Official Luthiers Forum!

Here are a few of mine.

Mike Franks
http://www.mjfranksguitars.com
http://www.facebook.com/mjfranksguitars

Very NICE, Mike!

some really great stuff here - Burton, how did you do the little triangles in the Martin style rosette? Here is a recent one on an oak/red spruce J-185:

https://www.flickr.com/photos/ruby1638/18303357493/in/album-72157649776959267/



Ed

Wow!
A lot of incredible work, don't be surprised if some of these ideas find their way into my work. Thanks.

Here is my effort, off the bench today. Cannot decide yet if its finished.

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My memory is so good, sometimes I remember things that never happened.

here's a few also

Ok, what did I do that they came out so darn big when posted?

Crap. Wow. How did u do the gear thing? Real gears?

Haans, thanks for the advice and tips. I'm gonna use this on my next build. It's a lot of work, but it is so pretty.

It just hit me Haans. Like a box of bricks. You don't cut your bar up in 45 deg segments and reglue. Do you? U just cut small segments and piece together? Holy crap. That just makes too much sense. That part I mentioned and the final long cut was what drove me nuts. Then big bending and if anything goes wrong I've wasted a whole piece. Wow. Learned something big today. Thanks!!

There ya go! Like I said, just like abalone...
If you want 45degree angle on the pieces just set your mitre gage at 45. If you want 90degree, set mitre gage square. I usually do a 22degree or so except for most back strips which look better to me at 90.

Here are some of mine.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Here's my current approach. I usually use fancier woods, but this one is good ol' mahogany and ebony. There's also a couple of bloodwood purfling lines in there.


Sent from my iPhone using Tapatalk

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Mountain Song Guitars www.mountainsongguitars.com

Nice work Waddy.

Very nice, Ken.

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Good judgement comes from experience. Experience comes from poor judgement.

Wow! Some really nice work here. This is a recent one of mine. Ziricote and paua.

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formerly known around here as burbank
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http://www.patfosterguitars.com

I posted this in another thread, but I will show it off here, too. This is the result of my experiments with building custom herringbone with dyed wood veneer.

Pat, your guitars look sooo nice. Tastefully done always, and clean and simple too. What else could you ask for?
Waddy, I have never been much for segmented radial rosettes, but yours are WAY above the standard. You are the standard. That first one with the wheat straw is stunning! So are most of the others...dang!

Brazilian rosewood with wheat borders. The back, sides, head stock face, bridge and rosette all from the same billet of Brazilian.

Brian,
I keep coming back to this one. It is very eye catching.
How was it done?

Cut random geometric shapes within a certain size constant?
Fit together with dab of CA?
Fill with black epoxy?

just guessing but I would love to know.

Thanks !!!

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Joe Beaver
Maker of Sawdust

Pretty darned inspiring is what I say!

Thanks, Haans. I think my aesthetic in guitars comes from the "California Look" in cars in the 60s.

And yeah, Waddy's rosettes are a cut above.


Pat

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formerly known around here as burbank
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http://www.patfosterguitars.com

This rosette made with curly birch was the inspiration for a classical recently posted in the doc-u-build forum. http://www.luthiersforum.com/forum/viewtopic.php?f=10130&t=46358 Quite a simple rosette, but it lets the wood do the talking. More pics, a video and sound track featuring the finished guitar are with the other linked post..

Here's one a student made a few years ago. It worked out nicely. The 'folded ribbon' was made of koa and butternut woods, iirc, in side grain. Both are very reflective, and they're just a bit different in color, so it makes a nice three dimensional look.

Here's one I used on an Osage Orange Classical a few years ago. The woods in the braid are 'Euonymous atropurpuria' (I beleive: the wood was salvaged in the winter) for the gold, Blue Mahu, and bloodwood, if memory serves; all in side grain. The end grain inlay is also all natural woods, with about a .5mm dot pitch.


Here's a more complicated Classical rose. In this case the knotwork alternates Euonymous and maple with walnut side lines in a maple background. The 'rose, bud, and leaf' end grain uses pink ivory for the red, Mahu for the green, boxwood for the yellow, and a couple of other things I can't recall. The dot pitch there is .3mm.


I sometimes make a larger braid or basket weave rosette as well: 1/2" wide rather than the 1/4" width of the previous ones. This allows me to make a shell background, in this case of Paua Abalam.

Some of mine


Koa with Black/pearwood purfling



Black Limba


Abalone with Black/maple purfling


Spalted Maple


Abalone Black/Pearwood purfling


Spalt maple


Pearl with Black/maple purfling


Ziricote radial cut with abalone ring


Radial cut Bubinga

Thanks for looking
Fred

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Fred Tellier
http://www.fetellierguitars.com
Facebook page http://www.facebook.com/pages/FE-Tellier-Guitars/163451547003866