“I took delivery of a violin from Anne a year ago. I had searched the Internet looking at different violin makers. All the makers I researched seemed to make violins, then sell them to people. One buys what is available at the time. They seemed so tied to building on the "mold" method that there was very little difference from one instrument to another.

“Anne is different, and each violin she creates is unique. She loves to have the client involved from the start of the process. One is welcome to be as involved in the process as possible.

“We started with Anne asking me basic questions such as the size of my hands, how I would like my violin to sound and how I would enjoy the instrument's appearance. As Anne loves to explain, "you are creating a violin that will be played for hundreds of years. So, what you like to leave to the world?" I chose the wood for the back and sides from a selection of three choices. Anne discussed the belly wood and selected an excellent piece of spruce.

“Anne supplied me pictures of each stage of the carving and building. It was like watching a family member come to life. Part of the unique process is that Anne likes to design a personal picture inside that in some way reflects her client. In many ways, the violin takes on a persona from this point. So, I encourage you to take advantage of this unique violin maker and her process of creating a specific work of art for you. She welcomes your input in the process and you will be rewarded with something personal and irreplaceable that you will cherish for the rest of your life.”

--Randal Walker

My Way: Violin Construction From Start to Finish

PART VI: THE PURFLING

The violin outline is inherently beautiful in the nature of its shape, a unique combination of disciplined symetry and implied voluptuous freedom in its curves. Making the completed outline even more enhancing are three strips of wood, glued together and set in as a decorative detail encircling the outline just inside the edge: the purfling.

The purfling before it is set in. The white center is generally made of holly wood. The black dyed outer strips made of an easily bent fiber. The three strips are glued together before they are set into the purfling channel.

I have traced out the position of the purfling channel which will be cut in between the two scribed lines about two millimeters deep.

If you look carefully, you will see that I have cut - with a dremel tool - the beginning of a small channel into which I will then set the purfling.

An instrument with the purfling just set in. A strip of left-over purfling lies on top of the viola in the right-hand photo.

A cello with the purfling channel finished and the edges rounded. The purfling provides a decorative detail and a practical purpose in that it helps keep any cracks that form around the edges from spreading further into the back or top.

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