By the time a restoration project is complete, it’s sometimes hard to remember what it looked like to begin with. I try to take lots of pictures, especially when I expect the transformation to be dramatic. Working with a camera and lighting is an ongoing adventure for me and my success rate is not as consistent as I would like it to be. I do not manipulate my photos with the exception of occasionally adjusting the tint or color saturation so as to come closer to the original.
Violins come in a million subtle shades of…well, brown. Red brown, black brown, yellow brown, orange brown and green brown. That almost covers the spectrum. Blue is probably the least used color in my retouch palette, although it’s occasionally useful to push a reddish brown toward a deeper purpler red brown. I have a 19th century Parisian instrument that may go in that direction.
Here are some sets of sequential photos that show a recent project undergoing extensive retouching of the varnish. If the color of the instrument seems inconsistent from photo to photo, it’s because the photographer is inconsistent! If there happens to be a digital photographer out there with a busted fiddle, I’d consider trading for some lessons!
I repaired a bad break near the left f hole. The lower right corner has been rebuilt and there was extensive wear and tear to consider. Click on the thumbnails to enlarge.
Here is the finished front:
Here’s a close-up of that f hole break before, during, and after:
Here’s an area of the back:
Finished, the back looks like this:
This is a rather dramatic example of varnish retouching as part of a larger restoration project. Retouching on a small scale is also part of a regular maintenance plan. We use our instruments, and as a result, they suffer some wear, and the occasional hit. Retouching is a way to assure that they age gracefully!
restorersmind 
