Now (18) days have passed since the top plate jointed the back structure in the UV tank. Notice how the top plate is beginning to catch up in a pleasant natural coloring.
As the time is drawing neigh to needing a neck to join to the almost finished body, I begin work on the neck block.
I have roughed this out from a master pattern I have developed over the years.
The wood is from the same French maple as the back and ribs.(Opus # 16 violin) This was fortunate because that piece of maple had the ideal Wood Tone of 242 HZ and the ideal Rub Tone of # 22; all of which contributed to the good tone of this violin.
I begin with a larger Japanese hand gouge.
When I am actually making the cuts, I support the scroll with my leather gloved left hand. Why the glove you may ask? These chisels must be very sharp to cut maple and the slightest slip and the supporting hand could suffer.a very deep cut requiring many stitches at an emergency hospital (Not that I speak from experience mind you...).
By clamping the neck block to an extended 2 x 4, I can turn work as needed and position work either above or below the extension to aid in carving.