Revision [5002]

Last edited on 2017-09-10 12:37:33 by Vojtech Blahout
Additions:
b) //Distortions happening over time.// With older instruments the wear and tear over the centuries may have caused a drop in the height of the top and bottom and subsequent distortions may occur. You don't want to copy those, you want to give your instrument a sound arch, which will withstand the ravages of time.
The total body height should be somewhere around **61-64 mm**.
~1) Mark all the positions in **Fig. 6.** for the cross templates so that you know where to place them during the checking. The positions **"A-E"** are for the cross arching templates, the **"F"** positions are for the long arch template. --- ---You can print out the positions in **Fig. 6.** or use those provided with the archings for your violin. If you want, you can also mark out these positions on your outline (half)template.
~1) Now with frequent reference to the cross templates, start removing the wood using the thumb plane. Blend the different positions with one another. Be aware of the general shape of the plate. Be sensitive of the wood grain, and work with it.
Deletions:
b) //Distortions happening over time.// With older instruments the wear and tear over the centuries may have caused a drop in the height of the top and bottom and subsequent distortions may occur. You don't want to copy those, you want to give your instrument a sound arch, which will withstand the ravages of another hundreds of years.
The total body height should be somewhere about **61-64 mm**.
~1) Mark all the positions in **Fig. 6.** for the cross templates so that you know where to place them during the carving. The positions **"A-E"** are for the cross arching templates, the **"F"** positions are for the long arch template. --- ---You can print out the positions in **Fig. 6.** or use those provided with the archings for your violin. If you want, you can also mark out these positions on your outline (half)template.
~1) Now with frequent reference to the cross templates, start removing the wood using a thumb plane. Blend the different positions with one another. Be aware of the general shape of the plate. Be sensitive of the wood grain, and work with it.


Revision [4794]

The oldest known version of this page was created on 2015-12-11 15:02:46 by Vojtech Blahout