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Hello,

I wonder if some one could help explain this to me. From this article: http://www.milburnguitars.com/fpbannerframes.html. I think I get the gist of it but it's a bit unclear. This statement, "You can make the thin glazing cut of shellac by simply adding several parts of alcohol to 1 part of shellac that you have been using up until now."

The use of the term 'several' is a bit unclear. I am thinking that if I pour one part of the current shellac mixture I have into a cup and add say 3 parts alcohol that would make a nice glazing mixture?

Are there physical properties that I can look for? I.E should it appear to be runny like water or perhaps a bit thicker like milk?

That sort of thing.

Regards.

It's a very thin mixture on the muneca. In reality, it's much like stiffing/spiriting off, except with a very thin mixture of shellac in the muneca instead of just alcohol. At least that's my view of it, and how I do it. I usually start a little wetter than when I'm bodying.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Ok thanks. Most of French Polishing seems to be a bit of witch craft and experience. I'll try it out on some scrap wood with a 50/50 mix to see. I guess the idea here is to have a more runny mixture that will fill in any minor scratches and that sort of thing.

I'm just afraid the mix would be too alcoholy and strip my body finishes off. But he did say several parts so I dunno

One thing I definitely learned from my first French Polish is that I've been real lazy with prep work prior to finishing as lacquer which I used to use years ago and then water base finish is very forgiving at filling minor flaws.

When French polishing the spiriting off, removes the ridges from the bodying sessions. After you have done enough bodying sessions to get the build you want, then you spirit off, well. After it sits over night, at least, come back with your glazing strokes. You don't have to press as hard when glazing. As a matter of fact, I start with light strokes then get harder as the muneca dries up a bit. No oil should be used when glazing if at all possible. The strokes should be quick and straight. Glide on and glide off. Use a fresh muneca cover. The result should be a glossy finish. It does not take much shellac to continue to get a build.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Witchcraft indeed

Waddy - how much wetter for the glazing? I don't think I ever use a pad that is wet enough to feel any dampness on the surface - do you go wetter than that, or just wetter than usual?

I have a guitar that has been awaiting final glazing for a month now - 'bout time to get to it, but building more stuff is more fun.

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Jim Kirby
kirby@udel.edu

When I'm bodying, I use a piece of paper towel as my blotter. It really pulls the excess out of the muneca. I work it on the back of my hand to mix the load, then I press it on the paper towel till it makes almost no mark at all. Then I body. When I'm glazing I just use the back of my hand to blend, then just one tap, maybe two on the paper towel. It's still leaving a significant mark when I start the strokes. This is just what I have come to do, though, by trial and error. Nothing told me to do it this way. It is not, however, dripping with liquid shellac and alcohol.

_________________
Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Hehehe ok not witch craft... but sorcery yes that's it

I didn't get around to it tonight and I welcome other opinions. (This forum... is it dead? )

Tomorrow I will glaze.


regards.

I body and stiff with a 2lb. cut of shellac and spirt off with a 1lb. cut and that works well for me. It makes for a shinny finish.