talented technicians at the Old Wood Company. This classical oil varnish, steeped in tradition, is a result of their dedication to using natural and time-honored materials.</p> <p>The artisans at Old Wood Company took a trip back in time, consulting ancient recipes to breathe life into this varnish. They mixed pre-treated colophony and Baltic amber with oils, creating a varnish that not only exudes transparency but also carries a subtle, light hue that pays homage to ageless craftsmanship.</p> <p>Ensuring the perfect blend of hardness and flexibility, the Italian varnish from Old Wood Company joins the ranks of respected counterparts like Cremona, Classical Amber, and Brescia Varnishes. While they share a similar recipe, each varnish boasts its own unique color, a touch that reflects the artistry put into every batch.</p> <p>In the realm of technical wizardry, each varnish, including the Italian varnish, is painstakingly crafted to strike that sweet balance between its components. Rigorous testing, overseen by the skilled hands at the Old Wood Company, assures that these varnishes meet the loftiest standards.</p> <p>It's worth noting that the Italian varnish, crafted by the artisans at Old Wood Company, isn't just about hardness and flexibility; it also brings a lighter color and a quicker drying time to the table. These distinctive features, coupled with the know-how of the Old Wood Company, make this varnish a standout and valuable addition to the world of artistic finishes.</p>

045.073

5/ 5

<p>Imprimitura Minerale is a transparent ground formulated with mineral compounds.</p> <p>Imprimitura Minerale is a transparent ground formulated with mineral compounds that saturate, at the beginning, the pores of the wood, helping to improve the performance of the wood and, therefore, the instrument.</p> <p>The vehicle used is the oleo-resinous component that facilitates the application of the mineral loads, protects the wood from external agents and provides great transparency and refraction.</p> <p>The solid particles introduced together with the main vehicle of the varnish create different types of refractive indexes between the layers and the substrate (the wood itself), contributing to the dichromatic effect.</p> <p>It can be diluted with linseed oil, walnut oil, white spirit, turpentine or lavender oil. To obtain the best results, only a very thin coat should be applied.</p> <p></p> <p>Bibliographical references:</p> <p>Marciana Manuscript.</p> <p>Louis M. Condax.</p> <p>Ralph Raphael.</p> <p>Andrew Dipper.</p> <p>Gabriele Carletti.</p> <p>Max Doerner.</p> <p>Ralph Mayer.</p> <p>Rutherford J. Gettens &amp; George L. Scout.</p> <p>Mary P. Merrifield.</p> <p>Claire Barlow &amp; Jim Woodhouse.</p>

045.070