Home - Front - Marking and fluting the F-holes

Transferring the outline



After the arching on the top plate has been finished, the shape of the F holes should be transferred onto the surface. The shape of the F holes in our example is a slightly modified shape of the Messiah violin.

  1. Print out or otherwise transfer the outline of the F holes on a sheet of plastic foil or paper. See Fig. 1. for the outline for the violin we are building. On the physical copy, check the height between the red arrows is about 69.5 mm.
  2. On the printout, check that the physical measurements are correct. Ie. 42 mm distance between the upper eyes.
  3. To finish the template, take a sharp knife and carefully cut out the outlines, including the nicks.
  4. Lightly mark the stop length on the top of the violin plate, for our violin it is 196 mm. See "b" in Fig. 2 for its location.
  5. Align the centerline of the new plastic template with the centerline of the top plate and align the inner nicks of the F holes with the stop length mark. See that the position is correct in regard to all measurements in Fig. 2. "a" is the distance of 42 mm, "b" is the stop length of 195-6 mm, "c" is the distance of 11 mm and "d" means the top of the lower eye should be level with the purfling.
  6. Fasten the template in this position, with two pieces of a sticking tape, up and down, but only lightly so that you don't tear out wood fibers when removing the template.
  7. Using a sharp pencil, transfer the shape of both f-holes onto the surface of the wooden plate. When finished, remove the template.

Fluting the f-hole wings



In order to make the f-holes look more integral to the arching, the lower wings are fluted. Note that the fluting still gradually rises to the edge of the wing. See the red area in Fig. 2 for reference. The red color intensity denotes (approximately) the volume of material removed. In the area of the wing tips, you may cut as deep as 1.5 mm, depending on how "intensive" you want your fluting to be.

  1. Use a shallow round gouge, pare away the wood in the direction away from the tip of the wing.
  2. Smooth and blend the newly created surface with the rest of the arching using your scraper.
  3. Repeat on the other f-hole.
  4. Put the template in its proper place again and remark the parts of f-holes which got removed during the fluting.
1
2

ʕʘ̅͜ʘ̅ʔ

I think the two of you are speaking about 2 different things in regards to the Right(Treble) F-hole. Stradivari frequently (but not always) positioned the Treble F 1mm higher (or rather, positioned the bass F 1mm lower) in terms of it's placement along the length of the belly. The other issue regarding the Sound Post has more to do with outward distortion caused on the belly by the sound post. I would also guess that the Fluting might also aid in creating a bit more room on the Treble F for a sound post to pass through while on the knife end of a setter. Thoughts? - 2024-05-11 07:41:01
There might be a reason for the fluting..Those renaissance artists have been working really hard to be able to create this wonderful craft. They would not add anything into it with no reason. Because it has to be a perfect resonance box of predetermined harmonics allowing no any unwanted vibrational linkages...Continuity of the plate is foremost essential I believe, and this particular process may be helpful for that. Thanks, it is a great website-great idea to share the experiences on this "old but perfect machine". - 2021-03-13 21:05:12
That's incorrect, the right f-hole tends to raise itself higher than the left one because of the soundpost, you could somewhat normalise it by adding a soundpost patch glued and sealed with spirit varnish. - 2020-05-04 13:21:21
The right f-hole is supposed to be 1mm higher up the body than the left :D - 2020-05-02 22:49:47