2023
AL#148 p.65
John Calkin
▪ Our reviewer has seen a ton of instructional lutherie videos. And he likes this one.
2023
AL#148 p.65
John Calkin
▪ Our reviewer has seen a ton of instructional lutherie videos. And he likes this one.
2021
AL#143 p.2
Gila Eban
▪ Gila replies to Howard Stephens writing in AL#142. Mentions Tom Higgins, Alan Carruth, and Tom Knatt.
2021
AL#143 p.5
Mark French
▪ Leo asks what sealer Charles Fox uses on his MDF jigs, noting that they look great in the Guild’s Fox Method series and that Charles says he has been using some of them for twenty years. Author Mark French responds with info straight from Charles. He also comments on the use of MDF as wasteboards for vacuum hold-downs in CNC work.
2020
AL#140 p.69
Stephen Faulk
▪ Describes mounting tap plates with white glue, and with adhesive Mylar transfer sheet. Mentions David Serva, Diego del Gastor, Paco de Lucia.
2020
AL#141 p.26
Leonardo Michelin-Salomon
▪ A Uruguayan luthier enrolls in a craft school in Norway to study Romantic-era guitars built by Italian, German, and French makers two hundred years ago. He writes an article about his techniques and discoveries that is published in an American journal with readers in over forty countries. Yes, it’s a big beautiful lutherie world. We are all just leaves on one wide-spreading, figured-maple branch.
2020
AL#140 p.48
Federico Sheppard Javier Campos-Tijeras
▪ Many of the fine hand-made guitars that are born in Ganada, Spain, spend a few weeks in the shop of Javier Campos Tijeras receiving a light, thin coating of shellac before they venture out into a cruel world of fingernails, cigarette smoke, and shaky guitar stands. Javi explains his process and holds nothing back about the specific materials and supplies he uses.
2019
AL#137 p.70
Marshall Brune
▪ You have to build up the color slowly, over many coates, to get a good looking tint with French polish.
2019
AL#138 p.20
Mark French
▪ Author Mark French is walking the lutherie path in the reverse direction of many makers. As a physics prof trained in the crazy magic of CNC and industrial robot processes, he had made a lot of guitars before he did much in the way of traditional low-tech hand-tool work. As part of an intensive effort to fill in those gaps, he attended an eight-day course at Robbie O’Brien’s shop in Colorado to make a flamenco guitar with Spanish luthier and licensed bloodless toreador Paco Chorobo. O’Brien went to Spain and visited Paco’s shop in 2015. Read all about it in AL124.
2017
AL#130 p.66
Max Girouard Andrew Mowry
▪ Two mandolin makers test this post-catylized shellac product. They like it.
2017
AL#130 p.68
Arianna Colombo
▪ What’s the Italian method of “French” polishing?
2017
AL#131 p.20
January Williams Peter Tsiorba
▪ Peter Tsiorba began his working life as a teenager making garments in a semi-legit Soviet cooperative. Today he’s a family man and a maker of classical guitars in the lutherie Mecca of Portland, Oregon.
2015
AL#124 p.69
Jeff Jewitt
▪ It’s not easy, but it is possible to spray shellac. Here’s how.
2009
AL#99 p.3
Ronald-Louis Fernandez
▪ Fernandez offers corrections to Tom Harper’s review of his instruction DVD French Polishing for Guitarmakers 2.0.
2009
AL#97 p.65 read this article
Tom Harper
▪ Beginners often face the prospect of French polishing with some trepidation. As in many facets of lutherie, video is usually a better instructor than text. With only a few reservations the reviewer finds this DVD to be a clear and concise tutorial.
2009
AL#98 p.18 ALA3 p.58
Tim Olsen Cyndy Burton
▪ Burton has been tenacious in her pursuit of the classical guitar, traveling widely and learning from the likes of William Cumpiano, Eugene Clark, and Jeffrey Elliott, making a name for herself in what has largely been a man’s world. We’re all members of her fan club and rejoice at finally knowing more about her. With 17 photos.
2005
AL#82 p.66 BRB7 p.437
Don Overstreet Don MacRostie
▪ Cleaning a 1920 Gibson A-4 mandolin properly without hammering whatever finish is present and removing the wax layers.
2004
AL#78 p.67 BRB7 p.357
John McCarthy
▪ Finish for cocobolo.
2004
AL#78 p.67
Eugene Clark
▪ Making a viable batch of French polish and considering the variables: brands of flake and grain alcohol, dissolving or grinding flakes, and age of shellac flake.
