Assembly and Finishing

A silica/vernice bianca ground preparation was applied to the wood, followed by several very thin coats of colored Joha varnish.

: Preparing for assembly of the body.

: The blocks are tapped off the mold with a tack hammer. The corners of these are trimmed to facilitate pulling the ribs, with linings, off the mold.

: This picture illustrates the steps in removing the ribs from the mold. Trimming the block is crucial.

: Once removed the linings and blocks are trimmed to final dimensions.

: The back is joined to the ribs. Normally f-clamps should be used at the neck and bottom blocks.

: Don’t forget the label!!

: The top is then joined to the ribs. Normally f-clamps should be used with mating blocks at the neck and bottom blocks.

: The mortise is cut into the neck block.

: The button is trimmed to near final dimensions, it will be finished once the neck is attached.

: The neck root is trimmed to the appropriate height.

: Prior to gluing the neck is fitted multiple times to ensure the correct projection at the bridge.

: The bridge is then fitted if the violin is to be tested ‘in-the-white’

: Varnishing begins with a clear coat over the ground.

: Varnishing begins with a clear coat over the ground.

: Varnishing begins with a clear coat over the ground.

: Color coats are added until the final desired color is reached.

: Color coats are added until the final desired color is reached.

: Color coats are added until the final desired color is reached.

: After the final color coats a clear coat is added for protection.

: After the final color coats a clear coat is added for protection.

: The fingerboard is glued once more to the body once varnishing is complete.

: A closeup of the button, the glue line of the back should be nearly invisible.

: A closeup of the back near the chin rest, the glue line of the back should be nearly invisible.

: A closeup of the front between the bridge and fingerboard. The glue line of the belly should be nearly invisible.

: A closeup of the tailgut. The seam of the ribs could have turned out better.

: A closeup of the corner, the mitre should be almost invisible with not chipping out at the inside of the corner.

: A closeup of the f-hole.

: A closeup of the scroll.

: A nice view of the bridge. In adjusting the sound of instrument I thinned the bridge. My chisel left a gouge mark that I haven’t cleaned up yet.

: A closeup of the f-hole with my label viewable.

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