what are translucent souls

Yet this is true only if you’re paying attention, critiquing yourself, and always striving to improve. So much of nailing this process is practicing, and trying to do every single step the same way each time; changing just a single variable in each stage of experimenting if you’re not getting quite the results you’re after. A replicary of robots is the very antithesis of a craftsman or craftswoman whose every attempt at uniformity will invariably bear the traces of their humanity in the imperfection of their created objects when compared, piece by piece, to some unattainable, Platonic, ideal (cf. Your ambient atmospheric conditions will differ from ours, thus the timing requisite to perfect wrap finishing will be likely to change. The key to getting that level of clarity that you want for transparent or translucent wraps is driving out the microbubbles that cause silvering inside the wraps. Would be pretty easy to whip up an equivalent in ZScript. Good varnish is finicky stuff. She uses light and dark contrasts to create depth in her portraits, emulating Dutch Golden Age masters like Rembrandt and Vermeer. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), https://toolsforworkingwood.com/store/item/MS-TF.XX. First, the solvents evaporate. Apply a second coat of Amber Varnish, also very thin and wick off the excess. In News. Again, details matter. Have fun!! Discover the ideal timing for your shop by practicing. Craig wrote: I’m trying to restore the silk wraps on an old cane casting rod. If you apply a too-thick coat, it will not cure evenly and this will cause alligatoring, a wrinkled texture on the curing surface with a gummy underlayer. His curiosity benefits the viewer. Several folks have commented over the years on how detailed the DVDs are. Eventually you’ll develop a sense for these problems. Oh, and that makes me think of another detail: clean hands. Use this in a cold, damp basement and it will not cure. Boil up a tea kettle full of water. If you utilize a drying cabinet, I’d still stick to at least a three day cure. Not only does thin varnish penetrate the silk better to help drive out micro-bubbles, it naturally goes on as a thin coat and thus allows you to apply a single coat with very little bulk. Another key is to be sure the varnish on each coat – until the threads are fully penetrated and then sealed – is exceptionally thin. Don’t mar your own work. Don’t try to fix an alligatored wrap – just cut it all off, clean the blank, and start over. If you’re dip finishing, this isn’t a worry at all. Dark silk x dark blank = mud. You’ll learn little from your practice if you practice under one set of parameters then attempt to put your methods to use under another set of parameters. 1. Apply Amber Varnish at temperatures above 70º. Now comes the key step. Every silk-wrapped rod becomes a memento mori, the silk and the bamboo severed, but preserved, and functional, for a time, reminding us to enjoy our time, and to pass along our knowledge so it is preserved before the fates snip our own lustrous but terminable thread. We need to define terms. Not because this faint silk color isn’t effecting things, it’s just that you can’t tell (unless, perhaps, if you’re a tetrachromat) especially when your normal, trichromat, sight is fuddled by the varnish on the wraps, the varnish on the blanks, the type & intensity of ambient lighting, and so on. • Transparent: “Having the property of transmitting light, so as to render bodies lying beyond completely visible; that [which] can be seen through; diaphanous.” We have seen great growth in … I would argue that a wrap so pellucid that you can see, clearly, the grain of the bamboo along with the natural color of the blank, “without diffusion or distortion” (to borrow from Merriam-Webster), is a transparent wrap. You will need to experiment with various shellac flakes. I have no intention of making serious use of such an abomination. Pale blanks crossed with medium intensity silks = luscious wraps that look like you could wring color from them. Here are the instructions we used to pass out with the Alchemist Amber Varnish when we sold that. Apply a drop with a stiff bristled brush like our Detail Master Brushes, working from the end of the foot toward the center of the guide. This was in the days before additive blending (let alone per-pixel alpha) was a possibility. Decide if you like it. Wrap guides, varnish them, cure the finish, cut the wraps off. My varnish room is usually in the high 80s when I’m working. It also helps if the varnish for the first coat or two doesn’t cure quickly. Like the amber varnish, walnut oil isn’t kicked – it contains no cobalt driers – so it penetrates well and cures very, very slowly…until you apply an overcoat of Sutherland Welles, which does have driers in the mix, at which point everything will start to kick. Further, because natural silk is natural, and thus variable, most “natural” silks probably have a bit of added pigment to equalize the apparent color from spool to spool, lot to lot. Because color preserved wraps are never as strong as directly varnished (and thus typically translucent) wraps, I only preserve the color when I have to, e.g., when matching wraps on a restoration or if a client demanded that look back when I made custom rods. Don’t practice on un-finished scrap blanks if you intend to work over pre-dipped blanks when making rods. Thank you. I turn my rods with a drying