2004
AL#79 p.6 BRB7 p.206
R.E. Brune
▪ In a sense Brune is laying down the law for successful classical guitar making. Much of it will be useful to any builder, and all of it is interesting because Brune is an interesting man who has his thoughts together. Not to mention that he’s a heck of a luthier with a deep background in the history of his craft. With 30 photos and 8 diagrams. Mentions Santos Hernandez, Marcelo Barbaro, Ignacio Fleta, Hermann Hauser, Sr.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
2004
AL#79 p.34 BRB7 p.416
Peggy Stuart Don MacRostie
▪ The author attended a mandolin making class taught by Don MacRostie at the American School of Lutherie. The first four parts of her report appeared in the four previous issues of AL. Part Five concerns the application of a sunburst using stains, both by spraying and rubbing, as well as the application of lacquer and French polish finishes. With 37 photos.
This article has been nominated as one of the Guild’s best articles published before 2010.
2003
AL#75 p.68 BRB7 p.71
Cyndy Burton
▪ Causes of some finish to craze more than others and what to do.
2002
AL#70 p.4 BRB6 p.350
John Calkin Ralph Novak
▪ Novak has been on the guitar scene since the late ’60s, specializing in the creation and repair of electric instruments, though his expertise doesn’t end there. His best-known invention is probably the Novax fanned fret system, though his work with multi-string guitars deserves note. Mentions Charles LoBue. With 17 photos.
2001
AL#66 p.20 BRB6 p.216
Greg Hanson Sebastian Stenzel
▪ Stenzel is a German who specializes in classical guitars. He shares much information about his guitars as well as some opinions that may surprise you. With 5 photos.
2001
AL#65 p.57 BRB6 p.215
Cyndy Burton
▪ Clear spring 190 proof ethanol, everclear, and other drinkable grain alcohols to use for making shellac and for French polishing.
1999
AL#59 p.6 BRB5 p.374
Frank Ford
▪ A top repairman tackles the sticky subject of what repair and restoration work should be tackled in this age of vintage instrument mania, especially in the area of elective surgery. Even today’s utilitarian instruments may be tomorrow’s hot collectibles, so every instrument that passes over our bench has to be considered in this light. What work should we refuse, and what are our liabilities for the work we do? Includes 41 photos, mostly of vintage guitars and mandolins.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1999
AL#58 p.58 BRB5 p.501
Andrea Andalo
▪ A simple device to hold guitars during the finishing phase which consists of an upright which can be held in a vise and a workboard which the neck can be secured.
1998
AL#53 p.59 BRB5 p.147
Fred Campbell Douglas Somervell
▪ Differing clarifications on using epoxy as filler on rosewood under nitrocellulose lacquer.
1998
AL#54 p.6 BRB5 p.182
Cyndy Burton Eugene Clark
▪ Jeez, there’s a lot to know about French polishing. Changing lubricating oils can change the quality of the job, but there are reasons to change oils. The pad you rub with makes a difference. The longevity and toughness of the finish can be controlled by the materials you use. This work is deeper than meets the eye. Burton attended a class taught by Clark, and she brings home the straight skinny for American Lutherie. With 15 photos.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1997
AL#52 p.46 BRB5 p.148
R.E. Brune
▪ What does it take to restore an important instrument? Skill, research, and a solid feel and appreciation for the time during which the piece was made and played. Skip any of these factors and you could easily screw up an irreplaceable piece. Brune describes his approach to one guitar while at the same time demonstrating the qualities necessary to enter this field.
This article has been nominated as one of the Guild’s best articles published before 2010.
1997
AL#50 p.61 BRB5 p.137
Mike Longworth
▪ What finish Martin used before nitrocellulose and when they switched.
1997
AL#49 p.10 BRB4 p.4
Woodley White
▪ Baarslag journeys to the American School of Lutherie to teach a week-long class about building classical guitars. White attended, and gives a full report. With 37 photos.
1996
AL#48 p.46 BRB4 p.474
John Calkin
▪ Reviewed here are six videos, one about violins setups, one about French polishing, and four about guitar repair. All are found worthy, though two of the repair tapes are for the inexperienced luthier.
1996
AL#45 p.10 BRB4 p.264
R.E. Brune
▪ This 1995 lecture transcription investigates the history of art applied to lutherie in all its varied forms, and then translates many of them into illustrations of contemporary instruments. Topics include painting, gilding, carving, veneer, inlay, engraving, and varnish work. With 49 photos and illustrations.
This article has been nominated as one of the Guild’s best articles published before 2010.
1996
AL#45 p.56 BRB4 p.491
Bob Milburn Orville Milburn
▪ Reducing shellac flake dissolve time with the use of a coffee grinder.
1995
AL#42 p.12 BRB4 p.174
Robert Ruck
▪ Ruck spends most of his time in this lecture talking about top design and finishing. With 13 photos and several drawings, plus a detailed list of his finish materials and procedures.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1995
AL#41 p.56 BRB4 p.442
Michael Darnton
▪ Why is there a step in the neck behind the nut of my fiddle? What angle are the junctions of the ribs cut to at the corners? What’s the difference between French and Belgian cello bridges? Zits in the varnish? Why does my French polish crackle?
