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Selecting A Template
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kenlew
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Joined: 14 Dec 2013
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Location: Nashville, TN

PostPosted: Mon Dec 16, 2013 11:45 pm    Post subject: Selecting A Template Reply with quote

What is the best way to find a design and template to get started on a violin?
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Ken Lewellyn
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fjodor
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PostPosted: Tue Dec 17, 2013 3:37 am    Post subject: Reply with quote

Here is a good site that has printable templates (and lots of other good making info)
http://www.luthm.org/

Another way is to follow one of the various Strad posters that includes the outlines and measurements.
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DonLeister
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Location: Richmond, VA

PostPosted: Tue Dec 17, 2013 9:02 am    Post subject: Reply with quote

Ditto the Strad's posters, I like last month's Huberman Strad with the catscan, it was a sharper definition than some in the past.
If you havnt seen it Kenlew it shows the ribs and block location so you will know where to put them on the mold, that helps a lot with shaping the corners and saves time too.
Corners can be tricky to get to look good.
I have not seen the luth.org info , I'll have to check it out.
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Mat Roop
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Joined: 24 Mar 2007
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Location: Wyoming Ontario

PostPosted: Tue Dec 17, 2013 11:04 am    Post subject: Reply with quote

Kenlew..... As well as the design... be sure to get a good "how to" book otherwise you will make too many mistakes.
This one seems to be the current bible...
http://www.amazon.ca/The-Violin-Making-Chris-Johnson/dp/0709058764
at the sale price it is offered, it is a must have ... perfect Christmas gift to yourself! ... and you will thank yourself!
Good luck!
Mat
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kenlew
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Joined: 14 Dec 2013
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Location: Nashville, TN

PostPosted: Tue Dec 17, 2013 3:31 pm    Post subject: Reply with quote

DonLeister wrote:
Ditto the Strad's posters, I like last month's Huberman Strad with the catscan, it was a sharper definition than some in the past.
If you havnt seen it Kenlew it shows the ribs and block location so you will know where to put them on the mold, that helps a lot with shaping the corners and saves time too.
Corners can be tricky to get to look good.
I have not seen the luth.org info , I'll have to check it out.


So if I purchase a back issue for Nov 2013 of the Strad, will it contain the poster?
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Cliff Green
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PostPosted: Tue Dec 17, 2013 4:03 pm    Post subject: Reply with quote

You can buy rolled Strad posters here, http://www.orpheusmusicshop.com/ .
I've had several laminated which makes them nice for working in the shop. They look nice on the wall too.
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L P Reedy
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Location: Brevard, NC

PostPosted: Tue Dec 17, 2013 5:24 pm    Post subject: Reply with quote

kenlew wrote:


So if I purchase a back issue for Nov 2013 of the Strad, will it contain the poster?


No. Now only print subscription copies have the posters.

A good alternative at your stage is the Strobel book (Violin Making Step by Step). It includes what you are looking for. The Courtnal & Johnson book, which I do NOT consider essential, has a few templates but lacks plans. I rarely refer to the C&J book but use a few others often. Different strokes...
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DonLeister
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PostPosted: Wed Dec 18, 2013 12:00 am    Post subject: Reply with quote

The November issue has the poster (folded), and an article with some description of the instrument along with its history and recent owner, Joshua Bell.
You can also order the poster rolled up w/o the magazine.
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kenlew
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PostPosted: Wed Dec 18, 2013 12:47 am    Post subject: Reply with quote

I ordered the Nov back issue but it sounds like it probably won't include the poster...
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Michael Darnton
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PostPosted: Wed Dec 18, 2013 8:16 am    Post subject: Reply with quote

I don't much care for the Strobel book, except as a secondary source. The Courtnal & Johnson book uses the best methods, the methods real violin makers use, and so you won't have to unlearn anything later. It's a small investment towards getting everything right, from the start, and for a model, also, I prefer to work on something closer to the origin point than Strobel's version of Bisiach's version of a Strad--a STRAD poster, if that's as close as you can get.

The best thing, however, is to to work with someone, or attend a workshop. There are a lot of right things in the C&J book that I would see that you won't that they don't mention, and certainly don't tell you how to do. I'm pretty solid these days on the idea that once people have something in their head, it's there forever as their model for how things are done; if you don't start learning the right way, you almost certainly never will be able to straighten out.
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L P Reedy
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PostPosted: Wed Dec 18, 2013 6:48 pm    Post subject: Reply with quote

In that case, I guess I'm hopelessly lost with no chance of finding "The Way." Oh well, I probably don't have many years left anyway, so it doesn't really matter.
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Chet Bishop
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PostPosted: Thu Dec 19, 2013 3:04 am    Post subject: Reply with quote

Prolly goes for most of us, Lyle...press on, regardless, my friend.
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ctviolin
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Location: Roswell

PostPosted: Thu Dec 19, 2013 11:04 am    Post subject: Reply with quote

L P Reedy wrote:
In that case, I guess I'm hopelessly lost with no chance of finding "The Way." Oh well, I probably don't have many years left anyway, so it doesn't really matter.


Yeah, I'm going to give the floor to Mr. Bishop on this one.
"The Way" is something that none of us will ever find - that's what makes violins so much darned fun...
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Michael Darnton
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PostPosted: Thu Dec 19, 2013 1:48 pm    Post subject: Reply with quote

The whole point, for me, has been to not stop trying, to always find the best way possible at the moment, and to avoid the things that don't help in that progression. That's the whole point: to get better. The draw is that historically no one has ever gone far enough.
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ctviolin
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PostPosted: Fri Dec 20, 2013 12:00 pm    Post subject: Reply with quote

Michael Darnton wrote:
The whole point, for me, has been to not stop trying, to always find the best way possible at the moment, and to avoid the things that don't help in that progression. That's the whole point: to get better. The draw is that historically no one has ever gone far enough.


I'm always curious, Michael, if you think that there's one 'almost undefinable aspect' of what makes violins so interesting to the few of us that strive today with making them...

The fact that the general public (and probably most players) have a general belief connected with violins, that contains an element of mystery-of-sorts.
Does this make sense?
Do you think that is an important and active element in the general violin world as things sit today?

To me it's not only an interesting element but it's always a sort of factor or consideration with me in my making - the fact that there's ALWAYS a chance of making a better, and then an even better sounding violin.
It's sort of hard to envision an "end point".
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