I search the laws of harmony to find the proportions of the instrument, I study the thicknesses of the woods around the geometric lines.
Managing the resistance of the materials, each time different, without altering the air mass.
I pattern the ribs around an inner shape.
In accordance with the Cremonese method, I finish the edges and perform the purfling after closing the sound box.
I protect the instrument according to a very classic procedure, also used in ancient times by carpenters and furniture makers.
For the varnish, I choose simple ingredients that I can obtain directly from nature or buy in their raw state.
I avoid manipulated or synthetically reproduced ingredients, and I personally carry out the entire manufacturing process.
My varnish is now made up of very few ingredients, but it took me thirty years to get there.
Besides the shape and the sound of the instruments, also my varnish represents nowadays a signature, more recognizable than a name.