Building aviolin

Once we have this tight bend, it will not be

too difficult well, not impossible! to
continue the curve for the centre bout lower
corner.
The reason for bending before cutting the
rib pieces in two is that its very difficult to
introduce a bend at the end of a strip. This
way, there will be enough material to make
the upper bend to the centre bout.

In part 4 of his series, Dominic Excell looks at bending and fitting the
centre bout ribs to the blocks, and preparing for the upper and lower
bout ribs.

he previous article saw the preparation of

the blocks prior to the fitting of the first
set of ribs those at the centre bout of
the violin. By now you should have something
resembling photo 2; note that, as mentioned
earlier, the outer curves of the corner blocks
have not as yet been cut away.
We are now going to need a device for
bending the ribs. Photo 3 shows my ancient but
trusty bending iron, and fig. 1 shows the
essential dimensions for those who wish to build
their own. I am at present trying to obtain a
supply of the more essential tools, so anyone
who needs advice, please write, enclosing an
SAE for a price list of the tools currently
available.
Before starting to bend wood, a set of
clamping blocks are required. See fig. 2 for the
shapes required. Note that the blocks for the
centre bout must be made from some suitable
hardwood mine

Photo 2. Mould, with blocks ready to accept centre bout ribs

are Beech and they do not require a

leather or cork sheet facing as the other
blocks do.
Steaming
Once the blocks have been made up, we
are at last ready to begin. The general
principle of rib-bending is to introduce
steam to the area requiring bending, then
to gradually induce the bend into the rib
while continuing the steaming. The next
step is to remove the steam, while
holding the shape against the hot iron.
This sets the bend, which should if
done correctly maintain the shape
required.
In practice, the curvature does tend to
slacken off after a while, especially at
the tighter curves of the corners, so it is
advisable to glue the ribs in position as
soon as they are bent.
I always find that the ribs retain their
shape much better if the use of steam is
kept to a minimum. It is often possible
with a mildly figured wood to bend the
ribs completely dry at least, in the
case of the convex areas of the upper
and lower bouts though it is probably
wise to use steam at least for the first
few times!
Initially, we are going to estimate
where to make the first bend. This is
going to be a tight bend, which will be
cut in two, giving the beginnings of the
centre bout bend, at the lower corner
block, and the corner bend of the lower
bout: x and y respectively on fig. 3.

Where to bend?
So where will the centre of the first bend be? I
estimate this by allowing about 5mm extra at
the centre of the bottom block, then lightly
bending the strip by hand around the mould to
the corner block; I then give about another
10mm, marking a vertical line across the rib
strip. It also helps to mark this position on the
top edge of the rib strip, as the vertical line
will of course be hidden by the iron while the
piece is being bent.
Before bending, just check that you are
leaving enough wood for the centre bout;
there should be plenty with the average length
of rib supplied.
Now we are ready to go the boatshaped
clamping blocks and G-clamps (opened out
sufficiently) should be readily to hand, the glue
should be put on to the heat, and the bending
iron should be switched on.
Temperature
The temperature should be hot enough to
turn a drop of water instantly to steam, but
not so hot that the drop dances about on the
top of the iron. If the water droplet just sits
and then boils up, a little more heat will be
required. Try it you will see what I mean.
To be on the safe side, try holding a scrap
of wood hard against the iron for about half a
minute: if there is any sign of browning, then
the iron is too hot. On my iron, I have the
temperature control set half way, but you will
have to experiment for yourself.
You will need a jar of clean water, and a
strip of cotton sheeting for the steam: a little
wider than the ribs, and about 200mm long.
Dont use synthetic or coloured fabric:
melted-on fabric does not enhance the looks,
and nor does a coloured pattern printed on to
the finished ribs!
First of all, lay the rib on the bending
strap, with the outer side facing you, and
with the line for the centre of the bend at the
mid position of the strap. Soak the fabric,
gently squeezing out the surplus. Fold over
to halve the length and double the thickness,
and place over the area of rib to be bent.
Holding the strap firmly, and keeping
everything level to avoid a twist developing,
bring up to the hot iron, and let the steam
penetrate for a few seconds before beginning
to introduce the bend. It is important to
maintain a strong tension to the strap
imagine a bullworker! but do not pull the rib
hard around the iron.
Gradually let the bend increase, and then
pull around the tightest curve on the iron. If
necessary, wet the cloth again.

