Amber is a fossilised resin; the type I use comes from deposits in the Baltic Sea. This resin has a reputation for being one of the hardest, and for a long time I was very sceptical about using it in instrument making. However, whilst it is the hardest in its natural state, once melted, it behaves in a manner quite comparable to a resin of medium hardness. Furthermore, once combined with its binder, it produces a flexible and durable varnish. Apart from this pyrogenation stage, which involves some risk, the rest of the varnish formulation is simple, requiring no additives such as siccatives, or the addition of lime to adjust the melting point. There is, however, one minor drawback: once the varnish has been applied and dried on the instrument, the natural fluorescence of this resin gives it a slightly hazy appearance under certain light sources. I have the impression that this changes over time, tending to diminish. I will cook a small quantity of resin (250 g) in front of you and pour it into a tray to allow it to cool and solidify. If possible, I will simultaneously melt some amber that has already been pyrogenised at home, using linseed oil prepared beforehand to make it drying. This mixture and the final heating process will produce the varnish I use on my instruments. I will then demonstrate my method for hot filtration of the resulting varnish and its bottling. This method, with its distinct stages, allows for a methodical and practical approach, where quantities are easily quantifiable as the weighing is done at room temperature. The main advantage is being able to reproduce the recipe consistently with as few variables as possible. Although these firing processes are carried out outdoors, those of you who wish to come closer to ‘touch the material’ whilst it is being fired will be asked to bring your own gas mask with suitable cartridges (for fine particles, chemicals and organic solvents) that have not expired. However, to minimise the risk of accidents, we will try to avoid crowds gathering around the ongoing melting process, as temperatures will reach around 400°C! Therefore, only a limited number of places are available. First come, first served… A faint smell of burnt rubber will, in any case, have the advantage of weeding out those without masks! I would like to thank the Jean-Baptiste Vuillaume Violin Making School for hosting this workshop; I am looking forward to sharing this experience with you and hope to see you soon, fingers crossed for good weather! François Varcin.