“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 IX: VARNISHING

Many recipes for varnishing exist, some of which contain secret and exotic materials guaranteed to create exquisite tone if not the actual tonal recreation of the old master violins. I won't presume to expound on these lofty matters. My goals are durability, i.e. preservation of the instrument, tonal enhancement in some small measure and visual beauty last but not least.

Just a few of the possible varnish components along with some favorite brushes are pictured. My varnish room is littered with current and past ingredients, paints, resins and stains which I have used in my concoctions. Generally I favor linseed oil-based varnishes for their durability and for the artistic layering effects I can achieve.

A finished viola with the first amber ground coat applied.

The ivy motif extended to the neck as it joins the instrument.

A scroll has its first color applied to an intricate design requested by the musician for whom it was made.

The cello is varnished with a special varnish. From six to twelve coats are applied. Then it is polished and all the ebony fittings are completed. All that is needed now is a sound post and a good set of strings and IT'S FINISHED. One winter a cello was completed. By early spring, it was coated with 12 coats of varnish and ready to play.

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