Beginning 30 violins

Having acquired my thirty violins, I became nervous about engraving into them, it was overwelming the amount, the concept, how was I going to print them?
What tools would I use to engrave into them? Will portraits work in the context of the shape, will people understand the notion of memories evoked through sound.....
So I began, using a spitsticker into the back of the violin, this was very difficult to use as it pushed the varnish up and did not really work, I tried a drypoint tool which actually worked better.
I also began trying out different methods of getting the varnish off the backs of the violins, using metholated spirits, also paint stripper, and sanding down.
I then had the task of working out how to print from them, this was another difficult aspect of the process, as obviously it is not a flat surface so using the roller over it is not the same as over a flat lino or woodcut plate, also the application of ink was a trial and error process as it was difficult to make sure that the lines did not fill in, so I used the ink thinner, much less than I would for a lino.
I then had the make decisions about paper, as obviously again the standard somerset paper would not work as it would be far too thick, as I can not put the violin through any press I am hand burnishing them, therefore the paper has to be thin.
I began with newsprint, moving onto archival paper, as the newsprint would discolor eventually.
The hand burnishing added a layer to the concept of printing from this object in particular as I am printing from the sound board, and in the process of burnishing with a spoon I am literally making new sound from the violin itself, tuning the image into the paper itself.