Photo 1. Finished ribs ready to be bent

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W O O D W O R K E R

O C T O B E R

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Photo 3. Bending iron and strap

Trying the rib against the mould

Remove the cloth and repeat the above

procedure dry, holding the curve finally for
about 15 seconds. Make sure that both ends of
the rib are in line with each other, otherwise
the bend will not be vertical. Remove the rib
from the iron. The curve should stay put,
though it will slacken off a bit. If it springs out
flat, you have used too much water, and you
will have to hold the bend against the iron to
dry it out while maintaining the shape. If the rib
snapped, there was not enough steam, too cool
an iron or not enough support from the strap.
Too much working on the iron also makes the
wood brittle.
Once this first bend is set, cut along the
marked line, which should be at the centre of
the curve. Set the lower section aside for later
use.
Hold the centre rib to the mould and see if
the curve needs any further bending
adjust it if necessary. Make sure that the
rib overhangs the point of the block by about
5mm, and estimate the position for the centre
of the curve for the top corner. Mark this point
on the top of the rib, steam and bend as before
but keep the steam away from the first
bend, as we dont want it straightening out.
This will be trickier than before, because the
first bend will get in the way, but have patience
youll get there!
Once the rib fits both corner blocks
simultaneously, and follows the line of the
mould, mark the outer extremities of the
blocks onto the rib. Mark another line, parallel,
but 4mm further out. Now trim back to this
line, finishing by planing square. Check this by
standing the mould on your base board.

down on the board; now clamp up. Use the

minimum pressure possible, so as not to bend
the ends of the ribs back on themselves,
though you must make sure that enough
pressure is used to squeeze out the surplus
glue.
For all gluing operations, make sure that
you are in a warm, draught-free
environment. Once the glue is applied, bring
together the surfaces to be glued straight
away. If necessary, have a dry run first, as
speed will be of the essence though of
course there is no need to panic!
Now repeat the exercise for the other side.
Remember to scrape away surplus glue as you
go along, as it helps to keep the work clean,
and the glue is very brittle when it has dried.
Leave the piece overnight to dry and to reach
its maximum strength.
The next stage is to continue the marked
outline from your template, so that it bisects
the outer surface of the centre bout rib. See
fig. 4. Use the compasses again to ensure
symmetry, just as you did when marking the
outline onto the corner blocks. Make sure that
the curve maintains its direction right up to the
point where the line crosses, and at that point
mark a fine perpendicular line from the board.
Check again with the compasses, and then
chisel back to that line, so that the rib end is
squared off and truly vertical. Now comes the
exciting bit!

Trimming and fitting

The clamping block, having the angled
faces also square, should ensure an even
pressure of rib to corner blocks. If the rib fits
well at the top of the block say but
theres a slight gap at the bottom, then the
plane can be used to pare off a little from the
top end of the rib, ensuring an even fit
overall.
When you are satisfied, coat the mating
surface of the blocks with hot glue (no, not the
modern variety out of a glue gun!). Spring the
rib in position, making sure you have the
marked lines coinciding with the block ends
and the ribs sitting right

The exciting bit...

We have to use the gouge, as on the centre
bout face of the corner blocks, making sure
everything is to the line, and vertical. This
means that the centre rib finishes as a razor
edge see fig. 5.
It is vital that this face you are about to
gouge remains concave right to the very end,
and that you do not allow this rib end to
become shortened at all. The point (sorry!) of
this is that the join should be on the corner of
the ends of the ribs, and is thus invisible. It is
also stronger, as the surface area between the
tips of the ribs is greater than it would be if
the joint ran down the centre of the visible
end. This is a tricky task, I wont try and fool
you into thinking otherwise, but every violin
maker has to do it for the first time. Work
carefully, be confident (but not overly so!), and
above all have a very sharp gouge (fig. 6).

Outer curves of corner blocks marked out

Trimming the rib end checking for vertical

It pays to work in the right sort of light.
I try to arrange my schedule so that I do this
job in the evening, in the dark except for a
single anglepoise lamp. I can arrange this so
that I light up the endgrain of the rib, so that
when this disappears, I know I have gone far
enough.
I also find it easier to work horizontally. I
dont mean that I am lying down, but that I
hold the work up against the side of the bench,
and use the gouge in the horizontal plane. I
find that this gives a good deal of control,
especially in the final stages.
Next month, I will be showing you how to
finish the ribs and to fit the linings. In the
meantime, if you have managed to keep up
with me, well done. Protect the razor edges
over which you have taken so much care at all
costs!
If you would like to order any plans or a
materials price list, or you wish to enquire
about tuition, please write to Dominic Excell
care of The Woodworker enclosing an SAE,
please.

Close up of finished rib

ready to accept lower rib
THE WOODWORKER OCTOBER 1995

corner block,
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