1993
AL#36 p.6 BRB3 p.380
Dan Erlewine
▪ Erlewine hides his wooden patches under a field of colored French polish, then paints over it with simulated wood grain, and then might shoot a sunburst around everything. Old European craftsmen would smile in recognition of these tricks, but they are seldom applied to guitars.
1993
AL#33 p.12 BRB3 p.278 read this article
Roberto Gomes
▪ Gomes offers a list and short description of some current Brazilian builders.
1993
AL#33 p.14 BRB3 p.280
R.E. Brune
▪ Brune describes a rare 11-string Torres guitar and the manner in which he restored it. With 11 photos and a half-page of drawings. Mentions Romanillos.
1991
AL#26 p.42 BRB3 p.32 read this article
Cyndy Burton Donald Warnock
▪ It’s wonderful that this interview is in the same issue as interviews with Larrivee and Warmoth, since they are opposites. The first two are sort of factory moguls, and Warnock is the gentlemanly craftsman/artist. All have forged a successful life on their own terms, and the contrast is delicious.
1990
AL#22 p.38 BRB2 p.376
Michael Darnton
▪ Violin people think about finishes in a way that guitar makers have difficulty grasping. It is an obsession. Darnton’s lengthy article discusses varnish types and components and offers a few recipes. It doesn’t seem fair that guitar folks don’t get to play with stuff called dragons blood, sandarac, and propolis, to name just a few. Such exotic incantations are bound to improve a finish, don’t you think?
This article has been nominated as one of the Guild’s best articles published before 2010.
1989
AL#17 p.48 BRB2 p.206
Geary Baese
▪ Baese writes about adding color to violin varnishes in an historically accurate manner. He defines a lake pigment as “fixing . . .an organic soluble dye upon an inorganic carrier to render an insoluble colored compound.”
1988
AL#14 p.4 BRB2 p.38
Cyndy Burton Greg Byers Robert Steinegger Buzz Vineyard
▪ This workshop lecture and its audience participation make a wonderful case for the value of collected experience. These 7 pages of text and photos offer tips and information not to be found in any of the French polishing videos and articles that have come out since, as well as explaining the basics of finishing with shellac.
This article has been nominated as one of the Guild’s fifty best articles published before 2010.
1988
AL#14 p.11 BRB2 p.45
Tim Olsen
▪ Is shellac made of sap from a tree in India? Or is it from juice exuded from a bug that eats that sap? Or is it more complicated than that?
1987
AL#12 p.22 BRB1 p.454 ALA3 p.4
Joseph Bacon Jeffrey-R. Elliott
▪ A lengthy interview with the well-known maker of classical guitars covers such subjects as training, wood seasoning and supply, finishes, and boomerangs. Cyndy Burton participates. Mentions Hauser Sr., Michael Kasha, Richard Schneider, Ralph Towner, and Julian Bream. With 4 photos.
1988
AL#13 p.5 BRB2 p.161
John Randerson
▪ Randerson adds a lengthy note about different alcohols to the 1704 violin varnish formula previously offered by Manno in AL#12, and Manno answers.
1987
AL#11 p.30 BRB1 p.482
George Manno
▪ Manno is an honest man (even when honesty hurts), knowledgeable, and opinionated. An especially strong column that touches upon repair prices, colors for varnish touchups, tonewood sources, Polish white bow hair, and Tetto Gallo violins.
1987
AL#12 p.12 BRB1 p.451 read this article
George Manno
▪ This is a recipe for a touchup violin varnish, with instructions for adding colors.
This article has been nominated as one of the Guild’s best articles published before 2010.
1986
AL#5 p.10 BRB1 p.150
Ted Davis William DelPilar
▪ Davis offers his conversation with a professional luthier who made over 800 classical guitars between 1956 and 1986.
1984
DS#269 BRB1 p.264
Neil Hebert
▪ This guitarmaker has adopted finishing techniques that are often reserved for violins, and claims that in eye and tactile appeal it is superior to lacquer. Particularly important is how he deals with rosewood’s tendency to bleed color, a problem that fiddle finishers don’t have to face.
1983
DS#262 BRB1 p.37 read this article
Ron Lira
▪ How to deal with lacquer in less than one page. Heavy on Sherwin-Williams products and short on details, it is nevertheless interesting for his use of heated lacquer.
1980
DS#150 BRB1 p.121 read this article
Nicholas-Von Robison
▪ Robison insists that as an instrument finish seedlac is superior to shellac in every sense. You never heard of seedlac? Jeez, you better get on the bus! If French polish thrills you but it’s fragility gets up your nose, seedlac could make your day.
This article has been nominated as one of the Guild’s best articles published before 2010.
1978
DS#73
Paul Estenson
▪ While the traditional French polish method uses shellac and oil, with olive oil as a lubricant, qualasole is a relatively new finish material that is almost complete by itself and also seems more durable than shellac.
1975
DS#12
R.E. Brune
▪ French polishing, after mixing and properly preparing the shellac as per the instructions in the last installment.