I wouldn't make cases for fiddles, since fiddles are too twangy. I would start by making violin cases and, if I was still interested in fiddles then I'd consider it. :-)
In all seriousness, if you can make a box you can make a violin case, as violin cases are simply boxes. Now, you could throw a violin in a suitcase or even a paper bag if you had to but there's a reason people don't and a reason violin cases are made the way they are. As with any box you have to consider what the box needs to do for what it will hold. In this case the box needs to:
- Protect the instrument from moving as little as possible.
- Protect the instrument from certain accidental drops of Min = 3 feet/1 Meter; Max 6 feet/ 2 Meters
- Protect the instrument from moisture and humidity.
- Protect the instrument from crushing
- Protect the instrument from rubbing away the finish.
These requirements are not very negotiable with violinists. When you say "Coming up with a lightweight design is probably one of the challenges", you have to rephrase to say, "coming up with a lightweight design that still meets all the users requirements is probably one challenge I may consider addressing". When you realize that the only way to lighten the box is by using some material like carbon fiber, you may skip the challenge. When you recognize that violin users may not really care if the case is lighter than existing cases you may realize it was never a problem to begin with- but that's something you'd have to ask violin players.
That said, I think you're working your way backwards from an imaginary point, which is where most of us woodworkers start but don't always finish. You're thinking of the final product in someone's hands, with its intricate inlay, beautiful figured wood and rock hard, mirror finish. It's these goals that motivate us to take on the craziest of projects, but at some point we need to set put the dream in the back of our minds and put one foot in front of the other, regardless of the quicksand we've just stepped into. In your case, you must concentrate on making a good solid case then worry about ornamentation afterwards. A good solid case is challenge enough.
If you can't wait to throw away money on wood and Tylenol, get your saw and start cutting right this instant. In fact, I recommend you do go out and cut something before it drives you crazy. Sometimes that's the only way to get crazy woodworking impulses out of our system. My only recommendation is that you cut on scraps. Why waste good wood on an impulse? After you've gotten that bug out of your system I suggest you try the following:
- Read I don't know what your level of woodworking and finishing may be so I make these reading recommendations with respect to the authors and no disrespect to your skill. I find myself returning to these books often for good advice.
A rudimentary understanding of box making is essential. You'll probably want to have a look at one of Doug Stowe's outstanding box making books. His Taunton Press guide to Boxmaking is pretty thorough.
A thorough understanding of finishes is essential. You can't find a better book than Bob Flexner's "Understanding Wood Finishing"
Box design and object design in general is a subject too vast for any single book to cover but there are some steps that one finds themselves repeating when designing. Taunton Press's "Practical Design Solutions and Strategies" provides a very straightforward method that most woodworkers (knowlingly or not) use or come to use. While this is not a definitive book on the subject it's a great starting point.
I would study those topics in that order and when you get bored/ restless go out and chop on some scrap wood. Perhaps even practice some of the methods in the books on very small items.
- Study existing designs in depth. Violin case interiors have been the same for a long time for a reason- it's a practical, good design. I'm sure manufacturers use a standard template at this point. If it were me I'd avoid reinventing the wheel, particularly if my greater interest were in ornamentation. I'd be hard pressed not to pull the interior, hardware and seal from an existing case and fit it into a case I'd build. At the least I'd reverse engineer a good existing case and start from there. If you're building from scratch you would do well to create a scaled or full sized drawing of the interior, since you will use it at later.
- Know the limitations of your tools and skill. You may want to put the hidden dovetails throughout every joint on the case or have complex curves throughout but your hand saw and three months experience in Jr. High woodshop might steer you otherwise. The temptation at this stage is to buy some super cool tool to compensate for experience (i.e. Omni Jig), but you'd still have to learn how to use that tool and use it well to see good results. It's best to use what you have and do the best with what you have than to try to learn a new tool for a project, but you can look at any woodworker and see he/she found that out the hard way.
- Rough sketch your case design. Here is where you need to go back to that crazy inspiration that took you down this road to start with. You may be too tired to draw anything but a rectangular box which resembles a suitcase. Perhaps a rest or beer is in order.
- Draw a first draft of your design. Keep in mind it may change but here is where you try to put to paper the closest thing to a finished product as you can. You're drawing what will become your first prototype so it's a good idea to get the joinery figured out on paper. Figuring out joinery as you cut is a bad practice.
- Build a mock up from scrap wood. I suggest you BUILD ONLY ONE. At this stage it's tempting to think "I'm done. I've built it. This is as far as I'm taking this design and I'm ready to start selling/giving them away to the masses. I should build a jig for each step and call it a day." Ha! What happens if you build your jigs only to find out that you miscalculated the depth of a rabbit and weakened a supportive piece? You may end up with 800 pieces of wood from a jig that all have to be thrown away. Also, what if you hate the design? Think it's easier to fix a glued up, finished box to fit your requirements? Probably not. A mock up is a good place to test a design and expect failures. You can't expect to get it perfect on the first try. You should stive for perfection but you should work out the bugs with a mock up.
- Modify your drawings if you have any errors.
- Build a second mock up or (if your confident enough at this point) a finished piece
After you've built the perfect case, you have to think about distribution. If you're a gazillionaire then working for free (i.e. giving them to friends and family) seems sensible. If you're like the rest of us you may want to try to make money from your product/piece of art, etc. Here's the second hurdle.
While you may eventually be able to make the most beautiful cases there is a limit to any given market, particularly one with high saturation. As you can see from the link below:
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's not a bad case for $65 and odds are you couldn't build it and distribute it for much less. I'm certain there is a market for exquisite violin cases but it might take a little while (i.e. trial and error, skill building, $) to get there. You have to ask yourself, "if no one would ever buy this item would I still be satisfied putting my blood, sweat, tears and time away from friends and family into it?" If you answer "no", then you might want to reconsider making cases. If you answered 'yes' then you're on your way to becomming a true woodworker.