motor during this entire process, but there should be so little varnish on the wraps that, were you to set the rod section up-right in a corner, nothing would run, drip, sag, or slump. From what my memory tells me, Lost Souls were made translucent because a large part of their sprite is fire. You need to thoroughly soak the silk with a natural, oil-based finish that has been thinned so it penetrates fully. Photography id seen as a record and as a creation. I had an opportunity to spend time with Kamil Vojnar which was especially delightful because I really love his work. While I apply the above steps almost exclusively to Pearsall’s Classic Chestnut silk, it will work with any colored silk to achieve translucent wraps, or if used with pale & white silks you can achieve, more or less, near-clear wraps, the transparent wraps so many fellows like. After that cures, then you’ll just be adding more spar varnish, in supremely thin layers, until the texture of the thread is buried in the varnish; with fine silks like Pearsall’s Gossamer, this doesn’t require too many coats (3-5 usually). Just as FYI, another benefit of not having driers in the mix is that the amber varnish doesn’t set up in the jar, so it remains viable year after year. For a while, after Donald left the US and before folks noticed his new site in Europe, there was no amber varnish, so guys were using straight walnut oil for the initial coat or two. • Translucent: (in current parlance of our times; and this is important because early usage did have translucent synonymous with transparent) “Allowing the passage of light, yet diffusing it so as not to render bodies lying beyond clearly visible. In addition to being a Luddite (really, I’m not – it’s just that I appreciate the high art of old fashioned technology as much or more than I appreciate new-fangled things, like websites and my kids’ dueling nano-drones), I’m also, according to my tech-addled children, a word-nerd. Personally, for this project I’d start with their Super Blond flakes and make a very thin cut so it soaks into the wraps; cure; repeat. 3. Thin this by a maximum of 10% by volume using a compatible thinner – natural turpentine is my thinner of choice. © 2020 Golden Witch Technologies, Inc. All Rights Reserved. I cannot emphasize this enough…you MUST wash your hands before handling silk threads and wash regularly as you’re wrapping, especially if you sweat a lot (I do, so I speak from experience); any oils from your hands can effect varnish penetration and the smallest amount of grime, which you may not notice on a medium or dark silk while you’re wrapping, will glare at you after you varnish (again, I speak from experience…in particular, the waxy black residue from polishing guides is a killer if it gets on silk). Transparent. The third coat must be a good Marine Spar, like Sutherland-Welles. This might be a word she stumbled over during her assigned readings, or it might be some cromulent lexical obscurity, such as replicary, that I’d like added to her repertoire. (1) I decided to add an endnote since I didn’t use footnotes. The most prominent book in my library is the Oxford English Dictionary…not the eye-numbing “Compact” edition with its micrographically reproduced text and the reading glass in the slip-case, but the twenty volume second edition that takes up two shelves within my largest barrister. Surprisingly, they passed through her without apparent damage to the dog, but that was still an expensive lesson in needing to keep shellac flakes on a higher shelf. If you want to achieve translucent wraps, you’re going to follow the very same steps, but you’ll use silks with discernable color. But to the point…. SEETHER To Release Three Classic Albums On Vinyl For The First Time To Celebrate 20th Anniversary. My preference is for the walnut oil based amber varnish; walnut oil is more expensive than linseed oil, but is also more stable and less susceptible to UV degradation and consequent yellowing. Functionally speaking, within the limits of human perception, the natural silks make for exceptionally clear, “transparent,” wraps. If you have a perpetually hungry dog, as our smaller mutt is, the dog may mistake the shellac flakes for (fish?) Generally this takes around one hour. The former, natural white silk, is the slight eggshell shade of silk as it comes off the cocoon of Bombyx mori, the domesticated mulberry silkworm you know and love in death, if not in life. Be careful. After waiting for an hour or so for the solvents to evaporate from the second coat, you must apply a third coat – but NOT of Amber Varnish. A bright blonde blank will reflect more light back through the wrap, brightening it. And if you look these words up in your copy of the OED, you will discover I’m choosing my definitions carefully from among those provided, paraphrasing a tad, with direct quotes set inside the marks. Two actions occur in the curing of Amber Varnish. When “wet” permanently with an oil based finish, the pure white silk loses its reflectivity and becomes passive in the face of light, permeable both coming and going – invisible. This is one reason the Alchemist brand amber varnish works so well – it has no cobalt driers, so it doesn’t cure quickly and remains liquid so it can fully penetrate the silk (and you can thin it as needed….I don’t have one of Donald Fels’ new bottles, so I don’t know what the consistency is these days).

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